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

Listen to Classics Explained: DVORAK - Symphony No. 9, 'From the New World' by Jeremy Siepmann

Jeremy Siepmann

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

Album · Spoken Word · 2002

Apple Music Note

Tracklist for Classics Explained: DVORAK - Symphony No. 9, 'From the New World' by Jeremy Siepmann

Listen to A Quiet Beginning: Sorrow, Syncopation, and Sequence by Jeremy Siepmann

A Quiet Beginning: Sorrow, Syncopation, and Sequence

Jeremy Siepmann

Listen to Instrumental Colour As a Prime Element: Clarinets and Bassoons, an Outburst By the French Horn by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Opening Tune Again, With Different Instrumental Colouring: Now Flutes and Oboes by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The First Big Surprise: Strings, Shattering Drumbeats, Shrieks from Flutes, Oboes, and Clarinets by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Cellos and Basses Take Us Into a New Key While Flutes and Oboes Dance In Syncopation. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to A Tiny Detail from the Opening Culminates In a Wild Drumming That Heralds a Major Event by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Introduction (Complete) by Jeremy Siepmann

Introduction (Complete)

Jeremy Siepmann

Listen to A Solo Horn Introduces the Main Theme, Perkily Answered By Bassoons and Horns. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Theme Moves to G Major; Answering Phrase from Flutes, Oboes, Bassoons. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Three-bar Groupings and Again the Use of Sequence, Spelling Out a Chord by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to The First Violins Start Off the Next Phrase, But the Melodic Shape Is More Compact. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Violins Fall Silent; the Violas and Cellos Answer With a New Figure by Jeremy Siepmann

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

Jeremy Siepmann

Listen to So Now We Have a Two-bar Group, Made Up of Statement and Answer. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Same Thing Again (Though Not Quite the Same) by Jeremy Siepmann

The Same Thing Again (Though Not Quite the Same)

Jeremy Siepmann

Listen to Transition Complete. the Secondary Theme Arrives, With French Horns As 'bagpipes'. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The 'bagpipe Drone' Is Taken Over By Cellos, With Their Insistently Repeated G and D. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Tune Is Taken Up By Cellos and Double-basses, 'shadowed' By the Second Violins. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Violins Continue a Pattern of Steady Pairs, and the Cellos and Basses Introduce a New Idea. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Unexpectedly, We Find Ourselves Back With the Secondary Theme. a New Idea Emerges. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Again We Hear the Shortened Version of the Secondary Theme by Jeremy Siepmann

Again We Hear the Shortened Version of the Secondary Theme

Jeremy Siepmann

Listen to The Suspense Is Heightened As Everything Slows Down by Jeremy Siepmann

The Suspense Is Heightened As Everything Slows Down

Jeremy Siepmann

Listen to This Beautiful Flute Tune Is Said to Resemble 'Swing Low, Sweet Chariot'. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Big Crescendo Leads to a Final Statement of the Closing Theme by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Development Section Begins With a Conversation Between Cellos, Double-bases, and Violins. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Beginning of the Closing Theme Is Taken Up In Turn By the Horn, Piccolo, and Trumpet. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Sequential Chirping from the Oboes Based On the 'answering' Part of the Main Theme, Now In the Major by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Much of the Development Comes from a Diminution of the Closing Theme from the Exposition. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Through a Sequence of Keys So Quickly That It Is Hard to Keep Track of Them by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Main Theme from Massed Cellos and Double-basses, Topped By Two Trumpets Over Tremolo Violas by Jeremy Siepmann

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

Jeremy Siepmann

Listen to After That Major Climax, We Arrive At the Threshold of the Recapitulation by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Tumultuous Convulsion of the Coda Brings the First Movement to Its Epic Close. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Humpty Dumpty: Putting the Bits Back Together Again by Jeremy Siepmann

Humpty Dumpty: Putting the Bits Back Together Again

Jeremy Siepmann

Listen to First Movement (Complete) by Jeremy Siepmann

First Movement (Complete)

Jeremy Siepmann

Listen to The Very Opening Chords Unmistakably Herald the Arrival of Something Special. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Role of Instrumentation In Setting the Scene... by Jeremy Siepmann

The Role of Instrumentation In Setting the Scene...

Jeremy Siepmann

Listen to ...and In Enhancing the Quality of One of the Most Famous Tunes In Symphonic History. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Cor Anglais Is Joined By the Clarinet, Creating a Fascinating Change In the Timbre. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to For the Closing Part of the Tune, There Is Another New Sonority: Cor Anglais Plus Bassoon. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Closing Bar Is Repeated By Clarinets and Bassoons, the Horn Adding a New Touch by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Back to the Start to Hear the Whole of the Story So Far, This Time Without Commentary by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Change of Scoring: The Slow Opening Chords Return, This Time Played By the Winds Alone. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Changes In Scoring Are Just Beginning. by Jeremy Siepmann

The Changes In Scoring Are Just Beginning.

Jeremy Siepmann

Listen to The Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Memorable Combination of Continuous, Asymmetrical Melody With Steady, March-like Counterpoint. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Back In That Woodland Glade, the Light and Shadows Have Changed, Revealing New Shapes and Patterns. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to An Abrupt Change of Mood, Much Discussion and Embellishment, and a Hushed Note of Expectancy by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Subjectivity and Expertise; Sourek and Tovey Disagree; Onwards, Into the Final Section by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Cue to Whole Movement by Jeremy Siepmann

Cue to Whole Movement

Jeremy Siepmann

Listen to Second Movement (Complete) by Jeremy Siepmann

Second Movement (Complete)

Jeremy Siepmann

Listen to Dvorak, Beethoven, and the Scherzo. Dvorak Purposely Confuses the Listener's Expectations. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Using a Little Fanfare, Dvorak Further Builds Up Expectation Before Revealing the Main Theme. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to When the Theme Is Revealed, We Find That It Is Not Exactly a Tune. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Two Little Bursts of Rhythm Provide the Seeds from Which Much of the Movement Grows. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to It Is the Second Half of the Theme That Dominates. by Jeremy Siepmann

It Is the Second Half of the Theme That Dominates.

Jeremy Siepmann

Listen to Back to the Beginning to Hear the Whole of This Opening Section by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Without Ever Being Remotely 'academic' or 'intellectual', There Is Much Counterpoint Going On Here. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Dvorak's Very Czech Love of Combining Conflicting Rhythms, Sometimes Metres by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Clearly Transitional Passage, Obsessed With the Rhythmic Tag That Both Opens and Closes the Theme by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Sooner Than We May Have Expected, We Seem to Have Arrived At the Trio Section. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A New Kind of Tone Quality Sheds a Subtly Different Light On the Theme. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Flutes and Oboes Now Chime In With an Answering Variant of the Opening... by Jeremy Siepmann

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

Jeremy Siepmann

Listen to ...and the Cellos and Bassoons Take Up the Original Version of the Theme. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Soon, After a Very Rapid Build, the Scherzo Proper Does Reach Its Final Phase. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Orchestral Texture Thins Dramatically, and We Approach What This Time Really Is the Trio Section. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Trio Section Is Reminiscent More of the 'Old World' Than the 'New'. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to In the Second Half of the Trio, a New Tune Emerges, a Kind of Slavonic Waltz. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Main Theme of the Trio Returns Against a Much Fuller Orchestral Background. by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Third Movement (Complete) by Jeremy Siepmann

Third Movement (Complete)

Jeremy Siepmann

Listen to Like the First Movement, the Fourth Begins Not With Its Main Theme But With an Introduction. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Main Theme: An Imposing March, Introduced By Trumpets and Trombones, With Timpani by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Main Theme, Part Two. a Codetta-like Passage Closes Off the March by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The 'transitional' Theme, While Outwardly Contrasting, Is Actually a Hidden Variant of the March. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Point of Future Obsession by Jeremy Siepmann

A Point of Future Obsession

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to The 'obsession' Takes Root, With a Ten-fold Repetition, Before the Arrival of the Second Subject. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Hidden Traps In Sonata-form Terminology: 'second Main Theme' Vx. 'second Subject' by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Unexpected Entry and Subsequent Ubiquity of 'Three Blind Mice' by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to More 'Three Blind Mice' Material by Jeremy Siepmann

More 'Three Blind Mice' Material

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Next, They Are Back With the Clarinets Who Pass Them Back to the Cellos by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Now They Return to the High Winds, Delicately Trilling. by Jeremy Siepmann

Now They Return to the High Winds, Delicately Trilling.

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to The Mice Yield to Woodpeckers; the Main Theme Is Now Doubled In Speed by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Triplets of the 'transitional' Theme Are Now Handed Down Through Strings by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Reminders of Past Movements Begin to Fly By, Thick and Fast, Sometimes Very Fast. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to In Fact There Are Three Bits of Quotation Going On Here Simultaneously. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Violas React Every Time the 'Goin' Home' Theme Is Quoted By the Winds. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Rhythm of the Opening of the 'Goin' Home' Theme Dominates, Transformed By Trumpets by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The March Theme Reappears As a Mendelssohnian Fairy; the Main Theme from the 1st Mov. Now Returns. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to We Reach an Interesting Point: Have We Heard the Beginning of the Recapitulation, or Not? by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Perhaps This Is It? Back for a Reminder of the Theme Proper, As We First Heard It by Jeremy Siepmann

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

Jeremy Siepmann

Listen to Tovey Places the Start of the Recapitulation Here. by Jeremy Siepmann

Tovey Places the Start of the Recapitulation Here.

Jeremy Siepmann

Listen to The Main Theme Recast In Pathetic Rather Than Heroic Terms - and With Magical Scoring by Jeremy Siepmann

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

Jeremy Siepmann

Listen to This Unexpected Crisis In Confidence Plays a Major Role In the Overall Dramatic Impact of the Mov. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to The Main Theme Returns - Not Complete, But Chopped Up Into Shorter and Shorter Fragments. by Jeremy Siepmann

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

Jeremy Siepmann

Listen to A Glorious Thematic Stew; High Drama, a Powerful Build-up... But Then? by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to The Same Chords Again, This Time Blasted Out By the Entire Wind and Brass Sections by Jeremy Siepmann

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

Jeremy Siepmann

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

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

Jeremy Siepmann

Listen to Summary, Context, and Cue Into the Whole Movement by Jeremy Siepmann

Summary, Context, and Cue Into the Whole Movement

Jeremy Siepmann

Listen to Fourth Movement (Complete) by Jeremy Siepmann

Fourth Movement (Complete)

Jeremy Siepmann

More albums from Jeremy Siepmann

Listen to Classics Explained: Stravinsky - The Rite of Spring by Jeremy Siepmann

ALBUMClassics Explained: Stravinsky - The Rite of SpringJeremy Siepmann

Listen to Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L'oye by Jeremy Siepmann

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

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