Classics Explained: RAVEL - Bolero and Ma Mere l'oye (Smillie)

专辑歌曲列表

发行时间：2001-07-01

Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1 - Jeremy Siepmann
Bolero rhythm, Part 2: an extended variation of Part 1 - Jeremy Siepmann
' Motto ' rhythm complete - Jeremy Siepmann
But here we have snare drums and plucked violas and cellos - Jeremy Siepmann
Section 1: Introduction of ' the theme ' by solo flute - Jeremy Siepmann
Flute continues with Part 2 of theme - Jeremy Siepmann
Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group - Jeremy Siepmann
Introduction of ' discordant ' harp into the unfolding picture - Jeremy Siepmann
Section 3: Bassoon introduces closely related variant of theme - Jeremy Siepmann
...but then veers upwards, slowing rhythm and introducing new syncopation - Jeremy Siepmann
Section 4: ' Petite ' E flat clainet takes over theme, including variants - Jeremy Siepmann
Section 5: Oboe d'amore takes over theme but returns to its original form - Jeremy Siepmann
Section 6: Theme now shared by two instruments: uted trumpet and flute - Jeremy Siepmann
Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto ' - Jeremy Siepmann
Section 8: Theme taken by soprano saxphone, ' espressivo ' - Jeremy Siepmann
Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn - Jeremy Siepmann
Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins - Jeremy Siepmann
Section 11: Theme taken by First Trombone, complete with jazzy slides - Jeremy Siepmann
Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets - Jeremy Siepmann
Section 13: Violins at last take the main tune, joining massed winds - Jeremy Siepmann
Section 14: Violins divide into four groups, each ' double-stopping ' - Jeremy Siepmann
Section 15: Trumpet, trombone 2 and tuba join the foreground - Jeremy Siepmann
Section 16: First trombone and soprano saxophone ' rejoin ' theme - Jeremy Siepmann
Section 17: Fortissimo; all strings ' double-stopping '; trumpets added - Jeremy Siepmann
Section 18: Entire orchestra now employed, ' as loudly as possible ' - Jeremy Siepmann
Section 19: Sudden, amazing change of key, lurching from C to E Major - Jeremy Siepmann
Section 20: Key now lurches back to C, as jazzy trombones whiningly protest - Jeremy Siepmann
Cue to complete performance - Jeremy Siepmann
Bolero (complete) - Jeremy Siepmann
Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated - Jeremy Siepmann
Same again, with emphasis on delicacy of scoring - Jeremy Siepmann
answering variant, accompanied by plucked double basses - Jeremy Siepmann
Reminder of opening figure - Jeremy Siepmann
... and now its rhythmical mirror image, or almost... - Jeremy Siepmann
Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment - Jeremy Siepmann
Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2 - Jeremy Siepmann
Reprise of Phrases 1 and 2, but with new accompaniment - Jeremy Siepmann
Further Reprise of Phrase 2, now on violin, accompanied by harp - Jeremy Siepmann
Pavane (complete) - Jeremy Siepmann
Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins - Jeremy Siepmann
Change of metre continue as solo oboe introduces Theme One - Jeremy Siepmann
Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings - Jeremy Siepmann
Theme One returns, shared by clarinet and flute, muted horn added to accompaniment - Jeremy Siepmann
'Motto' rhythm dominates as intensity increases from lower strings to full orchestra - Jeremy Siepmann
Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key - Jeremy Siepmann
Sensational sound effects evoke a wood at night, with screeches, cuckooing etc. - Jeremy Siepmann
Texture thins; Theme one returns, delicately scored for strings and piccolo - Jeremy Siepmann
The main part of movement ends, with waltz-like march(!), featuring flute - Jeremy Siepmann
Petit Poucet (complete) - Jeremy Siepmann
Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One - Jeremy Siepmann
Oriental-orchestral equivalent of an imprial telephone bell - Jeremy Siepmann
... oboe ' answers ' with a very slightly varied version of Theme One - Jeremy Siepmann
Expanded derivative of the ' telephone bell ' interrupts the theme again - Jeremy Siepmann
Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins - Jeremy Siepmann
'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings - Jeremy Siepmann
arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong - Jeremy Siepmann
Laideronnette, Imperatrice des Pagodes (complete) - Jeremy Siepmann
Les entretiens de la Belle et de la Bete- opening - Jeremy Siepmann
Characteristic pattern of two short phrases answered by a long one - Jeremy Siepmann
Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif - Jeremy Siepmann
Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! ' - Jeremy Siepmann
Again the ' Beast ' growls; again the cautious warning ' Watch it ! ' from the winds - Jeremy Siepmann
Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings - Jeremy Siepmann
' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?) - Jeremy Siepmann

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