2
Opening Phrase of the "Pastoral": Mood, Symbolism and Musical Function
3
Musical Acorns: The Outline of Melody; The Shape of a Question
4
The "Question" in the "Pastoral" Repeated...
6
The Opening Phrase Ends on a Note Full of Pregnant Expectation
8
The Rhythmic Profile of the Opening Phrase; A Two-Part Construction
11
The Properties of Rhythmic Ambiguity; The "Question" of Phrase One Answered
12
Phrase Two: From Meander to March
13
The Makings of a Conversation: Contrast and Variation
14
Repetition as a Major Factor, but It's Never Mere Repetition; Each Time Something New Is Added
15
From Soft to Loud and Back Again; Instrumental Enrichment from Horns and Double-Basses
16
Mega-Repetition: Violins Play Exactly the Same Little Fragment Ten Times in a Row
17
But No Two Repetitions Are Quite the Same; Variaties of Contrast
18
More Variation; Pitch Rises; Violins Joined First by the Clarinet, Then by the Oboe
19
Return to Opening Idea, but with New Instrumentation and Articulation
20
Clarinets, Horns, Bassoons and Flutes Now Join Expansive Variation
21
"New" Insistent Rhythm Derived from the First Four Notes of the Piece
22
With the Dawn Chorus, a Whole Forest Is Waking Up; Feelings of Rapture
23
First Violins Play a Derivative of the Opening Figure, Joined by Winds and Strings
24
Sudden Change of Key, from the Home Key (Tonic) to the Dominant
25
Arrival at the Highly Contrasting Second Main Theme
26
Unusual Properties of Second Main Theme
27
Rhythmic Clash Between Simultaneous Groups of Three Beats and Groups of Two
28
Winds Fall Silent as the Violins and Violas Interrupt with a New Theme
29
Winds Answer with the Same Morse-Like Rhythm, but at Half the Speed
30
Crescendo Leads To Strings' Acceleration of the Pace with No Increase in Tempo
31
Beginning of Coda, Directly Based on Morse-Like Rhythm of the Main Theme
32
Strings Reiterate Small Fragment of the New Theme 13 Times in a Row
33
A Simple, Rising Violin Phrase Leads to a Repeat of the Exposition
34
The Nature and Function of the Development Section in Sonata Form; "Harmonic Rhythm" Explained
35
The Nature of Harmonic Rhythm Illustrated
36
A Typically Beethovenian Exercise in the Frustration of Expectation
37
Repetitiousness and Magic Effected Largely through Instrumental Colour
38
Then Come Four, Almost Identical Bars
39
Even Greater Magic, with Sudden Switch of Key and Tone Colour
40
Entire Development Section up to This Point
41
The Development, Continued
42
Increased Unease and Suspense as Harmonic Rhythm Accelerates
43
Arrival at the Point of Recapitualtion; Back to the Beginning, as a Reminder
44
Beginning of Recapitulation
45
More Beethovenian Frustrations of Expectations Which He Himself Has Just Set Up
46
Harmonic Rhythm Speeds Up, Giving the Impression of an Accent on Every Beat
47
Prevailing Mood Restored; New Theme from Clarinets and Bassoons
48
Violins and Violas Take Up Theme; Horns, Cellos, Double-Basses Accompany
49
A Hush Falls, Followed by a Return of the Movement's Most Familiar Tag in Strings
50
Clarinet Takes Up the Running Triplet Figures of the Main Closing Theme
51
First Violins Take Up the Opening Phrase Again, Accompanied by Double-Basses
52
Beethoven Slips In One Last Surprise; Cue to Complete Movement
53
First Movement (Complete)
54
General Introduction; The Birth of a Melody
55
Brook Music Quickens; Syncopated Horns; Themes Change Hands; Evocation of Birdsong
56
The "Mottl" Theme Introduced by Violins and Treated to Round-Like Overlappings
57
Transitional "Bridge" Theme Sets Off for New Key Group. But Is It? And Does It?
58
Will He, Or Won't He? Beethoven Keeps Us Guessing
59
The Run-Up to the Second Group
60
Arrival at the Second Group; But Where Is the Actual Second Subject?
61
A New Tune Is Introduced by the Bassoon
62
Tune Is Repeated Three Times
63
...Which the Full Orchestra Now Takes Up in Varied Form
64
Theme Carried by Flutes and First Violins in a Charmingly Waltz-Like Development
66
Back to the Prevailing Triple-Metre with Violins, Bassoons and Flutes
67
Another Reminder of Precedent...
68
...And a Cue To Some Unexpected Departures
69
The Transformational Magic of Beethoven's Tone-Painting - And a New Variation
70
Conversation of Clarinet, Flute and Oboe on the Way to the Development
71
Harmonic Movement Emphasised By Violins; Oboe Takes Up the First Subject
72
Flute and Oboe Discuss the First Subject, Before Arriving Together at the Transistion
73
Gains in Volume and Intensity Lead to a New Key-Change
74
More Thematic Transformation Through the Agency of Tone-Colour
75
Harmonic Fluidity - Instability - As the Central Engine of the Development Section
76
Harmonic Instability, Thematic Dissolution Increase, Then Lessen with Approach of Recapitulation
77
Recap. and Transformation: Key and Material Are Right, but What a Change of Presentation!
78
Just When We Know What's Coming, Beethoven Changes the Rules (Or At Least the Harmony)
79
Transformation by Reorchestration; Switch to Long Sustained Chords; Then Everything Stops
80
The Silence Is Broken by Voices of Nightingale (Flute), Quail (Oboe), and Cuckoo (Clarinet)
81
First Violins Bring Back Motto Theme
82
Cue to Complete Movement on CD 2
83
Second Movement (Complete)
84
Beethoven and The Scherzo: An Introduction; Part One of Opening Phrase Taken by the Strings
85
Immediate Response: Part One Is Answered by a Much More Singing, Continous Legato
86
Entire Orchestra Gives Out Opening Theme, This Time Fortissimo and with Powerful Accents
87
A Musical Ball Game. The Contrast of This and the First Two Movements Could Hardly Be Greater
88
After Quietly Teasing Suspense, Beethoven Mocks Village Band, First the Oboe, Then the Bassoon
89
Clarinet Joins In, Then Horn Takes the Tune - The Dance No Longer Boisterous But Lyrical
90
Strings Sweep the Village Musicians Aside and Hurtle Us into the New, Boisterous "Trio" Section
91
The Air Is Alive with the Sound of (Mock) Bagpipes, Tambourines and Fifes
92
Coda; Begins as the Movement Itself Begins, but Soon Diverges in Harmony and Instrumentation
93
Original Layout Compressed; Order of Events Is Changed and Beethoven Springs a Big Surprise
94
Third Movement (Complete)
95
Unparalleled Portrait of Nature's Power over Humanity, with Some Stupendous Orchestration
96
Self-Generating Form and Terror of Total Unpredictability; "Anxiety Motif" from the Violins
97
The "Lashing Rain" Motif - Downward-Driving Arpeggios from the First Violins and Violas
98
The "Lightning" Motif, And Its Recurrence Later in the Movement
99
"Rain" Motif, Derived from Descending Scale Pattern from the Violins at the Outset
100
Shivering Tremolandos from the Strings and Increasingly Eerie Harmonies from the Wind
101
Steady Crescendo in Strings; Terrifying, Downward Spelling-Out of Chords in the Violins
102
Extremes of Dynamic Contrasts; The Unsettling, Disturbing, Undermining Effects of Chromaticism
103
Abandonment of Melody, and Most Traces Even of Rhythm; Sustained, Discordant Harmony
104
Storm Dispersed, the Sun Reappears, Bathing Sodden Earth Below with Its Life-Giving Rays
105
Cue Tto Complete Performance of Fourth Movement
106
Fourth Movement (Complete)
107
"Yodelling" Figure from Clarinet, Then Horn, Then Violins, Who Introduce the Main Theme
108
Details of Instrumental Magic in the Interplay of Horns, Cellos, Clarinets and Bassoons
109
Main Theme Heard Three Times in a Row
110
Now We Get the Whole Orchestra, Playing Full Out, with Violins All Double-Stopping
111
Transition to the Next Section, Based on the Last Two Notes of the Main Theme
112
The Rhythmic Basis of New Transition Theme, First in Violas, Then Taken Up by First Violins
113
Another Rhythmic Detail of Extended Transition Comes Increasingly into the Foreground
114
...And Is Then Heard in Expanded Version, Taken in Sequence by the Strings, from the Top Down
115
New Phrase, Introduced by Violins, Brings Us Resoundingly Back to the Opening Material
116
Main Theme, Re-Orchestrated; Unexpected Drift into Another Key and a New, Gently Flowing Theme
117
Hints of a Return To Main Theme; Long "Pedal Point"; Running Commentary from the Violins
118
Main Theme Returns, but Significantly Altered, and Not Entirely Intact
119
Running Commentary Now Heard in the Middle, with Alternating Pizzicatos Both above and Below
120
Part Three of Main Theme Given to the Entire Orchestra, Leading to Final Appearance of Theme Two
121
Extended Coda; Overlapping Variations of Main Theme, Rather in the Manner of a Round
122
Suddenly the Scene Changes. A Variation of the Running Commentary Cited in Tracks 34 and 36
123
The Crowning Glory, as the Shepherd's Song of Thanksgiving Takes On a "Heavenly" Magnificence
124
Cue into Complete Performance of Fifth Movement through the "Gateway" of the Fourth
125
Fourth and Fifth Movements (Complete)
