Instruments Of The Orchestra Various (Box) (Music, Audio CD)

INSTRUMENTS OF THE ORCHESTRA VARIOUS

Instruments Of The Orchestra Various (Box)

Music

Audio CD

2002

[Disc 1] <br/> 1. Overture To 'Tannhauser' <br/> 2. Domna, Pos Vos Ay Chausida <br/> 3. We Don't Merely Use Instruments, We Play On Them. And They Play On Us. <br/> 4. Hungarian Dance No.7 <br/> 5. The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented. <br/> 6. Violin Concerto In D Major (Adagio) <br/> 7. But For A Long Time It Was Seen As The Instrument Of The Devil. <br/> 8. The Soldier's Tale: Triumphal March Of The Devil <br/> 9. The Manipulative Seductiveness Of The Gypsy Violin. <br/> 10. Csardas Music <br/> 11. The Violin And The Initiation Of Nature <br/> 12. The Four Seasons (Spring, Mvt 1) <br/> 13. Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite. <br/> 14. The Four Seasons (Summer, Mvt 1) <br/> 15. Like The Devil, The Violin Is A Master Of Disguise. <br/> 16. Old Viennese Dance No.3 'Schon Rosmarin' <br/> 17. The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin: <br/> 18. Tzigane <br/> 19. Do We Now Have The True Measure Of This Instrument? Not Just Yet. <br/> 20. Caprice No.24 <br/> 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. <br/> 22. Variations On A Theme Of Frank Bridge (No.7) <br/> 23. Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime. <br/> 24. Romeo And Juliet: Act IV <br/> 25. Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice. <br/> 26. The Four Seasons (Winter, Mvt 1) <br/> 27. The Violin Muted <br/> 28. Clair De Lune <br/> 29. The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays. <br/> 30. Piano Concerto No.21 In C Major, K.467 (Slow Mvt) <br/> 31. The Pizzicato Violin <br/> 32. Pizzicato Polka <br/> 33. In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato. <br/> 34. Violin Concerto No.2 In G Minor (Slow Mvt) <br/> 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... <br/> 36. The Planets (Mars - The Bringer Of War) <br/> 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 <br/> 38. Hungarian Dance No.4 <br/> 39. Double-Stopping Is A Standard Feature Of A Lot Of Folk Music. <br/> 40. The Four Seasons (Autumn, Mvt 1) <br/> 41. Now The Same Technique, But The Sound Might Have Come From Another World. <br/> 42. Bolero <br/> 43. Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet. <br/> 44. Cadenza To The Violin Concerto By Brahms <br/> 45. Now Compare That With A Real Violin Duet. <br/> 46. Forty-Four Duos (No. 1: Teasing Song) <br/> 47. Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register <br/> 48. Forty-Four Duos (No.2: Maypole Dance) <br/> 49. And Now What May Be The Most Beautiful Accompanied Violin Duet In History <br/> 50. Concerto In D Minor For Two Violins (Largo) <br/> 51. The Soul Of The Violin Is In Song; But What About This Weird Passage? <br/> 52. Violin Concerto No.1 In D Major (Mvt 2) <br/> 53. The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling. <br/> 54. Symphony No.1 'Titan' (Mvt 1, Opening) <br/> 55. Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling. <br/> 56. The Sleeping Beauty (Act II, No.15: Entr'Acte) <br/> 57. Ravel's Harmonics In Mother Goose Effect A Magical Transformation. <br/> 58. Ma Mere L'Oye - Mother Goose (Beauty And The Beast) <br/> 59. Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction) <br/> 60. The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'. <br/> 61. Also Sprach Zarathustra (Of The Afterworldsmen) <br/> 62. Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt. <br/> 63. Variations On A Theme Of Frank Bridge (No. 4) <br/> 64. Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood. <br/> 65. Four Sea Interludes (Dawn) From 'Peter Grimes' <br/> 66. To End This Outing With The Violins, A Charming Little Elfin Dance <br/> 67. Elfenreigen <br/> [Disc 2] <br/> 1. Introduction To The Viola <br/> 2. Viola Concerto (Mvt 1) <br/> 3. Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic. <br/> 4. Gayane Suite No.1 (Armen's Solo) <br/> 5. Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola. <br/> 6. Passacaglia, Op.33b From 'Peter Grimes' <br/> 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. <br/> 8. Harold In Italy (Mvt 4) <br/> 9. The Muted Viola: Intimate, Gentle, Poignant In Dvork <br/> 10. Cypresses (No.9) <br/> 11. The Massed Violas Of The Modern Symphony Orchestra In Mahler <br/> 12. Symphony No.4 (Mvt 3) <br/> 13. The 'Period' Viola In Bach <br/> 14. Brandenburg Concerto No.6 (Last Mvt) <br/> 15. The Cello: A Voice Of Unique Nobility <br/> 16. Suite No.1 For Unaccompanied Cello (Prelude) <br/> 17. Brahms And The 'Soul' Of The Cello <br/> 18. Piano Concerto No.2 In B Flat Major (Mvt 3) <br/> 19. Most Orchestral Composers Tend To Emphasize The Cello's Lower Register. <br/> 20. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu) <br/> 21. In The Time Of Beethoven The Cello Remained As Fundamental As Ever. <br/> 22. Symphony No.3 'Eroica' (Finale) <br/> 23. But The Cello Is Not Condemned To Spend Its Life In The Basement. <br/> 24. Elfentanz, Op.39 <br/> 25. Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register. <br/> 26. The Protecting Veil (Opening) <br/> 27. A Cello With An Identity-Crisis: The Pizzicato Flamencan <br/> 28. Flamenco <br/> 29. Double-Stopping In The Lower Reaches Of The Cello's Range <br/> 30. Solo Suiet For Cello And Piano (Sardana) <br/> 31. It's In The Middle Register That The Cello Really Comes Into Its Own. <br/> 32. Oriental Dance, Op.2 No.2 <br/> 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. <br/> 34. Symphony No.9 (Finale) <br/> 35. Introduction To The Double-Bass <br/> 36. The Carnival Of The Animals (The Elephant) <br/> 37. But The Double-Bass Can Be Intensely Expressive And Graceful. <br/> 38. Elegy No.1 In D Major <br/> 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. <br/> 40. Capriccio Di Bravura <br/> 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) <br/> 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.... <br/> 43. Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds <br/> [Disc 3] <br/> 1. The Antiquity And Magic Of The Flute <br/> 2. Prelude A L'Apres-Midi D'Un Faune <br/> 3. The Versatility And Agility Of The Flute <br/> 4. Orchestral Suite No.2 In B Minor (Badinerie) <br/> 5. The Flute In Fifteenth-Century Spain <br/> 6. Sa'Dawi <br/> 7. Other Flutes: The Bass And Alto <br/> 8. Chamber Music No.II <br/> 9. The Piccolo - Aptly Named <br/> 10. La Naissance D'Osiris (Mvt 6) <br/> 11. From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth <br/> 12. Suite No.1 For Small Orchestra (Valse) <br/> 13. A Variety Of Techniques <br/> 14. Chamber Music No.II <br/> 15. Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before. <br/> 16. The Nutcracker (Act II, No.2: Scene) <br/> 17. From The Transverse To The Vertical: The Baroque Recorder <br/> 18. Recorded Suite In A Minor (Menuet II) <br/> 19. An Unfamiliar, Early Vision Of The Instrument <br/> 20. Naelden, Naelden <br/> 21. The Bachian Oboe <br/> 22. Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto) <br/> 23. Introduction To The Cor Anglais Or 'English Born' <br/> 24. Symphony No.9 'From The New World' (Mvt 2) <br/> 25. The Loneliness Of The Cor Anglais <br/> 26. The Swan Of Tuonela <br/> 27. The Cor Anglais Joins The French Horn In Haydn. <br/> 28. Symphony No.22 'The Philosopher' (Opening) <br/> 29. Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel <br/> 30. Bolero <br/> 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... <br/> 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) <br/> 33. As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft: <br/> 34. Gayane Suite No. 1 (Mvt 5) <br/> 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). <br/> 36. The Range Of The Normal Clarinet Parts Goes Quite High... <br/> 37. The Snow Maiden (Scene 5: Melodrama) <br/> 38. ...And Quite Low. <br/> 39. Peter And The Wolf (The Cat) <br/> 40. The Clarinet As Concerto Soloist <br/> 41. Clarinet Concerto In A Major (Rondo) <br/> 42. But That's Not The Instrument Mozart Wrote It For; This Is: <br/> 43. Clarinet Concerto In A Major (Rondo) <br/> 44. Introduction To The Saxophone <br/> 45. Hary Janos Suite (Mvt 4) <br/> 46. The Soprano Saxophone Has Quite A Different Feel To It. <br/> 47. L'Arlesienne Suite No.1 (Minuet) <br/> 48. The Little Sopranino Sax Goes Even Higher. <br/> 49. Bolero <br/> 50. The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel. <br/> 51. Pictures At An Exhibition (The Old Castle) <br/> 52. The Saxophone Can Be Quite Contagiously Good-Humoured. <br/> 53. Sax-O-Phun <br/> 54. The Puffa-Puffa Image Of The Bassoon <br/> 55. Peter And The Wolf (Grandfather) <br/> 56. The Bachian Bassoon, In Accompanimental Mode <br/> 57. Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1) <br/> 58. Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala) <br/> 59. And Ravel, Also In Spanish Mode, Does Likewise. <br/> 60. Bolero <br/> 61. The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness <br/> 62. Symphony No.3 (Opening) <br/> 63. The Eerie Bassoon In Its Highest Register <br/> 64. The Rite Of Spring (Opening) <br/> 65. Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy. <br/> 66. The Firebird Suite (1919, Berceuse) <br/> 67. The Bassoon As Concerto Soloist, Avoiding All Exaggeration <br/> 68. Bassoon Concerto In G Minor (Finale) <br/> 69. The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast <br/> 70. Ma Mere L'Oye - Mother Goose (Beauty And The Beast) <br/> 71. The French Horn Under Its Woodwind Hat <br/> 72. Wind Quintet, Op.43 (Last Mvt) <br/> 73. Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era <br/> 74. Wind Quintet In A Minor, Op.100 No.5 (Mvt 2) <br/> 75. The Horn In Harmonious Blend With Strings In Another Quintet <br/> 76. Horn Quintet, K.407 (Finale) <br/> [Disc 4] <br/> 1. The Trumpet As Virtuoso Soloist <br/> 2. Brandenburg Concerto No.2 (Last Mvt) <br/> 3. The Special Brillance Of Paired Trumpets <br/> 4. Concerto In C For Two Trumpets, RV537 (Mvt 1) <br/> 5. The Ceremonial Trumpet <br/> 6. Fanfare For The Common Man <br/> 7. Trumpets And Drums - An Incomparable Alliance <br/> 8. Messiah (The Trumpet Shall Sound) <br/> 9. The Versatility Of The Trumpet, From The Most Public To The Most Lonely <br/> 10. Piano Concerto In F (Slow Mvt) <br/> 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 <br/> 12. Carmen Suite No.2 (Habanera) <br/> 13. The Trumpet As The Voice Of Strength And Courage <br/> 14. Carmet Suite No.2 (Toreador's Song) <br/> 15. The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness <br/> 16. Billy The Kid <br/> 17. The Trumpet As Character Actor <br/> 18. Pictures At An Exhibition (No.6) <br/> 19. The Trumpet As The Voice Of God <br/> 20. Mass In B Minor ('Et Exspecto') <br/> 21. The Birth Of The Trombone <br/> 22. Aenmerckt Nu Hier <br/> 23. The Birth Of The Brass As A Family <br/> 24. Canzon 12 In Double Echo <br/> 25. The Trombone In The Eighteenth Century <br/> 26. Trombone Concerto In B Flat Major (Finale) <br/> 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. <br/> 28. Hosannah <br/> 29. The Trombones Become Part Of The Orchestra. <br/> 30. Symphony No.5 (Finale) <br/> 31. The Wagnerian Trombone:/Overture To 'Tannhauser' <br/> 32. The Trombone As Caricaturist <br/> 33. Pulcinella (No.19: Vivo) <br/> 34. The Trombone As Raspberry/Concerto For Orchestra (Intermezzo) <br/> 35. The Horn And The Hunt <br/> 36. Horn Concerto No.4 In E Flat, K.495 (Finale) <br/> 37. The Challenging Horn Of The Baroque <br/> 38. Abaris Ou Les Boreades (Menuet) <br/> 39. The Scarcity Of First-Rate Players In Handel's Time <br/> 40. Walter Music (Minuet 1) <br/> 41. The Horn As Magician/The Firebird Suite (1919, Finale) <br/> 42. Horns And The Sound Of Nobility <br/> 43. Overture To 'Tannhauser' (Opening) <br/> 44. The Special Sound Of The Horn In Its Higher Register <br/> 45. Mass In B Minor ('Quoniam Tu Solus Sanctus') <br/> 46. The Trumpet-Like Sound Of Massed Horns <br/> 47. Symphony No.3 (Mvt 1, Opening) <br/> 48. The Tuba - Unfairly Maligned? <br/> 49. Symphony No.6 (Mvt 3) <br/> 50. The Tuba Perfectly Cast By Ravel <br/> 51. Pictures At An Exhibition (Bydlo) <br/> [Disc 5] <br/> 1. Introduction. And We Begin With A Bang. <br/> 2. Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening) <br/> 3. At The Opposite Extreme Is The Triangle. <br/> 4. Piano Concerto No.1 In E Flat (Scherzo) <br/> 5. Categories Of Percussion: Tuned And Untuned. The Side Drum <br/> 6. Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening) <br/> 7. The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1) <br/> 8. The Tambourine. One Of The Oldest Instruments In The World <br/> 9. Den Hoboecken Dans <br/> 10. Even Older Is The Originally Oriental Gong. <br/> 11. Ma Mere L'Oye - Mother Goose (Laideronette) <br/> 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. <br/> 13. Gymnopedie No.2 <br/> 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... <br/> 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) <br/> 16. More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music. <br/> 17. Rodeo (Hoe-Down) <br/> 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. <br/> 19. Scherzi Musicali (Damigella Tutta Belle) <br/> 20. A Still Earlier Example From Fifteenth-Century Spain <br/> 21. Yo M'Enamori D'Un Aire <br/> 22. The Birth Of The Bongo <br/> 23. Symphonic Dances From 'West Side Story' <br/> 24. From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus') <br/> 25. Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana <br/> 26. From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango <br/> 27. Onwards To The Tuned Percussion. First, The Timpani <br/> 28. Also Sprach Zarathustra (Introduction) <br/> 29. But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3) <br/> 30. Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt) <br/> 31. Taking Advantage Of Tunability <br/> 32. Music For Strings, Percussion And Celeste (Mvt 2) <br/> 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. <br/> 34. Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera) <br/> 35. Saint-Saens And The Xylophone <br/> 36. The Carnival Of The Animals (Fossils) <br/> 37. Ravel And The Xylophone <br/> 38. Ma Mere L'Oye - Mother Goose (Laideronette) <br/> 39. Introducing The Marimba/Carmen Suite (First Intermezzo) <br/> 40. Introducing The Vibraphone <br/> 41. The Treasure Of The Sierra Madre (Narange Dolce) <br/> 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) <br/> 43. Introducing The Hungarian Cimbalom <br/> 44. Folk Dances <br/> 45. The Cimbalom And The Symphony Orchestra <br/> 46. Hary Janos Suite (Mvt 3) <br/> 47. Introducing The Tubular Bells <br/> 48. Hary Janos Suite (Viennese Musical Clock) <br/> 49. A More 'Up-Front' Approach From Rodion Shchedrin <br/> 50. Carmen Suite (Introduction) <br/> 51. But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1) <br/> 52. Introducing The Celeste <br/> 53. The Nutcracker (Dance Of The Sugar Plum Fairy) <br/> 54. Magic, In The Use Of Collective Percussion <br/> 55. Miroirs (La Vallee Des Cloches) <br/> 56. Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene) <br/> 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 <br/> 58. The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra <br/> 59. Brandenburg Concerto No.2 (Slow Mvt) <br/> 60. The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That: <br/> 61. Petrushka (Russian Dance) <br/> 62. The Anti-Romantic Piano As An Integral Part Of The Orchestra <br/> 63. Music For Strings, Percussion And Celeste (Last Mvt) <br/> [Disc 6] <br/> 1. Keyboard Instruments In The Orchestra - The Most Powerful Of Them All: <br/> 2. Symphony No.3 'Organ' (Finale) <br/> 3. But Things In Handel's Day Were Very Different. <br/> 4. Organ Concerto In B Flat, Op.4 No.3 (Last Mvt) <br/> 5. The Organ Is Difficult To Classify. <br/> 6. An Unexpected, Organ-related Guest <br/> 7. Concerto Pour Zampogna (Last Mvt) <br/> 8. Peasant-Fancying... And A Touch Of The Roaming Cowboy <br/> 9. Les Miserables (Drink With Me) <br/> 10. Outside Artefacts And The Power Of Association <br/> 11. Mahler's Sleighbells <br/> 12. Symphony No.4 (Opening) <br/> 13. A Roll-Call Of Some Unusual Guests/The Typewriter/Parade <br/> 14. Chains, And More/Integrales/An American In Paris/Sandpaper Ballet <br/> 15. Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening) <br/> 16. Don Quixote (Variation VIII) <br/> 17. National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale) <br/> 18. And The Guitar's Poor American Relative, The Banjo/Washington Breakdown <br/> 19. And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up) <br/> 20. The Balalaika For Russia/Romeo And Juliet (Act II: No.14) <br/> 21. The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno) <br/> 22. The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example <br/> 23. The Sitar Of India/Evening Raga: Bhapoli <br/> 24. The Accordion For France (Especially Paris)/Paris Canaille <br/> 25. The Zither For Vienna/The Third Man (Theme) <br/> 26. The Cimbalom For Hungary/Folk Dances <br/> 27. The Guitar As An Integral Part Of The Orchestra/Rondena <br/> 28. There Are Whole Orchestras Of Balalaikas./Sveit Mesiats <br/> 29. The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1) <br/> 30. Nocturnes <br/> 31. Instruments And the Imitation Of Nature. The Clarinet As Cuckoo <br/> 32. The Carnival Of The Animals (The Cuckoo) <br/> 33. The Flute As An All-purpose Aviary <br/> 34. The Carnival Of The Animals (The Aviary) <br/> 35. The Oboe As Duck <br/> 36. Peter And The Wolf (The Duck) <br/> 37. The Recording Of Reality. Does It Work As Well? <br/> 38. The Pines Of Rome (The Pines Of The Janiculum) <br/> 39. The Recording Of Reality Electronically Reborn In New Guises <br/> 40. Cantus Articus - Concerto For Birds And Orchesra (Mvt 2) <br/> 41. Beethoven Turns Avian: Cuckoo, Nightingale, And Quail <br/> 42. Symphony No.6 'Pastoral' (Andante Molto Mosso) <br/> 43. Some Improbable Casting: The Violin As Braying Donkey <br/> 44. The Carnival Of The Animals (Persons With Long Ears) <br/> 45. A Truly Orchestral Hee-haw To Be Reckoned With <br/> 46. Overture To 'A Midsummer Night's Dream' <br/> 47. A Thunderstorm In A Million <br/> 48. Symphony No.6 'Pastoral (Allegro-Allegretto) <br/> 49. the Instrumental Depiction Of A Silent World <br/> 50. The Carnival Of The Animals (The Aquarium) <br/> 51. Saint-Saens' Menagerie Takes A Curtain Call. <br/> 52. The Carnival Of The Animals (Finale) <br/> [Disc 7] <br/> 1. The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins <br/> 2. Forty-Four Duos (No.4) <br/> 3. A Great Contrast, Of Both Pitch And Character: Violin And Viola <br/> 4. Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example <br/> 5. Arrival Of The Standard String Trio: Violin, Viola, And Cello <br/> 6. String Trio In B Flat (Menuetto) <br/> 7. The String Quartet: Two Violins, Viola, And Cello <br/> 8. String Quartet In F, Op.18 No.1 (Mvt 3) <br/> 9. The String Quintet - When The Extra Instrument Is A Second Viola <br/> 10. String Quartet No.5 In D, K.593 (Adagio) <br/> 11. The String Quintet - When The Extra Instrument Is A Second Cello <br/> 12. String Quintet In C (Mvt 3) <br/> 13. The String Sextet: Two Violins, Two Violas, And Two Cellos <br/> 14. String Sextet In B Flat (Mvt 2) <br/> 15. The String Octet: The Standard String Quaret Times Two <br/> 16. Octet In E Flat, Op.20 (Mvt 1) <br/> 17. Double The String Octet: A Fully Fledged String Orchestra <br/> 18. String Symphony No.2 (Finale) <br/> 19. The Massed Strings Of A Symphony Orchestra <br/> 20. Fantasia On A Theme Of Thomas Tallis <br/> 21. Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section <br/> 22. Wind Quintet In A Minor, Op.100 No.5 (Theme) <br/> 23. In The First Variation It's The Horn That Gets The Lion's Share. <br/> 24. Wind Quintet In A Minor, Variation 1 <br/> 25. In Variation Two The Torch Is Handed To The Bassoon. <br/> 26. Wind Quintet In A Minor, Variation 2 <br/> 27. In Variation Three The Oboe Leads. <br/> 28. Wind Quintet In A Minor, Variation 3 <br/> 29. Variation Four: Conversation Before Returning To A Solo-dominated Texture <br/> 30. Wind Quintet In A Minor, Variation 4 <br/> 31. And Variation Five is Dominated By The Clarinet. <br/> 32. Wind Quintet In A Minor, Variation 5 <br/> 33. The Next To Be Featured Is The Virtuoso Flute. <br/> 34. Wind Quintet In A Minor, Variation 6 <br/> 35. Individual Farewells And A Closing Chorus <br/> 36. Wind Quintet In A Minor, Variation 7 <br/> 37. A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass <br/> 38. Octet In F (Mvt 3) <br/> 39. The Early Classical Symphony Orchestra Of Haydn And Mozart <br/> 40. Symphony No.29 In A, K.201 (Finale) <br/> 41. Strings, Wind, But No Brass. What Haydn And Mozart Never Knew <br/> 42. Canzon 28 <br/> 43. Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team. <br/> 44. Symphony No.5 (Finale) <br/> 45. From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler <br/> 46. Beethoven Changed The Face Of The Symphony And The Orchestra Forever <br/> 47. Symphoy No.6 'Tragic' (Mvt 1) <br/> 48. The Cult Of Orchestral Elephantiasis Reaches Its Peak. <br/> 49. Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus) <br/> 50. When Large Doesn't Necessarily Mean Loud: Debussy <br/> 51. Images (Gigues) <br/> 52. A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot: <br/> 53. Turangalila Symphony (Chant D'amour 1) <br/> 54. The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness. <br/> 55. Balle De Xerxes (Gavotte En Rondeau) <br/> 56. Computer And Synthesiser: Friends Or Foes? <br/> 57. Concerto In D Minor For Two Violins (Largo) <br/> 58. A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem') <br/>