The instruments of the orchestra : Percussion / Jeremy Siepmann, written and narrated [grabación sonora]

By:

Siepmann, Jeremy

Publication details: [s.l.] HNH International Ltd. 2002Description: 1 CD sonISBN:

1843790424

Subject(s):

DDC classification:

CD781.68 S572i

Incomplete contents:

1. Introduction. And we begin with a bang. 2. Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening) 3. At the opposite extreme is the triangle. 4. Liszt: Piano Concerto No. 1 in E flat major: Scherzo 5. Categories of percussion: tuned and untuned. The side drum 6. Rossini: La gazza ladra (The Thieving Magpie): Overture (opening) 7. Nielsen: Clarinet Concerto (opening) 8. The tambourine. One of the oldest instruments in the world 9. Anonymous: Den hoboecken dans 10. Even older is the originally oriental gong. 11. Ravel: Ma Mere l'oye (Mother Goose): Laideronette 12. Britten: Peter Grimes: Passacaglia, Op. 33b 13. Satie: Gymnopedie No. 2 14. Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes 15. Ravel: Piano Concerto in G major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5 16. Wood blocks 17. Copland: Rodeo: IV. Hoe - Down 18. Glinka: Jota aragonesa 19. Monteverdi: Scherzi musicali: Damigella tutta bella 20. A still earlier example from fifteenth - century Spain 21. Traditional: Yo m'enamori d'un aire 22. The birth of the bongo 23. Bernstein: West Side Story (Symphonic Dances) 24. Verdi: II Trovatore: Act II: Anvil Chorus 25. Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana 26. Moncayo: Huapango 27. Onwards to the tuned percussion. First, the timpani 28. Strauss: Also sprach Zarathustra: Introduction 29. Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung 30. Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat 31. Taking advantage of tunability 32. Bartok: Music for Strings, Percussion and Celesta: II. Allegro 33. Shchedrin: Carmen Suite: IV. Changing of the Guard 34. Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera 35. Saint - Saens and the xylophone 36. Saint - Saens: The Carnival of the Animals: Fossils 37. Ravel and the xylophone 38. Ravel: Ma Mere l'oye (Mother Goose): Laideronette 39. Shchedrin: Carmen Suite: III. First Intermezzo 40. Introducing the vibraphone 41. Steiner: The Treasure of the Sierra Madre: Narange dolce 42. Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera 43. Introducing the Hungarian cimbalom 44. Traditional: Folk Dances 45. The cimbalom and the symphony orchestra 46. Kodaly: Hary Janos Suite : III. Song 47. Introducing the tubular bells 48. Kodaly: Hary Janos Suite: II. Viennese Musical Clock 49. A more "up - front" approach from Rodion Shchedrin 50. Shchedrin: Carmen Suite: I. Introduction 51. Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude 52. Introducing the celesta 53. Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy 54. Magic, in the use of collective percussion 55. Ravels: Miroirs: V. La vallee des cloches 56. Shchedrin: Carmen Suite: VI. Scene 57. Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1 58. The traditionally subservient role of the harpsichord in the Baroque orchestra 59. Bach: Brandenburg Concerto No. 2: II. Andante 60. Saint - Saens: Symphony No. 3, "Organ": II. Allegro moderato 61. Stravinsky: Petrushka: Russian Dance 62. The anti - Romantic piano as an integral part of the orchestra 63. Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto

Summary: Instruments of the orchestra, yes. But not just instruments in the orchestra. This is a set of portraits in depth, featuring individual instruments in many contexts (orchestral, chamber, folk, solo, operatic, cinematic, even jazz and avant-garde music) and in pieces from the Middle Ages to the present. Joining regular orchestra members are such exotic visitors as the eerie ondes martenot, the wind machine, banjos, bagpipes, coconuts, typewriters, six-shooters, taxi horns, and migrating swans - and the hundreds of examples range from illustrative snippets to entire movements. The first CD is devoted entirely to the violin, and the last to the greatest instrument of all, the orchestra itself. This intoxicating, energetic, and remarkably informative survey of musical instruments is unprecedented in its scope and achievement. All the lively descriptions are followed by striking musical examples, of which there are over 200, spanning all eras, styles, and genres. As well as a full transcript of the text, the comprehensive booklet contains clear illustrations and background historical information on each instrument.

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Holdings
Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Compact Disc	Biblioteca Centro Cultural Gabriela Mistral	Audiovisuales CD	CD781.68 S572i 2002 v.5	c.1	Not for loan (Préstamo en Sala)		35628000065448

1. Introduction. And we begin with a bang.
2. Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening)
3. At the opposite extreme is the triangle.
4. Liszt: Piano Concerto No. 1 in E flat major: Scherzo
5. Categories of percussion: tuned and untuned. The side drum
6. Rossini: La gazza ladra (The Thieving Magpie): Overture (opening)
7. Nielsen: Clarinet Concerto (opening)
8. The tambourine. One of the oldest instruments in the world
9. Anonymous: Den hoboecken dans
10. Even older is the originally oriental gong.
11. Ravel: Ma Mere l'oye (Mother Goose): Laideronette
12. Britten: Peter Grimes: Passacaglia, Op. 33b
13. Satie: Gymnopedie No. 2
14. Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes
15. Ravel: Piano Concerto in G major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5
16. Wood blocks
17. Copland: Rodeo: IV. Hoe - Down
18. Glinka: Jota aragonesa
19. Monteverdi: Scherzi musicali: Damigella tutta bella
20. A still earlier example from fifteenth - century Spain
21. Traditional: Yo m'enamori d'un aire
22. The birth of the bongo
23. Bernstein: West Side Story (Symphonic Dances)
24. Verdi: II Trovatore: Act II: Anvil Chorus
25. Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana
26. Moncayo: Huapango
27. Onwards to the tuned percussion. First, the timpani
28. Strauss: Also sprach Zarathustra: Introduction
29. Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung
30. Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat
31. Taking advantage of tunability
32. Bartok: Music for Strings, Percussion and Celesta: II. Allegro
33. Shchedrin: Carmen Suite: IV. Changing of the Guard 34. Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera
35. Saint - Saens and the xylophone
36. Saint - Saens: The Carnival of the Animals: Fossils
37. Ravel and the xylophone
38. Ravel: Ma Mere l'oye (Mother Goose): Laideronette
39. Shchedrin: Carmen Suite: III. First Intermezzo
40. Introducing the vibraphone
41. Steiner: The Treasure of the Sierra Madre: Narange dolce
42. Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera
43. Introducing the Hungarian cimbalom
44. Traditional: Folk Dances
45. The cimbalom and the symphony orchestra
46. Kodaly: Hary Janos Suite : III. Song
47. Introducing the tubular bells
48. Kodaly: Hary Janos Suite: II. Viennese Musical Clock
49. A more "up - front" approach from Rodion Shchedrin
50. Shchedrin: Carmen Suite: I. Introduction
51. Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude
52. Introducing the celesta
53. Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy
54. Magic, in the use of collective percussion
55. Ravels: Miroirs: V. La vallee des cloches
56. Shchedrin: Carmen Suite: VI. Scene
57. Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1
58. The traditionally subservient role of the harpsichord in the Baroque orchestra
59. Bach: Brandenburg Concerto No. 2: II. Andante
60. Saint - Saens: Symphony No. 3, "Organ": II. Allegro moderato
61. Stravinsky: Petrushka: Russian Dance
62. The anti - Romantic piano as an integral part of the orchestra
63. Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto

Instruments of the orchestra, yes. But not just instruments in the orchestra. This is a set of portraits in depth, featuring individual instruments in many contexts (orchestral, chamber, folk, solo, operatic, cinematic, even jazz and avant-garde music) and in pieces from the Middle Ages to the present. Joining regular orchestra members are such exotic visitors as the eerie ondes martenot, the wind machine, banjos, bagpipes, coconuts, typewriters, six-shooters, taxi horns, and migrating swans - and the hundreds of examples range from illustrative snippets to entire movements. The first CD is devoted entirely to the violin, and the last to the greatest instrument of all, the orchestra itself.

This intoxicating, energetic, and remarkably informative survey of musical instruments is unprecedented in its scope and achievement. All the lively descriptions are followed by striking musical examples, of which there are over 200, spanning all eras, styles, and genres. As well as a full transcript of the text, the comprehensive booklet contains clear illustrations and background historical information on each instrument.

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