Instruments Of The Orchestra / Various Instruments Of The Orchestra / Various CD

1. Overture to 'Tannhauser' 2. Domna, Pos Vos Ay Chausida 3. We Don't Merely Use Instruments, We Play on Them. And They Play on Us 4. Hungarian Dance No.7 5. The Violin Is One of the Most Tender and Beautiful Instruments Ever Invented 6. Violin Concerto in D Major (Adagio) 7. But for a Long Time It Was Seen As the Instrument of the Devil 8. The Soldier's Tale: Triumphal March of the Devil 9. The Manipulative Seductiveness of the Gypsy Violin 10. Csardas Music 11. The Violin and the Initiation of Nature 12. The Four Seasons (Spring, MVT 1) 13. Birds Are Again Evoked in the Second Concerto, Especially Music's Natural Favourite 14. The Four Seasons (Summer, MVT 1) 15. Like the Devil, the Violin Is a Master of Disguise 16. Old Viennese Dance No.3 'Schon Rosmarin' 17. The Menacing Sensuality of Ravel's Tzigane: A Very Different Side of the Violin: 18. Tzigane 19. Do We Now Have the True Measure of This Instrument? Not Just Yet 20. Caprice No.24 21. The Many Effects of the String Tremolando: Brandenburg Concerto No.4 (Last MVT)/From Joy to Fright/Quartettsatz in C Minor/The String Tremolo Practically Spells the World Agitato 22. Variations on a Theme of Frank Bridge (No.7) 23. Prokofiev's Tremolo in Romeo and Juliet Should Not Be Heard Just Before Bedtime 24. Romeo and Juliet: Act IV 25. Vivaldi Use It to Illustrate the Shivering of Travellers Crossing the Ice 26. The Four Seasons (Winter, MVT 1) 27. The Violin Muted 28. Clair de Lune 29. The Gentleness of Muted Strings Persists Even When a Whole Orchestra Plays 30. Piano Concerto No.21 in C Major, K.467 (Slow MVT) 31. The Pizzicato Violin 32. Pizzicato Polka 33. In Prokofiev's Second Violin Concerto, the Accompaniment Is Pizzicato 34. Violin Concerto No.2 in G Minor (Slow MVT) 35. Varieties of Pizzicato: Colas Breugnon (The People's Feast)/Now a Drier, Leaner, Hungrier Pizzicato. There's Not a Lot of Comfort Here./Capriol Suite (Tordion)/The Use of Pizzicato As 'Percussion'/Romeo and Juliet (Act I)/Mahler Used Pizzicato 36. The Planets (Mars - the Bringer of War) 37. The Technique of Double-Stopping Enables the Violin to Play Duets with Itself./Sonata No.3 in C Major for Unaccompanied Violin (Fugue)/Now a Later Example of the Same Technique 38. Hungarian Dance No.4 39. Double-Stopping Is a Standard Feature of a Lot of Folk Music 40. The Four Seasons (Autumn, MVT 1) 41. Now the Same Technique, But the Sound Might Have Come from Another World 42. Bolero 43. Double-Stopping Can Only Approximate the Sound of a Real Violin Duet 44. Cadenza to the Violin Concerto By Brahms 45. Now Compare That with a Real Violin Duet 46. Forty-Four Duos (No. 1: Teasing Song) 47. Another Duo By Bartok, Demonstrating the Violin's Rich Lower Register 48. Forty-Four Duos (No.2: Maypole Dance) 49. And Now What May Be the Most Beautiful Accompanied Violin Duet in History 50. Concerto in D Minor for Two Violins (Largo) 51. The Soul of the Violin Is in Song; But What About This Weird Passage? 52. Violin Concerto No.1 in D Major (MVT 2) 53. The Use of Harmonies in the Orchestra Can Be Both Magical and Unsettling 54. Symphony No.1 'Titan' (MVT 1, Opening) 55. Tchaikovsky's Use of Harmonics in the Sleeping Beauty Is Both Strange and Darling 56. The Sleeping Beauty (Act II, No.15: Entr'acte) 57. Ravel's Harmonics in Mother Goose Effect a Magical Transformation 58. Ma Mere L'oye - Mother Goose (Beauty and the Beast) 59. Stravinsky's Harmonics in the Firebird Transport Us Almost Into Another World./The Firebird (Introduction) 60. The Natural Upper Notes of the Violins Have a Unique Emotional 'Grab' 61. Also Sprach Zarathustra (Of the Afterworldsmen) 62. Still in Their Upper Register, the Violins Unleash the Energy of a Young Colt 63. Variations on a Theme of Frank Bridge (No. 4) 64. Elsewhere, Britten Uses the Same High Register to Create a Very Different Mood 65. Four Sea Interludes (Dawn) from 'Peter Grimes' 66. To End This Outing with the Violins, a Charming Little Elfin Dance 67. Elfenreigen 68. Introduction to the Viola 69. Viola Concerto (MVT 1) 70. Khatchaturian Gets a Very Different Sound from It: Fuller, Fruitier, More Exotic 71. Gayane Suite No.1 (Armen's Solo) 72. Very Nearly the Whole of the Violin's Upper Register Is Also Available to the Viola 73. Passacaglia, Op.33B from 'Peter Grimes' 74. The Viola Can Bring a Special, Rich Twanginess to Pizzicato That the Violins Lack./Don Quixote/Berlioz Drew Sounds from It That Retain Their Metallic Strangeness Even Today 75. Harold in Italy (MVT 4) 76. The Muted Viola: Intimate, Gentle, Poignant in Dvork 77. Cypresses (No.9) 78. The Massed Violas of the Modern Symphony Orchestra in Mahler 79. Symphony No.4 (MVT 3) 80. The 'Period' Viola in Bach 81. Brandenburg Concerto No.6 (Last MVT) 82. The Cello: A Voice of Unique Nobility 83. Suite No.1 for Unaccompanied Cello (Prelude) 84. Brahms and the 'Soul' of the Cello 85. Piano Concerto No.2 in B Flat Major (MVT 3) 86. Most Orchestral Composers Tend to Emphasize the Cello's Lower Register 87. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu) 88. In the Time of Beethoven the Cello Remained As Fundamental As Ever 89. Symphony No.3 'Eroica' (Finale) 90. But the Cello Is Not Condemned to Spend it's Life in the Basement 91. Elfentanz, Op.39 92. Not Only in Recital Showpieces Like That Is the Cello Is Used in It's Highest Register 93. The Protecting Veil (Opening) 94. A Cello with An Identity-Crisis: The Pizzicato Flamencan 95. Flamenco 96. Double-Stopping in the Lower Reaches of the Cello's Range 97. Solo Suiet for Cello and Piano (Sardana) 98. It's in the Middle Register That the Cello Really Comes Into It's Own 99. Oriental Dance, Op.2 No.2 100. It Was to the Cellos That Beethoven Gave Two of His Most Famous Themes./Symphony No.5 (MVT 2)/Still More Famous Than That Theme Is This One from the Ninth Symphony 101. Symphony No.9 (Finale) 102. Introduction to the Double-Bass 103. The Carnival of the Animals (The Elephant) 104. But the Double-Bass Can Be Intensely Expressive and Graceful 105. Elegy No.1 in D Major 106. The Range of the Double-Bass Is the Greatest of All the String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable of Very Considerable Virtuosity 107. Capriccio Di Bravura 108. Double-Bass Solos in Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (MVT 3)/In His Third Symphony Mahler Makes a Very Different Use of the Instrument./Symphony No.3 (MVT 1) 109. The Double-Bass Muted in Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses the Double-Bass to Enhance the Winds./Romeo and Juliet (Act III)/And He Combines the Bass Clarinet with a Shivering Tremolo from the Double-Basses 110. Symphony No.5 (MVT 3)/So Much for the Strings/On Now to the Winds 111. The Antiquity and Magic of the Flute 112. Prelude a L'apres-Midi D'un Faune 113. The Versatility and Agility of the Flute 114. Orchestral Suite No.2 in B Minor (Badinerie) 115. The Flute in Fifteenth-Century Spain 116. Sa'dawi 117. Other Flutes: The Bass and Alto 118. Chamber Music No. II 119. The Piccolo - Aptly Named 120. La Naissance D'osiris (MVT 6) 121. From a Piccolo of the Eighteenth Century to One of It's Descendants in the Twentieth 122. Suite No.1 for Small Orchestra (Valse) 123. A Variety of Techniques 124. Chamber Music No. II 125. Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before 126. The Nutcracker (Act II, No.2: Scene) 127. From the Transverse to the Vertical: The Baroque Recorder 128. Recorded Suite in a Minor (Menuet II) 129. An Unfamiliar, Early Vision of the Instrument 130. Naelden, Naelden 131. The Bachian Oboe 132. Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto) 133. Introduction to the Cor Anglais or 'English Born' 134. Symphony No.9 'From the New World' (MVT 2) 135. The Loneliness of the Cor Anglais 136. The Swan of Tuonela 137. The Cor Anglais Joins the French Horn in Haydn 138. Symphony No.22 'The Philosopher' (Opening) 139. Introduct