The Instruments of the Orchestra (Siepmann)

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Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   Wagner: Tannhauser: Overture - 2:06
2.   Anonymous: Domna, pos vos ay chausida - 0:28
3.   We don't merely use instruments, we play on them. And they play on us. - 1:19
4.   Brahms: Hungarian Dance No. 7 - 1:39
5.   The violin is one of the most tender and beautiful instruments ever invented. - 0:45
6.   Brahms: Violin Concerto in D major: II. Adagio - 1:08
7.   But for a long time it was seen as the instrument of the devil. - 0:17
8.   Stravinsky: The Soldier's Tale: Triumphal March of the Devil - 0:45
9.   The manipulative seductiveness of the gypsy violin - 0:43
10.   Anonymous: Csardas Music - 3:33
11.   The violin and the imitation of nature - 0:23
12.   Vivaldi: The Four Seasons: Spring: I. Allegro - 0:35
13.   Birds are again evoked in the second concerto, especially music's natural favourite. - 0:09
14.   Vivaldi: The Four Seasons: Summer: I. Allegro non molto - 0:41
15.   Like the devil, the violin is a master of disguise. - 0:18
16.   Kreisler: Schon Rosmarin - 1:55
17.   The menacing sensuality of Ravel's Tzigane; a very different side of the violin: - 0:15
18.   Ravel: Tzigane - 0:51
19.   Do we now have the true measure of this instrument? Not just yet. - 0:15
20.   Paganini: Caprice No. 24 - 0:48
21.   Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C minor - 1:57
22.   Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo - 1:06
23.   Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime - 0:22
24.   Prokofiev: Romeo and Juliet: Act IV - 0:46
25.   Vivaldi uses it to illustrate the shivering of travellers crossing the ice. - 0:14
26.   Vivaldi: The Four Seasons: Winter: I. Allegro non molto - 0:57
27.   The violin muted - 0:31
28.   Debussy: Clair de lune - 1:41
29.   The gentleness of muted strings persists even when a whole orchestra plays. - 0:30
30.   Mozart: Piano Concerto No. 21 in C major, K. 467: II. Andante - 1:26
31.   The pizzicato violin - 0:38
32.   Strauss: Pizzicato Polka - 2:29
33.   In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato. - 0:26
34.   Prokofiev: Violin Concerto No. 2 in G minor: II. Andante assai - 2:02
35.   Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I - 3:09
36.   Holst: The Planets: I. Mars: The Bringer of War - 1:27
37.   Bach: Sonata No. 3 in C major for unaccompanied violin: II. Fugue - 2:09
38.   Brahms: Hungarian Dance No. 4 - 3:51
39.   Double-stopping is a standard feature of a lot of folk music. - 0:14
40.   Vivaldi: The Four Seasons: Autumn: I. Allegro - 0:37
41.   Now the same technique, but the sound might have come from another world. - 0:30
42.   Ravel: Bolero - 0:49
43.   Double-stopping can only approximate the sound of a real violin duet. - 0:20
44.   Joachim: Cadenza to the Violin Concerto by Brahms - 0:44
45.   Now compare that with a real violin duet. - 0:12
46.   Bartok: 44 Duos: I. Teasing Song - 0:52
47.   Another duo by Bartok, demonstrating the violin's rich lower register - 0:10
48.   Bartok: 44 Duos: II. Maypole Dance - 0:40
49.   And now what may be the most beautiful accompanied violin duet in history - 0:17
50.   Bach: Concerto in D minor for two violins: II. Largo ma non tanto - 6:43
51.   The soul of the violin is in song; but what about this weird passage? - 0:42
52.   Prokofiev: Violin Concerto No. 1 in D major: II. Scherzo - 0:34
53.   The use of harmonics in the orchestra can be both magical and unsettling. - 0:29
54.   Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening) - 1:33
55.   Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring. - 0:11
56.   Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte - 0:33
57.   Ravel's harmonics in Mother Goose effect a magical transformation. - 0:29
58.   Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast - 0:36
59.   Stravinsky: The Firebird: Introduction - 0:32
60.   The natural upper notes of the violins have a unique emotional "grab" - 0:32
61.   Strauss: Also sprach Zarathustra: Of the Afterworldsmen - 0:55
62.   Still in their upper register, the violins unleash the energy of a young colt. - 0:14
63.   Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana - 1:10
64.   Elsewhere, Britten uses the same high register to create a very different mood. - 0:11
65.   Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn - 1:08
66.   To end this outing with the violins, a charming little elfin dance - 0:12
67.   Hellmesberger: Elfenreigen - 1:29

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   Introduction to the viola - 0:42
2.   Telemann: Viola Concerto: I. Largo - 2:46
3.   Khachaturian gets a very different sound from it: fuller, fruitier, more exotic. - 0:14
4.   Khachaturian: Gayane Suite No. 1: III. Armen's Solo - 1:15
5.   Very nearly the whole of the violin's upper register is also available to the viola. - 0:39
6.   Britten: Peter Grimes: Passacaglia, Op. 33b - 1:00
7.   Strauss: Don Quixote - 1:03
8.   Berlioz: Harold in Italy: IV. Orgy of Brigands - 2:00
9.   The muted viola: intimate, gentle, poignant in Dvorak - 0:34
10.   Dvorak: Cypresses: IX. Thou Only Dear One - 3:00
11.   The massed violas of the modern symphony orchestra in Mahler - 0:40
12.   Mahler: Symphony No. 4: III. Ruhevoll, poco adagio - 1:13
13.   The "period" viola in Bach - 1:05
14.   Bach: Brandenburg Concerto No. 6: III. Allegro - 5:18
15.   The cello: a voice of unique nobility - 0:28
16.   Bach: Suite No. 1 for unaccompanied cello: I. Prelude - 2:30
17.   Brahms and the "soul" of the cello - 0:19
18.   Brahms: Piano Concerto No. 2 in B flat major: III. Andante - 1:04
19.   Most orchestral composers tend to emphasise the cello's lower register. - 0:27
20.   Bach: Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu - 3:03
21.   In the time of Beethoven the cello remained as fundamental as ever. - 0:14
22.   Beethoven: Symphony No. 3 "Eroica": IV. Finale - 0:46
23.   But the cello is not condemned to spend its life in the basement. - 0:33
24.   Popper: Elfentanz, Op. 39 - 2:55
25.   Not only in recital showpieces like that is the cello used in its highest register. - 0:10
26.   Tavener: The Protecting Veil: opening - 2:54
27.   A cello with an identity-crisis: the pizzicato Flamencan - 0:15
28.   Tagell: Flamenco - 2:48
29.   Double-stopping in the lower reaches of the cello's range - 0:31
30.   Cassado: Solo Suite for Cello and Piano: Sardana - 1:08
31.   It's in its middle register that the cello really comes into its own. - 0:21
32.   Rachmaninoff: Oriental Dance, Op. 2, No. 2 - 1:32
33.   Beethoven: Symphony No. 5: II. Andante con moto - 0:54
34.   Beethoven: Symphony No. 9: IV. Finale - 0:54
35.   Introduction to the double-bass - 0:43
36.   Saint-Saens: The Carnival of the Animals: The Elephant - 1:32
37.   But the double-bass can be intensely expressive and graceful. - 0:10
38.   Bottesini: Elegy No. 1 in D major - 2:37
39.   Bottesini: Allegro di concerto, "Alla Mendelssohn" - 0:47
40.   Bottesini: Capriccio di bravura - 4:42
41.   Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig - 1:33
42.   Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III - 2:25
43.   Beethoven: Symphony No. 5: III. Allegro - 1:20

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   The antiquity and magic of the flute - 0:20
2.   Debussy: Prelude a l'apres-midi d'un faune - 3:19
3.   The versatility and agility of the flute - 0:21
4.   Bach: Orchestral Suite No. 2 in B minor: VII. Badinerie - 1:18
5.   The flute in fifteenth-century Spain - 0:24
6.   Anonymous: Sa'dawi - 0:55
7.   Other flutes: the bass and alto - 0:29
8.   Sallinen: Chamber Music II - 1:12
9.   The Piccolo - aptly named - 0:19
10.   Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin - 0:47
11.   From a piccolo of the eighteenth century to one of its descendants in the twentieth - 0:09
12.   Stravinsky: Suite No. 2 for Small Orchestra: II. Valse - 0:54
13.   A variety of techniques - 0:19
14.   Sallinen: Chamber Music II - 0:31
15.   Flutter-tonguing. But Tchaikovsky got there eighty years before. - 0:28
16.   Tchaikovsky: The Nutcracker: Act II, No. 2: Scene - 0:44
17.   From the transverse to the vertical: the Baroque recorder - 0:40
18.   Telemann: Recorder Suite in A minor: Menuet II - 2:12
19.   An unfamiliar, early vision of the instrument - 0:23
20.   Baston: Naelden, Naelden - 1:09
21.   The Bachian oboe - 0:35
22.   Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die - 3:34
23.   Introduction to the cor anglais or 'English horn' - 0:41
24.   Dvorak: Symphony No. 9, "From the New World": II. Largo - 1:24
25.   The loneliness of the cor anglais - 0:11
26.   Sibelius: The Swan of Tuonela - 1:49
27.   The cor anglais joins the French horn in Haydn. - 0:17
28.   Haydn: Symphony No. 22, "The Philosopher": I. Adagio - 1:43
29.   Introduction to the oboe d'amore, beloved of Bach - but also of Ravel - 0:22
30.   Ravel: Bolero - 0:50
31.   Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap - 0:37
32.   Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II - 1:38
33.   As the high clarinets tend to be loud, so the bass tends to be soft - 0:18
34.   Khachaturian: Gayane Suite No. 1: V. Gayane's Solo - 0:54
35.   Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria - 1:44
36.   The range of the normal clarinet parts goes quite high... - 0:14
37.   Tchaikovsky: The Snow Maiden: Scene 5: Melodrama - 1:17
38.   ....and quite low. - 0:05
39.   Prokofiev: Peter and the Wolf: The Cat - 0:45
40.   The clarinet as concerto soloist - 0:19
41.   Mozart: Clarinet Concerto in A major: III. Rondo - 2:48
42.   But that's not the instrument Mozart wrote it for; this is: - 0:16
43.   Mozart: Clarinet Concerto in A major: III. Rondo - 2:47
44.   Introduction to the saxophone - 2:47
45.   Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon - 1:03
46.   The soprano saxophone has quite a different feel to it - 0:09
47.   Bizet: L'Arlesienne Suite No. 1: II. Minuet - 1:17
48.   The little sopranino sax goes even higher - 0:12
49.   Ravel: Bolero - 0:53
50.   The most famous use of the saxophone is in an orchestration by Ravel - 0:16
51.   Mussorgsky: Pictures at an exhibition: The Old Castle - 0:55
52.   The saxophone can be quite contagiously good-humoured. - 0:11
53.   Wiedoeft: Sax-o-phun - 0:22
54.   The puffa-puffa image of the bassoon - 0:25
55.   Prokofiev: Peter and the Wolf: Grandfather - 0:46
56.   The Bachian bassoon, in accompanimental mode - 0:20
57.   Bach: Weicher nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1 - 1:19
58.   Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala - 0:56
59.   And Ravel, also in Spanish mode, does likewise - 0:16
60.   Ravel: Bolero - 0:59
61.   The bassoon as a voice of high seriousness, indeed desolate loneliness - 0:15
62.   Bax: Symphony No. 3: I. Lento moderato - 1:03
63.   The eerie bassoon in its highest register - 0:15
64.   Stravinsky: The Rite of Spring: opening - 0:58
65.   Stravinsky now draws on its lowest register, lonely and melancholy. - 0:21
66.   Stravinsky: The Firebird Suite (1919): Berceuse - 1:01
67.   The bassoon as concerto soloist, avoiding all exaggeration - 0:14
68.   Molter: Bassoon Concerto in G minor: III. — - 2:02
69.   The deep-voiced contra-bassoon, as a fairy-tale beast - 0:28
70.   Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast - 1:30
71.   The French Horn under its woodwind hat - 0:25
72.   Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni - 1:42
73.   Now a more prominent role, in a woodwind quintet from an earlier era - 0:12
74.   Reicha: Wind Quintet in A minor, Op. 100, No. 5: II. Andante con variazioni - 1:32
75.   The horn in harmonious blend with strings in another quintet - 0:16
76.   Mozart: Horn Quintet in E flat major, K. 407: III. Rondeau - 3:55

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   The Trumpet as virtuoso soloist - 1:02
2.   Bach: Brandenburg Concerto No. 2: III. Allegro assai - 2:37
3.   The special brilliance of paired trumpets - 0:19
4.   Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro - 2:54
5.   The ceremonial trumpet - 0:36
6.   Copland: Fanfare for the Common Man - 1:25
7.   Trumpets and drums - an incomparable alliance - 0:34
8.   Handel: Messiah: The Trumpet Shall Sound - 4:10
9.   The versatility of the trumpet, from the most public to the most lonely - 0:38
10.   Gershwin: Piano Concerto in F: II. Andante con moto - Adagio - 1:14
11.   Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March - 2:05
12.   Bizet: Carmen Suite No. 2: II. Habanera - 0:55
13.   The trumpet as the voice of strength and courage - 0:13
14.   Bizet: Carmen Suite No. 2: IV. Toreador's Song - 2:20
15.   Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije - 1:14
16.   Copland: Billy the Kid - 1:16
17.   The trumpet as character actor - 0:31
18.   Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle - 2:25
19.   The trumpet as the voice of God - 0:15
20.   Bach: Mass in B minor: Et expecto - 4:35
21.   The birth of the trombone - 0:38
22.   Anonymous: Aenmerckt nu hier - 1:36
23.   The birth of the brass as a family - 1:24
24.   Gabrieli: Canzon a 12 in Double Echo - 3:18
25.   The trombone in the eighteenth century - 0:36
26.   Albrechtsberger: Trombone Concerto in B flat major: III. Finale - 3:06
27.   Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae - 2:18
28.   Liszt: Hosannah, S677/R409 - 1:20
29.   The trombones become part of the orchestra - 0:47
30.   Beethoven: Symphony No. 5: IV. Allegro - 2:46
31.   Wagner: Tannhauser: Overture - 1:04
32.   The Trombone as caricaturist - 0:13
33.   Stravinsky: Pulcinella: No. 19: Vivo - 1:37
34.   Bartok: Concerto for Orchestra: IV. Intermezzo interrotto - 1:46
35.   The horn and the hunt - 0:40
36.   Mozart: Horn Concerto No. 4 in E flat, K. 495: III. Rondo - 3:39
37.   The challenging horn of the Baroque - 0:42
38.   Rameau: Abaris ou les Boreades: II. Menuet - 1:20
39.   The scarcity of first-rate players in Handel's time - 0:24
40.   Handel: Water Music: Suite No. 1 in F major, HWV 348: Menuet - 1:57
41.   Stravinsky: The Firebird Suite (1919): Finale - 0:59
42.   Horns and the sound of nobility - 0:12
43.   Wagner: Tannhauser: Overture (opening) - 0:56
44.   The special sound of the horn in its higher register - 0:11
45.   Bach: Mass in B minor: Quoniam tu solus sanctus - 4:15
46.   The trumpet-like sound of massed horns - 0:21
47.   Mahler: Symphony No. 3: I. Kraftig (opening) - 0:38
48.   The tuba - unfairly maligned? - 0:49
49.   Prokofiev: Symphony No. 6: III. Vivace - 1:07
50.   The tuba perfectly cast by Ravel - 0:26
51.   Mussorgsky: Pictures at an Exhibition: Bydlo - 3:00

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   Introduction. And we begin with a bang. - 1:02
2.   Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening) - 1:03
3.   At the opposite extreme is the triangle. - 0:26
4.   Liszt: Piano Concerto No. 1 in E flat major: Scherzo - 1:21
5.   Categories of percussion: tuned and untuned. The side drum - 0:36
6.   Rossini: La gazza ladra (The Thieving Magpie): Overture (opening) - 0:52
7.   Nielsen: Clarinet Concerto (opening) - 1:08
8.   The tambourine. One of the oldest instruments in the world - 0:21
9.   Anonymous: Den hoboecken dans - 1:43
10.   Even older is the originally oriental gong. - 0:28
11.   Ravel: Ma Mere l'oye (Mother Goose): Laideronette - 1:00
12.   Britten: Peter Grimes: Passacaglia, Op. 33b - 1:00
13.   Satie: Gymnopedie No. 2 - 1:02
14.   Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes - 1:28
15.   Ravel: Piano Concerto in G major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5 - 1:05
16.   Wood blocks - 0:31
17.   Copland: Rodeo: IV. Hoe-Down - 0:44
18.   Glinka: Jota aragonesa - 1:09
19.   Monteverdi: Scherzi musicali: Damigella tutta bella - 1:50
20.   A still earlier example from fifteenth-century Spain - 0:30
21.   Traditional: Yo m'enamori d'un aire - 1:06
22.   The birth of the bongo - 0:33
23.   Bernstein: West Side Story (Symphonic Dances) - 1:39
24.   Verdi: II Trovatore: Act II: Anvil Chorus - 1:08
25.   Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana - 1:27
26.   Moncayo: Huapango - 1:20
27.   Onwards to the tuned percussion. First, the timpani - 0:14
28.   Strauss: Also sprach Zarathustra: Introduction - 1:48
29.   Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung - 0:29
30.   Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat - 0:37
31.   Taking advantage of tunability - 0:22
32.   Bartok: Music for Strings, Percussion and Celesta: II. Allegro - 2:25
33.   Shchedrin: Carmen Suite: IV. Changing of the Guard - 1:01
34.   Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera - 1:15
35.   Saint-Saens and the xylophone - 0:16
36.   Saint-Saens: The Carnival of the Animals: Fossils - 1:18
37.   Ravel and the xylophone - 0:11
38.   Ravel: Ma Mere l'oye (Mother Goose): Laideronette - 2:37
39.   Shchedrin: Carmen Suite: III. First Intermezzo - 0:38
40.   Introducing the vibraphone - 0:20
41.   Steiner: The Treasure of the Sierra Madre: Narange dolce - 1:25
42.   Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera - 0:57
43.   Introducing the Hungarian cimbalom - 0:23
44.   Traditional: Folk Dances - 3:00
45.   The cimbalom and the symphony orchestra - 0:10
46.   Kodaly: Hary Janos Suite : III. Song - 1:30
47.   Introducing the tubular bells - 0:17
48.   Kodaly: Hary Janos Suite: II. Viennese Musical Clock - 2:04
49.   A more "up-front" approach from Rodion Shchedrin - 0:06
50.   Shchedrin: Carmen Suite: I. Introduction - 1:08
51.   Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude - 0:38
52.   Introducing the celesta - 0:14
53.   Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy - 2:10
54.   Magic, in the use of collective percussion - 0:19
55.   Ravels: Miroirs: V. La vallee des cloches - 1:39
56.   Shchedrin: Carmen Suite: VI. Scene - 1:25
57.   Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1 - 1:16
58.   The traditionally subservient role of the harpsichord in the Baroque orchestra - 0:48
59.   Bach: Brandenburg Concerto No. 2: II. Andante - 3:11
60.   Saint-Saens: Symphony No. 3, "Organ": III. Allegro moderato - 1:28
61.   Stravinsky: Petrushka: Russian Dance - 1:28
62.   The anti-Romantic piano as an integral part of the orchestra - 0:23
63.   Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto - 5:06

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   Keyboard instruments in the orchestra - the most powerful of them all: - 0:18
2.   Saint-Saens: Symphony No. 3, "Organ": IV. Presto - 1:49
3.   But things in Handel's day were very different. - 0:15
4.   Handel: Organ Concerto in B flat major, Op. 4, No. 3: IV. Gavotte - 3:44
5.   The organ is difficult to classify. - 0:24
6.   An unexpected, organ-related guest - 0:14
7.   Boismortier: Concerto pour Zampogna: III. Allegro - 0:14
8.   Peasant-fancying… and a touch of the roaming cowboy - 0:40
9.   Schoenberg: Les Miserables: Drink with Me - 1:02
10.   Mozart: German Dance, K. 603, No. 3 - 1:16
11.   Mahler: Symphony No. 4: I. Bedachtig, nicht eilen - 0:47
12.   Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig - 0:53
13.   Anderson: The Typewriter / Satie: Parade - 2:46
14.   Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet - 2:35
15.   Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude - 1:42
16.   Strauss: Don Quixote: Variation VIII - 1:13
17.   Rodrigo: Concierto de Aranjuez: III. Allegro gentile - 0:56
18.   Seeger / Hays: Washington Breakdown - 0:19
19.   Steiner: The Treasure of the Sierra Madre: Packing Up - 0:18
20.   Prokofiev: Romeo and Juliet: Act II: No. 14 - 0:13
21.   Steiner: The Treasure of the Sierra Madre: EI Desayuno - 0:18
22.   The bongos and the congas and a whole wealth of other drums from Africa and Central America - 0:26
23.   Evening Raga: Bhapoli - 0:17
24.   Ferre: Paris cancaille - 0:20
25.   Karas: The Third Man: Theme - 0:25
26.   Traditional: Folk Dances - 0:21
27.   Albeniz: Rondena - 1:20
28.   Traditional: Svetit Mesiats - 1:02
29.   Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude - 1:27
30.   Debussy: Nocturnes: III. Sirenes - 4:15
31.   Instruments and the imitation of nature. The clarinet as cuckoo - 1:46
32.   Saint-Saens: The Carnival of the Animals: The Cuckoo - 1:46
33.   The flute as an all-purpose aviary - 0:14
34.   Saint-Saens: The Carnival of the Animals: The Aviary - 1:08
35.   The oboe as duck - 0:36
36.   Prokofiev: Peter and the Wolf: The Duck - 1:55
37.   The recording of reality. Does it work as well? - 0:12
38.   Respighi: The Pines of Rome: III. The Pines of the Janiculum - 1:17
39.   The recording of reality electronically reborn in new guises - 0:32
40.   Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy) - 1:12
41.   Beethoven turns avian: cuckoo, nightingale, and quail - 0:26
42.   Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach - 1:12
43.   Some importable casting: the violin as braying donkey - 0:33
44.   Saint-Saens: The Carnival of the Animals: Persons with Long Ears - 0:47
45.   A truly orchestral hee-haw to be reckoned with - 0:09
46.   Mendelssohn: A Midsummer Night's Dream: Overture - 0:29
47.   A thunderstorm in a million - 0:17
48.   Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm - 3:57
49.   The instrumental depiction of a silent world - 2:07
50.   Saint-Saens: The Carnival of the Animals: The Aquarium - 2:20
51.   Saint-Saens' menagerie takes a curtain call - 0:24
52.   Saint-Saens: The Carnival of the Animals: Finale - 2:09

Instruments of the Orchestra (more info)
Composed by: Jeremy Siepmann
Jeremy Siepmann, narrator


1.   The grouping of instrumental families. An additive approach. First, two violins. - 1:20
2.   Bartok: 44 Duos: IV. Midsummer Night Song - 0:47
3.   A greater contrast, of both pitch and character, violin and viola - 0:27
4.   Mozart: Duo for Violin and Viola in B flat major, K. 424: finale: variations 1 and 2 - 2:18
5.   Arrival at the standard string trio: violin, viola and cello - 0:12
6.   Schubert: String Trio in B flat major: III. Menuetto - 1:09
7.   The string quartet: two violins, viola and cello - 0:12
8.   Beethoven: String Quartet in F major, Op. 18, No. 1: III. Scherzo - 1:53
9.   The string quintet - when the extra instrument is a second viola - 0:30
10.   Mozart: String Quintet No. 5 in D major, K. 593: II. Adagio - 2:21
11.   The string quintet - when the extra instrument is a second cello - 0:19
12.   Schubert: String Quintet in C major: III. Scherzo - 2:12
13.   The string sextet: two violins, two violas, and two cellos - 0:16
14.   Brahms: String Sextet No. 1 in B flat major: II. Andante ma moderato - 1:27
15.   The string octet: the standard string quartet times two - 0:20
16.   Mendelssohn: Octet in E flat major, Op. 20: movement 1 - 2:16
17.   Double the string octet: a fully fledged string orchestra - 0:15
18.   Mendelssohn: String Symphony No. 2: III. Allegro vivace - 2:12
19.   The massed strings of a symphony orchestra - 0:37
20.   Vaughan Williams: Fantasia on a Theme of Thomas Tallis - 2:58
21.   Contrasts of pitch and instrumental 'colour' in the woodwind section - 0:44
22.   Reicha: Wind Quintet in A minor, Op. 100, No. 5: Theme - 1:10
23.   In the First Variation it's the horn that gets the lion's share - 0:05
24.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1 - 1:28
25.   In Variation Two the torch is handed to the bassoon - 0:07
26.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 2 - 1:08
27.   In Variation Three the oboe leads - 0:13
28.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 3 - 1:12
29.   Variation Four: conversation before returning to a solo-dominated texture - 0:07
30.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4 - 1:17
31.   And Variation Five is dominated by the clarinet - 0:04
32.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 5 - 1:12
33.   The next to be featured is the virtuoso flute. - 0:07
34.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 6 - 1:22
35.   Individual farewells and a closing chorus - 0:19
36.   Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 7 - 0:40
37.   A mixed group: clarinet, bassoon, horn, string quartet, and double-bass - 0:19
38.   Schubert: Octet in F major, D. 803: III. Trio - 2:01
39.   The early classical symphony orchestra of Haydn and Mozart - 0:34
40.   Mozart: Symphony No. 29 in A major, K. 201: IV. Allegro con spirito - 3:32
41.   Strings, wind, but no brass. What Haydn and Mozart never knew - 0:34
42.   Gabrieli: Canzon 28 - 1:39
43.   Beethoven's Fifth: two horns, two trumpets, and three trombones join the team - 0:58
44.   Beethoven: Symphony No. 5: IV. Allegro - 4:28
45.   From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler - 0:27
46.   Beethoven changed the face of the symphony and the orchestra forever. - 0:47
47.   Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig - 1:44
48.   The cult of orchestral elephantiasis reaches its peak - 1:04
49.   Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus - 1:43
50.   When large doesn't necessarily mean loud: Debussy - 1:10
51.   Debussy: Images: I. Gigues - 1:50
52.   A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The ondes martenot: - 2:41
53.   Messiaen: Turangalila Symphony: II. Chant d'amour I - 1:14
54.   The advent of the "early music" movement brings a new vitality and freshness - 0:57
55.   Lully: Ballet de Xerxes: Gavotte en rondeau - 0:47
56.   Computer and synthesiser: friends or foes? - 1:35
57.   Bach: Concerto in D minor for two violins: II. Largo ma non tanto - 2:13
58.   Bach: Mass in B minor: Dona nobis pacem - 3:24

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