Classics Explained: DVORAK - Symphony No. 9, 'From the New World' - 由 Jeremy Siepmann 錄製

聆聽 Jeremy Siepmann 的「Classics Explained: DVORAK - Symphony No. 9, 'From the New World'」

Jeremy Siepmann

Classics Explained: DVORAK - Symphony No. 9, 'From the New World'

專輯 · Hörspiele · 2002

Apple Music Note

Jeremy Siepmann 的 Classics Explained: DVORAK - Symphony No. 9, 'From the New World' 曲目列表

聆聽 Jeremy Siepmann 的「A Quiet Beginning: Sorrow, Syncopation, and Sequence」

A Quiet Beginning: Sorrow, Syncopation, and Sequence

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Instrumental Colour As a Prime Element: Clarinets and Bassoons, an Outburst By the French Horn」

Instrumental Colour As a Prime Element: Clarinets and Bassoons, an Outburst By the French Horn

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Opening Tune Again, With Different Instrumental Colouring: Now Flutes and Oboes」

The Opening Tune Again, With Different Instrumental Colouring: Now Flutes and Oboes

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Clarinets」

The First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Clarinets

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance In Syncopation.」

Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance In Syncopation.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Horns, Violas, and Cellos Introduce a New Idea, Soon to Evolve Into the Main Theme.」

Horns, Violas, and Cellos Introduce a New Idea, Soon to Evolve Into the Main Theme.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Tiny Detail from the Opening Culminates In a Wild Drumming That Heralds a Major Event」

A Tiny Detail from the Opening Culminates In a Wild Drumming That Heralds a Major Event

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Introduction (Complete)」

Introduction (Complete)

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns.」

A Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons.」

The Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Long Crescendo, Tremolo Strings, Back to Tonic and Biggest Statement Yet of the Main Theme.」

Long Crescendo, Tremolo Strings, Back to Tonic and Biggest Statement Yet of the Main Theme.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Transition to the Secondary Theme Through the Use of Sequence. Sonata Form; Satability and Flux」

Transition to the Secondary Theme Through the Use of Sequence. Sonata Form; Satability and Flux

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Three-bar Groupings and Again the Use of Sequence, Spelling Out a Chord」

Three-bar Groupings and Again the Use of Sequence, Spelling Out a Chord

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Sequence Continues to Rise, and the Four-bar Phrase Returns As the Standard Unit.」

The Sequence Continues to Rise, and the Four-bar Phrase Returns As the Standard Unit.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact.」

The First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Violins Fall Silent; the Violas and Cellos Answer With a New Figure」

The Violins Fall Silent; the Violas and Cellos Answer With a New Figure

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「So Now We Have a Two-bar Group, Made Up of Statement and Answer.」

So Now We Have a Two-bar Group, Made Up of Statement and Answer.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Same Thing Again (Though Not Quite the Same)」

The Same Thing Again (Though Not Quite the Same)

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Transition Complete. the Secondary Theme Arrives, With French Horns As 'bagpipes'.」

Transition Complete. the Secondary Theme Arrives, With French Horns As 'bagpipes'.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The 'bagpipe Drone' Is Taken Over By Cellos, With Their Insistently Repeated G and D.」

The 'bagpipe Drone' Is Taken Over By Cellos, With Their Insistently Repeated G and D.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Tune Is Taken Up By Cellos and Double-basses, 'shadowed' By the Second Violins.」

The Tune Is Taken Up By Cellos and Double-basses, 'shadowed' By the Second Violins.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Violins Continue a Pattern of Steady Pairs, and the Cellos and Basses Introduce a New Idea.」

The Violins Continue a Pattern of Steady Pairs, and the Cellos and Basses Introduce a New Idea.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Unexpectedly, We Find Ourselves Back With the Secondary Theme. a New Idea Emerges.」

Unexpectedly, We Find Ourselves Back With the Secondary Theme. a New Idea Emerges.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Again We Hear the Shortened Version of the Secondary Theme」

Again We Hear the Shortened Version of the Secondary Theme

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Suspense Is Heightened As Everything Slows Down」

The Suspense Is Heightened As Everything Slows Down

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot'.」

This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot'.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Big Crescendo Leads to a Final Statement of the Closing Theme」

A Big Crescendo Leads to a Final Statement of the Closing Theme

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Development Section Begins With a Conversation Between Cellos, Double-bases, and Violins.」

The Development Section Begins With a Conversation Between Cellos, Double-bases, and Violins.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Beginning of the Closing Theme Is Taken Up In Turn By the Horn, Piccolo, and Trumpet.」

The Beginning of the Closing Theme Is Taken Up In Turn By the Horn, Piccolo, and Trumpet.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Sequential Chirping from the Oboes Based On the 'answering' Part of the Main Theme, Now In the Major」

Sequential Chirping from the Oboes Based On the 'answering' Part of the Main Theme, Now In the Major

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Much of the Development Comes from a Diminution of the Closing Theme from the Exposition.」

Much of the Development Comes from a Diminution of the Closing Theme from the Exposition.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Tiny Detail Becomes a Major Ingredient, Giving an Agitated Quality to an Originally Sunny Tune.」

A Tiny Detail Becomes a Major Ingredient, Giving an Agitated Quality to an Originally Sunny Tune.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them」

Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme from Massed Cellos and Double-basses, Topped By Two Trumpets Over Tremolo Violas」

The Main Theme from Massed Cellos and Double-basses, Topped By Two Trumpets Over Tremolo Violas

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「After That Major Climax, We Arrive At the Threshold of the Recapitulation」

After That Major Climax, We Arrive At the Threshold of the Recapitulation

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys.」

Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Tumultuous Convulsion of the Coda Brings the First Movement to Its Epic Close.」

The Tumultuous Convulsion of the Coda Brings the First Movement to Its Epic Close.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Humpty Dumpty: Putting the Bits Back Together Again」

Humpty Dumpty: Putting the Bits Back Together Again

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「First Movement (Complete)」

First Movement (Complete)

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Very Opening Chords Unmistakably Herald the Arrival of Something Special.」

The Very Opening Chords Unmistakably Herald the Arrival of Something Special.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Role of Instrumentation In Setting the Scene...」

The Role of Instrumentation In Setting the Scene...

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「...and In Enhancing the Quality of One of the Most Famous Tunes In Symphonic History.」

...and In Enhancing the Quality of One of the Most Famous Tunes In Symphonic History.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Cor Anglais Is Joined By the Clarinet, Creating a Fascinating Change In the Timbre.」

The Cor Anglais Is Joined By the Clarinet, Creating a Fascinating Change In the Timbre.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「For the Closing Part of the Tune, There Is Another New Sonority: Cor Anglais Plus Bassoon.」

For the Closing Part of the Tune, There Is Another New Sonority: Cor Anglais Plus Bassoon.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Closing Bar Is Repeated By Clarinets and Bassoons, the Horn Adding a New Touch」

The Closing Bar Is Repeated By Clarinets and Bassoons, the Horn Adding a New Touch

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Back to the Start to Hear the Whole of the Story So Far, This Time Without Commentary」

Back to the Start to Hear the Whole of the Story So Far, This Time Without Commentary

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Change of Scoring: The Slow Opening Chords Return, This Time Played By the Winds Alone.」

A Change of Scoring: The Slow Opening Chords Return, This Time Played By the Winds Alone.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Changes In Scoring Are Just Beginning.」

The Changes In Scoring Are Just Beginning.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings.」

The Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Memorable Combination of Continuous, Asymmetrical Melody With Steady, March-like Counterpoint.」

A Memorable Combination of Continuous, Asymmetrical Melody With Steady, March-like Counterpoint.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Back In That Woodland Glade, the Light and Shadows Have Changed, Revealing New Shapes and Patterns.」

Back In That Woodland Glade, the Light and Shadows Have Changed, Revealing New Shapes and Patterns.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Next Section Is New and Forward-looking, Yet Also a Kind of Dream-recollection of a Past Scene.」

The Next Section Is New and Forward-looking, Yet Also a Kind of Dream-recollection of a Past Scene.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「An Abrupt Change of Mood, Much Discussion and Embellishment, and a Hushed Note of Expectancy」

An Abrupt Change of Mood, Much Discussion and Embellishment, and a Hushed Note of Expectancy

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Subjectivity and Expertise; Sourek and Tovey Disagree; Onwards, Into the Final Section」

Subjectivity and Expertise; Sourek and Tovey Disagree; Onwards, Into the Final Section

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Cue to Whole Movement」

Cue to Whole Movement

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Second Movement (Complete)」

Second Movement (Complete)

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Dvorak, Beethoven, and the Scherzo. Dvorak Purposely Confuses the Listener's Expectations.」

Dvorak, Beethoven, and the Scherzo. Dvorak Purposely Confuses the Listener's Expectations.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Using a Little Fanfare, Dvorak Further Builds Up Expectation Before Revealing the Main Theme.」

Using a Little Fanfare, Dvorak Further Builds Up Expectation Before Revealing the Main Theme.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「When the Theme Is Revealed, We Find That It Is Not Exactly a Tune.」

When the Theme Is Revealed, We Find That It Is Not Exactly a Tune.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Two Little Bursts of Rhythm Provide the Seeds from Which Much of the Movement Grows.」

Two Little Bursts of Rhythm Provide the Seeds from Which Much of the Movement Grows.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「It Is the Second Half of the Theme That Dominates.」

It Is the Second Half of the Theme That Dominates.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Back to the Beginning to Hear the Whole of This Opening Section」

Back to the Beginning to Hear the Whole of This Opening Section

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Without Ever Being Remotely 'academic' or 'intellectual', There Is Much Counterpoint Going On Here.」

Without Ever Being Remotely 'academic' or 'intellectual', There Is Much Counterpoint Going On Here.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Dvorak's Very Czech Love of Combining Conflicting Rhythms, Sometimes Metres」

Dvorak's Very Czech Love of Combining Conflicting Rhythms, Sometimes Metres

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Clearly Transitional Passage, Obsessed With the Rhythmic Tag That Both Opens and Closes the Theme」

A Clearly Transitional Passage, Obsessed With the Rhythmic Tag That Both Opens and Closes the Theme

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Sooner Than We May Have Expected, We Seem to Have Arrived At the Trio Section.」

Sooner Than We May Have Expected, We Seem to Have Arrived At the Trio Section.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A New Kind of Tone Quality Sheds a Subtly Different Light On the Theme.」

A New Kind of Tone Quality Sheds a Subtly Different Light On the Theme.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Flutes and Oboes Now Chime In With an Answering Variant of the Opening...」

The Flutes and Oboes Now Chime In With an Answering Variant of the Opening...

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「...and the Cellos and Bassoons Take Up the Original Version of the Theme.」

...and the Cellos and Bassoons Take Up the Original Version of the Theme.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A False Alarm: It Was Not the Traditional Trio Section At All, But Rather Part 2 of Scherzo Proper」

A False Alarm: It Was Not the Traditional Trio Section At All, But Rather Part 2 of Scherzo Proper

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Soon, After a Very Rapid Build, the Scherzo Proper Does Reach Its Final Phase.」

Soon, After a Very Rapid Build, the Scherzo Proper Does Reach Its Final Phase.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Orchestral Texture Thins Dramatically, and We Approach What This Time Really Is the Trio Section.」

The Orchestral Texture Thins Dramatically, and We Approach What This Time Really Is the Trio Section.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Trio Section Is Reminiscent More of the 'Old World' Than the 'New'.」

The Trio Section Is Reminiscent More of the 'Old World' Than the 'New'.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「In the Second Half of the Trio, a New Tune Emerges, a Kind of Slavonic Waltz.」

In the Second Half of the Trio, a New Tune Emerges, a Kind of Slavonic Waltz.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme of the Trio Returns Against a Much Fuller Orchestral Background.」

The Main Theme of the Trio Returns Against a Much Fuller Orchestral Background.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Then It Is All a Matter of Repeats, Until We Reach the Coda, Which Ends With an Explosive Bang.」

Then It Is All a Matter of Repeats, Until We Reach the Coda, Which Ends With an Explosive Bang.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Third Movement (Complete)」

Third Movement (Complete)

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Like the First Movement, the Fourth Begins Not With Its Main Theme But With an Introduction.」

Like the First Movement, the Fourth Begins Not With Its Main Theme But With an Introduction.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme: An Imposing March, Introduced By Trumpets and Trombones, With Timpani」

The Main Theme: An Imposing March, Introduced By Trumpets and Trombones, With Timpani

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme, Part Two. a Codetta-like Passage Closes Off the March」

The Main Theme, Part Two. a Codetta-like Passage Closes Off the March

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The 'transitional' Theme, While Outwardly Contrasting, Is Actually a Hidden Variant of the March.」

The 'transitional' Theme, While Outwardly Contrasting, Is Actually a Hidden Variant of the March.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Point of Future Obsession」

A Point of Future Obsession

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Second Half of This 'transitional' Theme Is Given to the Winds the Strings Have Finished.」

The Second Half of This 'transitional' Theme Is Given to the Winds the Strings Have Finished.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The 'obsession' Takes Root, With a Ten-fold Repetition, Before the Arrival of the Second Subject.」

The 'obsession' Takes Root, With a Ten-fold Repetition, Before the Arrival of the Second Subject.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Hidden Traps In Sonata-form Terminology: 'second Main Theme' Vx. 'second Subject'」

The Hidden Traps In Sonata-form Terminology: 'second Main Theme' Vx. 'second Subject'

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Unexpected Entry and Subsequent Ubiquity of 'Three Blind Mice'」

The Unexpected Entry and Subsequent Ubiquity of 'Three Blind Mice'

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「We Meet the Mice Again, Now In the Cellos and Double-basses, Where They Persistently Refuse to Run.」

We Meet the Mice Again, Now In the Cellos and Double-basses, Where They Persistently Refuse to Run.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「More 'Three Blind Mice' Material」

More 'Three Blind Mice' Material

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Mice Return to the Basement, Where the Bassoons Have Joined the Cellos and Double-basses.」

The Mice Return to the Basement, Where the Bassoons Have Joined the Cellos and Double-basses.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Next, They Are Back With the Clarinets Who Pass Them Back to the Cellos」

Next, They Are Back With the Clarinets Who Pass Them Back to the Cellos

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Now They Return to the High Winds, Delicately Trilling.」

Now They Return to the High Winds, Delicately Trilling.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Relief, At Last: The Mice Back Off, Making Way for a Remainder of the Main Theme from the Trumpets.」

Relief, At Last: The Mice Back Off, Making Way for a Remainder of the Main Theme from the Trumpets.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Mice Yield to Woodpeckers; the Main Theme Is Now Doubled In Speed」

The Mice Yield to Woodpeckers; the Main Theme Is Now Doubled In Speed

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Triplets of the 'transitional' Theme Are Now Handed Down Through Strings」

The Triplets of the 'transitional' Theme Are Now Handed Down Through Strings

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Reminders of Past Movements Begin to Fly By, Thick and Fast, Sometimes Very Fast.」

Reminders of Past Movements Begin to Fly By, Thick and Fast, Sometimes Very Fast.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「In Fact There Are Three Bits of Quotation Going On Here Simultaneously.」

In Fact There Are Three Bits of Quotation Going On Here Simultaneously.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Violas React Every Time the 'Goin' Home' Theme Is Quoted By the Winds.」

The Violas React Every Time the 'Goin' Home' Theme Is Quoted By the Winds.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Rhythm of the Opening of the 'Goin' Home' Theme Dominates, Transformed By Trumpets」

The Rhythm of the Opening of the 'Goin' Home' Theme Dominates, Transformed By Trumpets

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The March Theme Reappears As a Mendelssohnian Fairy; the Main Theme from the 1st Mov. Now Returns.」

The March Theme Reappears As a Mendelssohnian Fairy; the Main Theme from the 1st Mov. Now Returns.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「We Reach an Interesting Point: Have We Heard the Beginning of the Recapitulation, or Not?」

We Reach an Interesting Point: Have We Heard the Beginning of the Recapitulation, or Not?

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Perhaps This Is It? Back for a Reminder of the Theme Proper, As We First Heard It」

Perhaps This Is It? Back for a Reminder of the Theme Proper, As We First Heard It

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Tovey Places the Start of the Recapitulation Here.」

Tovey Places the Start of the Recapitulation Here.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme Recast In Pathetic Rather Than Heroic Terms - and With Magical Scoring」

The Main Theme Recast In Pathetic Rather Than Heroic Terms - and With Magical Scoring

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「This Unexpected Crisis In Confidence Plays a Major Role In the Overall Dramatic Impact of the Mov.」

This Unexpected Crisis In Confidence Plays a Major Role In the Overall Dramatic Impact of the Mov.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Main Theme Returns - Not Complete, But Chopped Up Into Shorter and Shorter Fragments.」

The Main Theme Returns - Not Complete, But Chopped Up Into Shorter and Shorter Fragments.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「A Glorious Thematic Stew; High Drama, a Powerful Build-up... But Then?」

A Glorious Thematic Stew; High Drama, a Powerful Build-up... But Then?

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Dramatic Highpoint of the Mov., an Astonishing Transformation, But First, Back to the Original」

The Dramatic Highpoint of the Mov., an Astonishing Transformation, But First, Back to the Original

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「The Same Chords Again, This Time Blasted Out By the Entire Wind and Brass Sections」

The Same Chords Again, This Time Blasted Out By the Entire Wind and Brass Sections

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Now We Are Into the Finishing Stretch, But the Surprises Continue to the Very End of the Very End.」

Now We Are Into the Finishing Stretch, But the Surprises Continue to the Very End of the Very End.

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Summary, Context, and Cue Into the Whole Movement」

Summary, Context, and Cue Into the Whole Movement

Jeremy Siepmann

聆聽 Jeremy Siepmann 的「Fourth Movement (Complete)」

Fourth Movement (Complete)

Jeremy Siepmann

更多 Jeremy Siepmann 專輯

聆聽 Jeremy Siepmann 的「Classics Explained: Stravinsky - The Rite of Spring」

ALBUMClassics Explained: Stravinsky - The Rite of SpringJeremy Siepmann

聆聽 Jeremy Siepmann 的「Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L'oye」

ALBUMClassics Explained: An Introduction To...Ravel: Bolero & Ma Mere L'oyeJeremy Siepmann

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