The Instruments of the Orchestra

Tracks:

Disc 1
- 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
Disc 2
- 1: Introduction To The Viola
- 2: Viola Concerto (Mvt 1)
- 3: Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- 4: Gayane Suite No.1 (Armen's Solo)
- 5: Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- 6: Passacaglia, Op.33b From 'Peter Grimes'
- 7: 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.
- 8: Harold In Italy (Mvt 4)
- 9: The Muted Viola: Intimate, Gentle, Poignant In Dvork
- 10: Cypresses (No.9)
- 11: The Massed Violas Of The Modern Symphony Orchestra In Mahler
- 12: Symphony No.4 (Mvt 3)
- 13: The 'Period' Viola In Bach
- 14: Brandenburg Concerto No.6 (Last Mvt)
- 15: The Cello: A Voice Of Unique Nobility
- 16: Suite No.1 For Unaccompanied Cello (Prelude)
- 17: Brahms And The 'Soul' Of The Cello
- 18: Piano Concerto No.2 In B Flat Major (Mvt 3)
- 19: Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- 20: Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- 21: In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- 22: Symphony No.3 'Eroica' (Finale)
- 23: But The Cello Is Not Condemned To Spend Its Life In The Basement.
- 24: Elfentanz, Op.39
- 25: Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- 26: The Protecting Veil (Opening)
- 27: A Cello With An Identity-Crisis: The Pizzicato Flamencan
- 28: Flamenco
- 29: Double-Stopping In The Lower Reaches Of The Cello's Range
- 30: Solo Suiet For Cello And Piano (Sardana)
- 31: It's In The Middle Register That The Cello Really Comes Into Its Own.
- 32: Oriental Dance, Op.2 No.2
- 33: 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.
- 34: Symphony No.9 (Finale)
- 35: Introduction To The Double-Bass
- 36: The Carnival Of The Animals (The Elephant)
- 37: But The Double-Bass Can Be Intensely Expressive And Graceful.
- 38: Elegy No.1 In D Major
- 39: 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.
- 40: Capriccio Di Bravura
- 41: 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)
- 42: 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....
- 43: Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Disc 3
- 1: The Antiquity And Magic Of The Flute
- 2: Prelude A L'Apres-Midi D'Un Faune
- 3: The Versatility And Agility Of The Flute
- 4: Orchestral Suite No.2 In B Minor (Badinerie)
- 5: The Flute In Fifteenth-Century Spain
- 6: Sa'Dawi
- 7: Other Flutes: The Bass And Alto
- 8: Chamber Music No.II
- 9: The Piccolo - Aptly Named
- 10: La Naissance D'Osiris (Mvt 6)
- 11: From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- 12: Suite No.1 For Small Orchestra (Valse)
- 13: A Variety Of Techniques
- 14: Chamber Music No.II
- 15: Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- 16: The Nutcracker (Act II, No.2: Scene)
- 17: From The Transverse To The Vertical: The Baroque Recorder
- 18: Recorded Suite In A Minor (Menuet II)
- 19: An Unfamiliar, Early Vision Of The Instrument
- 20: Naelden, Naelden
- 21: The Bachian Oboe
- 22: Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- 23: Introduction To The Cor Anglais Or 'English Born'
- 24: Symphony No.9 'From The New World' (Mvt 2)
- 25: The Loneliness Of The Cor Anglais
- 26: The Swan Of Tuonela
- 27: The Cor Anglais Joins The French Horn In Haydn.
- 28: Symphony No.22 'The Philosopher' (Opening)
- 29: Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- 30: Bolero
- 31: The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- 32: Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- 33: As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- 34: Gayane Suite No. 1 (Mvt 5)
- 35: The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- 36: The Range Of The Normal Clarinet Parts Goes Quite High...
- 37: The Snow Maiden (Scene 5: Melodrama)
- 38: ...And Quite Low.
- 39: Peter And The Wolf (The Cat)
- 40: The Clarinet As Concerto Soloist
- 41: Clarinet Concerto In A Major (Rondo)
- 42: But That's Not The Instrument Mozart Wrote It For; This Is:
- 43: Clarinet Concerto In A Major (Rondo)
- 44: Introduction To The Saxophone
- 45: Hary Janos Suite (Mvt 4)
- 46: The Soprano Saxophone Has Quite A Different Feel To It.
- 47: L'Arlesienne Suite No.1 (Minuet)
- 48: The Little Sopranino Sax Goes Even Higher.
- 49: Bolero
- 50: The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- 51: Pictures At An Exhibition (The Old Castle)
- 52: The Saxophone Can Be Quite Contagiously Good-Humoured.
- 53: Sax-O-Phun
- 54: The Puffa-Puffa Image Of The Bassoon
- 55: Peter And The Wolf (Grandfather)
- 56: The Bachian Bassoon, In Accompanimental Mode
- 57: Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- 58: Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- 59: And Ravel, Also In Spanish Mode, Does Likewise.
- 60: Bolero
- 61: The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- 62: Symphony No.3 (Opening)
- 63: The Eerie Bassoon In Its Highest Register
- 64: The Rite Of Spring (Opening)
- 65: Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- 66: The Firebird Suite (1919, Berceuse)
- 67: The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- 68: Bassoon Concerto In G Minor (Finale)
- 69: The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- 70: Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- 71: The French Horn Under Its Woodwind Hat
- 72: Wind Quintet, Op.43 (Last Mvt)
- 73: Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- 74: Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- 75: The Horn In Harmonious Blend With Strings In Another Quintet
- 76: Horn Quintet, K.407 (Finale)
Disc 4
- 1: The Trumpet As Virtuoso Soloist
- 2: Brandenburg Concerto No.2 (Last Mvt)
- 3: The Special Brillance Of Paired Trumpets
- 4: Concerto In C For Two Trumpets, RV537 (Mvt 1)
- 5: The Ceremonial Trumpet
- 6: Fanfare For The Common Man
- 7: Trumpets And Drums - An Incomparable Alliance
- 8: Messiah (The Trumpet Shall Sound)
- 9: The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- 10: Piano Concerto In F (Slow Mvt)
- 11: The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- 12: Carmen Suite No.2 (Habanera)
- 13: The Trumpet As The Voice Of Strength And Courage
- 14: Carmet Suite No.2 (Toreador's Song)
- 15: The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- 16: Billy The Kid
- 17: The Trumpet As Character Actor
- 18: Pictures At An Exhibition (No.6)
- 19: The Trumpet As The Voice Of God
- 20: Mass In B Minor ('Et Exspecto')
- 21: The Birth Of The Trombone
- 22: Aenmerckt Nu Hier
- 23: The Birth Of The Brass As A Family
- 24: Canzon 12 In Double Echo
- 25: The Trombone In The Eighteenth Century
- 26: Trombone Concerto In B Flat Major (Finale)
- 27: The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- 28: Hosannah
- 29: The Trombones Become Part Of The Orchestra.
- 30: Symphony No.5 (Finale)
- 31: The Wagnerian Trombone:/Overture To 'Tannhauser'
- 32: The Trombone As Caricaturist
- 33: Pulcinella (No.19: Vivo)
- 34: The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- 35: The Horn And The Hunt
- 36: Horn Concerto No.4 In E Flat, K.495 (Finale)
- 37: The Challenging Horn Of The Baroque
- 38: Abaris Ou Les Boreades (Menuet)
- 39: The Scarcity Of First-Rate Players In Handel's Time
- 40: Walter Music (Minuet 1)
- 41: The Horn As Magician/The Firebird Suite (1919, Finale)
- 42: Horns And The Sound Of Nobility
- 43: Overture To 'Tannhauser' (Opening)
- 44: The Special Sound Of The Horn In Its Higher Register
- 45: Mass In B Minor ('Quoniam Tu Solus Sanctus')
- 46: The Trumpet-Like Sound Of Massed Horns
- 47: Symphony No.3 (Mvt 1, Opening)
- 48: The Tuba - Unfairly Maligned?
- 49: Symphony No.6 (Mvt 3)
- 50: The Tuba Perfectly Cast By Ravel
- 51: Pictures At An Exhibition (Bydlo)
Disc 5
- 1: Introduction. And We Begin With A Bang.
- 2: Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- 3: At The Opposite Extreme Is The Triangle.
- 4: Piano Concerto No.1 In E Flat (Scherzo)
- 5: Categories Of Percussion: Tuned And Untuned. The Side Drum
- 6: Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- 7: The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- 8: The Tambourine. One Of The Oldest Instruments In The World
- 9: Den Hoboecken Dans
- 10: Even Older Is The Originally Oriental Gong.
- 11: Ma Mere L'Oye - Mother Goose (Laideronette)
- 12: No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- 13: Gymnopedie No.2
- 14: The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- 15: Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- 16: More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- 17: Rodeo (Hoe-Down)
- 18: Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- 19: Scherzi Musicali (Damigella Tutta Belle)
- 20: A Still Earlier Example From Fifteenth-Century Spain
- 21: Yo M'Enamori D'Un Aire
- 22: The Birth Of The Bongo
- 23: Symphonic Dances From 'West Side Story'
- 24: From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- 25: Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- 26: From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- 27: Onwards To The Tuned Percussion. First, The Timpani
- 28: Also Sprach Zarathustra (Introduction)
- 29: But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- 30: Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- 31: Taking Advantage Of Tunability
- 32: Music For Strings, Percussion And Celeste (Mvt 2)
- 33: The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- 34: Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- 35: Saint-Saens And The Xylophone
- 36: The Carnival Of The Animals (Fossils)
- 37: Ravel And The Xylophone
- 38: Ma Mere L'Oye - Mother Goose (Laideronette)
- 39: Introducing The Marimba/Carmen Suite (First Intermezzo)
- 40: Introducing The Vibraphone
- 41: The Treasure Of The Sierra Madre (Narange Dolce)
- 42: The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- 43: Introducing The Hungarian Cimbalom
- 44: Folk Dances
- 45: The Cimbalom And The Symphony Orchestra
- 46: Hary Janos Suite (Mvt 3)
- 47: Introducing The Tubular Bells
- 48: Hary Janos Suite (Viennese Musical Clock)
- 49: A More 'Up-Front' Approach From Rodion Shchedrin
- 50: Carmen Suite (Introduction)
- 51: But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- 52: Introducing The Celeste
- 53: The Nutcracker (Dance Of The Sugar Plum Fairy)
- 54: Magic, In The Use Of Collective Percussion
- 55: Miroirs (La Vallee Des Cloches)
- 56: Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- 57: A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- 58: The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- 59: Brandenburg Concerto No.2 (Slow Mvt)
- 60: The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- 61: Petrushka (Russian Dance)
- 62: The Anti-Romantic Piano As An Integral Part Of The Orchestra
- 63: Music For Strings, Percussion And Celeste (Last Mvt)
Disc 6
- 1: Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- 2: Symphony No.3 'Organ' (Finale)
- 3: But Things In Handel's Day Were Very Different.
- 4: Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- 5: The Organ Is Difficult To Classify.
- 6: An Unexpected, Organ-related Guest
- 7: Concerto Pour Zampogna (Last Mvt)
- 8: Peasant-Fancying... And A Touch Of The Roaming Cowboy
- 9: Les Miserables (Drink With Me)
- 10: Outside Artefacts And The Power Of Association
- 11: Mahler's Sleighbells
- 12: Symphony No.4 (Opening)
- 13: A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- 14: Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- 15: Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- 16: Don Quixote (Variation VIII)
- 17: National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- 18: And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- 19: And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- 20: The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- 21: The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- 22: The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- 23: The Sitar Of India/Evening Raga: Bhapoli
- 24: The Accordion For France (Especially Paris)/Paris Canaille
- 25: The Zither For Vienna/The Third Man (Theme)
- 26: The Cimbalom For Hungary/Folk Dances
- 27: The Guitar As An Integral Part Of The Orchestra/Rondena
- 28: There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- 29: The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- 30: Nocturnes
- 31: Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- 32: The Carnival Of The Animals (The Cuckoo)
- 33: The Flute As An All-purpose Aviary
- 34: The Carnival Of The Animals (The Aviary)
- 35: The Oboe As Duck
- 36: Peter And The Wolf (The Duck)
- 37: The Recording Of Reality. Does It Work As Well?
- 38: The Pines Of Rome (The Pines Of The Janiculum)
- 39: The Recording Of Reality Electronically Reborn In New Guises
- 40: Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- 41: Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- 42: Symphony No.6 'Pastoral' (Andante Molto Mosso)
- 43: Some Improbable Casting: The Violin As Braying Donkey
- 44: The Carnival Of The Animals (Persons With Long Ears)
- 45: A Truly Orchestral Hee-haw To Be Reckoned With
- 46: Overture To 'A Midsummer Night's Dream'
- 47: A Thunderstorm In A Million
- 48: Symphony No.6 'Pastoral (Allegro-Allegretto)
- 49: the Instrumental Depiction Of A Silent World
- 50: The Carnival Of The Animals (The Aquarium)
- 51: Saint-Saens' Menagerie Takes A Curtain Call.
- 52: The Carnival Of The Animals (Finale)
Disc 7
- 1: The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- 2: Forty-Four Duos (No.4)
- 3: A Great Contrast, Of Both Pitch And Character: Violin And Viola
- 4: Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- 5: Arrival Of The Standard String Trio: Violin, Viola, And Cello
- 6: String Trio In B Flat (Menuetto)
- 7: The String Quartet: Two Violins, Viola, And Cello
- 8: String Quartet In F, Op.18 No.1 (Mvt 3)
- 9: The String Quintet - When The Extra Instrument Is A Second Viola
- 10: String Quartet No.5 In D, K.593 (Adagio)
- 11: The String Quintet - When The Extra Instrument Is A Second Cello
- 12: String Quintet In C (Mvt 3)
- 13: The String Sextet: Two Violins, Two Violas, And Two Cellos
- 14: String Sextet In B Flat (Mvt 2)
- 15: The String Octet: The Standard String Quaret Times Two
- 16: Octet In E Flat, Op.20 (Mvt 1)
- 17: Double The String Octet: A Fully Fledged String Orchestra
- 18: String Symphony No.2 (Finale)
- 19: The Massed Strings Of A Symphony Orchestra
- 20: Fantasia On A Theme Of Thomas Tallis
- 21: Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- 22: Wind Quintet In A Minor, Op.100 No.5 (Theme)
- 23: In The First Variation It's The Horn That Gets The Lion's Share.
- 24: Wind Quintet In A Minor, Variation 1
- 25: In Variation Two The Torch Is Handed To The Bassoon.
- 26: Wind Quintet In A Minor, Variation 2
- 27: In Variation Three The Oboe Leads.
- 28: Wind Quintet In A Minor, Variation 3
- 29: Variation Four: Conversation Before Returning To A Solo-dominated Texture
- 30: Wind Quintet In A Minor, Variation 4
- 31: And Variation Five is Dominated By The Clarinet.
- 32: Wind Quintet In A Minor, Variation 5
- 33: The Next To Be Featured Is The Virtuoso Flute.
- 34: Wind Quintet In A Minor, Variation 6
- 35: Individual Farewells And A Closing Chorus
- 36: Wind Quintet In A Minor, Variation 7
- 37: A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- 38: Octet In F (Mvt 3)
- 39: The Early Classical Symphony Orchestra Of Haydn And Mozart
- 40: Symphony No.29 In A, K.201 (Finale)
- 41: Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- 42: Canzon 28
- 43: Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- 44: Symphony No.5 (Finale)
- 45: From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- 46: Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- 47: Symphoy No.6 'Tragic' (Mvt 1)
- 48: The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- 49: Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- 50: When Large Doesn't Necessarily Mean Loud: Debussy
- 51: Images (Gigues)
- 52: A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- 53: Turangalila Symphony (Chant D'amour 1)
- 54: The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- 55: Balle De Xerxes (Gavotte En Rondeau)
- 56: Computer And Synthesiser: Friends Or Foes?
- 57: Concerto In D Minor For Two Violins (Largo)
- 58: A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

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The Instruments of the Orchestra

Tracks:

Disc 1

Disc 2

Disc 3

Disc 4

Disc 5

Disc 6

Disc 7

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