| Название |
Альбом |
| A Disconcerting "Echo" |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| A Repetition, and Yet Not a Repetition |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| An Increasingly Sophisticated Texture As Parts Interact |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| An Unexpected Thunderstorm |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Back to the Quintet: The Strings, Headed By the Violin, Introduce the Theme |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Bolero: Bolero (Complete) |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Bolero: Section 14: Violins Divide Into Four Groups, Each `Double-Stopping` |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Bolero: Section 18: Entire Orchestra Now Employed, `As Loudly As Possible` |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Brandenburg Concerto No. 4 in G - First Movement: Cue to complete performance of First Movement |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Episode 2, Part 1, preceded by the `fanfare` motif from which its first theme derives |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Episode 4 continued, with emphasis placed on conversational interchanges |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Motif No. 3 repeated for a second, `directed` listen |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Motif No. 5, A lovely, bouncy, syncopated flourish, in which all the instruments join |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Onwards and upwards: Motif No. 2 And its function |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - First Movement: Ritornello 3, with the prominent participation of the soloists |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Second Movement: Introduction: Rhythmic Motif provides basis for whole movement |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Second Movement: Listening from the `botton up` |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Second Movement: The First Section (complete) |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Third Movement: Cue to Third Movement |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Third Movement: First Episode; the use of fragmentary derivatives |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Third Movement: More on Ritornello 3: The use of long, sustained, slightly syncopated notes in upper strings |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Third Movement: Second counter-subject |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 4 in G - Third Movement: The two recorders converse in canon, accompanied for six exhilarating bars by cello `continuo` |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: Cue to First Movement |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: Four things going on at once, in violin, flute, harpsichord right hand, harpsichord left hand |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: Motif No. 3, And an important feature of its rhythm |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: Motif No. 5 |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: Opening Music; analysis and phony analysis; Shaw quote; music: Motif No. 1 |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - First Movement: The orchestra returns to foreground and brings this section to an end |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Second Movement: An important motif; the second main building block |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Second Movement: Episode 1 and Episode 2 compared |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Second Movement: Episode 3 contrasted with Episode 1 |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Second Movement: Second Movement (complete) |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Second Movement: The first bar; the first main building block |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Third Movement: Cue to Last Movement |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Third Movement: Flute takes the `answer`, with countersubject in the violin |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Third Movement: The Fugue Subject: close juxtaposition of contrasting elements |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Brandenburg Concerto No. 5 in D - Third Movement: The Middle Section a precursor of the Mozartian `development` |
Classics Explained: Bach, J.S. - Brandenburg Concertos Nos 4 & 5 (Siepmann) |
| Cue to Complete Scherzo |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Destination Clarified |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Dvorak Flouts Tradition By Setting the Secondary Theme and the Closing Theme In Unexpected Keys. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| First Concerto: Spring. Cue To First Movement |
Classics Explained: An Introduction To... Vivaldi: The Four Seasons |
| First Concerto: Spring. Orchestra Erupts Into Thunderstorm |
Classics Explained: An Introduction To... Vivaldi: The Four Seasons |
| First Concerto: Spring. The First Solo Section: Birdsong From Three Soloists, Not One |
Classics Explained: An Introduction To... Vivaldi: The Four Seasons |
| First Concerto: Spring. The Nature Of Musical Conversation; Repetition, `Echo` Effect |
Classics Explained: An Introduction To... Vivaldi: The Four Seasons |
| In Transition to the Secondary Key |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Instruments of the Orchestra: ....and quite low. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: A greater contrast, of both pitch and character, violin and viola |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Albeniz: Rondena |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: An unfamiliar, early vision of the instrument |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Anonymous: Aenmerckt nu hier |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Bach: Concerto in D minor for two violins: II. Largo ma non tanto |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Beethoven: Symphony No. 5: II. Andante con moto |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Beethoven: Symphony No. 5: II. Andante con moto |
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| Instruments of the Orchestra: Bizet: Carmen Suite No. 2: IV. Toreador`s Song |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Bottesini: Elegy No. 1 in D major |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Brahms and the "soul" of the cello |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Britten: Peter Grimes: Passacaglia, Op. 33b |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Cassado: Solo Suite for Cello and Piano: Sardana |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Elsewhere, Britten uses the same high register to create a very different mood. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Elsewhere, Britten uses the same high register to create a very different mood. |
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| Instruments of the Orchestra: From a piccolo of the eighteenth century to one of its descendants in the twentieth |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Glinka: Jota aragonesa |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Handel: Messiah: The Trumpet Shall Sound |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Handel: Organ Concerto in B flat major, Op. 4, No. 3: IV. Gavotte |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Horns and the sound of nobility |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Horns and the sound of nobility |
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| Instruments of the Orchestra: In Variation Two the torch is handed to the bassoon |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: In Variation Two the torch is handed to the bassoon |
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| Instruments of the Orchestra: Introducing the celesta |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Introduction to the cor anglais or `English horn` |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mahler: Symphony No. 2, "Resurrection`": III. In ruhig fliessender Bewegung |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mendelssohn: A Midsummer Night`s Dream: Overture |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mendelssohn: String Symphony No. 2: III. Allegro vivace |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Molter: Bassoon Concerto in G minor: III. — |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mozart: Clarinet Concerto in A major: III. Rondo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mozart: Clarinet Concerto in A major: III. Rondo |
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| Instruments of the Orchestra: Mozart: German Dance, K. 603, No. 3 |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mozart: Horn Quintet in E flat major, K. 407: III. Rondeau |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Mussorgsky: Pictures at an Exhibition: Bydlo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Not only in recital showpieces like that is the cello used in its highest register. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Now compare that with a real violin duet. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Paganini: Caprice No. 24 |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Prokofiev: Romeo and Juliet: Act II: No. 14 |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Ravel and the xylophone |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Ravel: Bolero |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4 |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Rossini: La gazza ladra (The Thieving Magpie): Overture (opening) |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: The Cuckoo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Schubert: String Quintet in C major: III. Scherzo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Sibelius: The Swan of Tuonela |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Strauss: Also sprach Zarathustra: Of the Afterworldsmen |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Strauss: Pizzicato Polka |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Stravinsky: Pulcinella: No. 19: Vivo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Stravinsky: Pulcinella: No. 19: Vivo |
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| Instruments of the Orchestra: Strings, wind, but no brass. What Haydn and Mozart never knew |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Telemann: Viola Concerto: I. Largo |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The challenging horn of the Baroque |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The eerie bassoon in its highest register |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The eerie bassoon in its highest register |
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| Instruments of the Orchestra: The muted viola: intimate, gentle, poignant in Dvorak |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The next to be featured is the virtuoso flute. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The puffa-puffa image of the bassoon |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The recording of reality. Does it work as well? |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The soprano saxophone has quite a different feel to it |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The string quartet: two violins, viola and cello |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The trumpet-like sound of massed horns |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The tuba - unfairly maligned? |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The use of harmonics in the orchestra can be both magical and unsettling. |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: The versatility and agility of the flute |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Traditional: Folk Dances |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Vivaldi: The Four Seasons: Summer: I. Allegro non molto |
Instruments of the Orchestra (The) |
| Instruments of the Orchestra: Vivaldi: The Four Seasons: Winter: I. Allegro non molto |
Instruments of the Orchestra (The) |
| Introduction to Second Movement |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Ma Mere L`oye: 1. Pavane De La Belle Au Bois Dormant: Answering Variant, Accompanied By Plucked... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 1. Pavane De La Belle Au Bois Dormant: Pivotal Phrase 3, Reversing Direction But... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 2. Petit Poucet (Tom Thumb): Introduction; Opening, With Multi-Metre Rising Scales... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 3. Laideronnette, Imperatrice Des Pagodes: `Gamelan` Music From Flute And Piccolo... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 4. Les Entretiens De La Belle Et De La Bete: Characteristic Pattern Of Two Short... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 4. Les Entretiens De La Belle Et De La Bete: Derivative Of Beauty`s Theme From... |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Ma Mere L`oye: 4. Les Entretiens De La Belle Et De La Bete: Harp`s Upward Glide Heralds The Moment.. |
Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L`oye |
| Much of the Development Comes from a Diminution of the Closing Theme from the Exposition. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| Music: Berceuse, Op. 57 |
Chopin: Life and Works |
| Music: Berlioz, Arr. Liszt: Un Bal (Symphonie Fantastique) |
Listz: Life and Works |
| Music: Concerto In F Minor, Op. 21 |
Chopin: Life and Works |
| Music: Etude In a Minor, Op. 25, No. 4 |
Chopin: Life and Works |
| Music: Exposition Complete |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Music: La Campanella |
Listz: Life and Works |
| Music: Nocturne In C Sharp Minor |
Chopin: Life and Works |
| Music: Second Movement (Complete) |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Music: St. Saens - The Carnival of the Animals "The Pianists" |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Music: Variations On ` la Ci Darem la Mano`, Op. 2 |
Chopin: Life and Works |
| Opening (Introductory) Section Heard Complete |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Perhaps This Is It? Back for a Reminder of the Theme Proper, As We First Heard It |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| Soon, After a Very Rapid Build, the Scherzo Proper Does Reach Its Final Phase. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| The Final Variation, Part Two: The Cello Takes the Tune |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| The Flutes and Oboes Introduce a New Tune, Over Hushed Tremolo Strings. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| The Fourth Variation, Part Two |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| The Idyll Continues |
Chopin: Life and Works |
| The Sound of Silence |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| The Strings` Answer to the Piano`s Opening Flourish |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| The Third Variation |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| The Very Opening Chords Unmistakably Herald the Arrival of Something Special. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
| The Violin and Double-Bass In Partnership |
Classics Explained - An Introduction to Schubert - Piano Quintet "Trout" |
| Tovey Places the Start of the Recapitulation Here. |
Classics Explained: DVORAK - Symphony No. 9, `From the New World` |
