| 1 |
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Introduction, Origins |
Jeremy Siepmann |
1:39 |
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| 2 |
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Imagery, Analogy and the Shape |
Jeremy Siepmann |
1:50 |
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| 3 |
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The Unusual Presence of the Do |
Jeremy Siepmann |
0:54 |
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| 4 |
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A Palette of Tone Colours and |
Jeremy Siepmann |
0:47 |
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| 5 |
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Trouble Getting Off the Ground |
Jeremy Siepmann |
0:49 |
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| 6 |
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Jumping the Queue: Schubert Ta |
Jeremy Siepmann |
1:33 |
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| 7 |
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Mozart Demonstrates a Traditio |
Jeremy Siepmann |
0:33 |
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| 8 |
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Destination Clarified |
Jeremy Siepmann |
0:07 |
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| 9 |
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Mozart Confirms Our Arrival |
Jeremy Siepmann |
0:08 |
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| 10 |
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A Schubertian Shocker from a L |
Jeremy Siepmann |
0:52 |
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| 11 |
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Rejoining the "Trout", With a |
Jeremy Siepmann |
0:27 |
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| 12 |
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The Piano Joins the Strings Wi |
Jeremy Siepmann |
0:31 |
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| 13 |
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A Rhythmic Motto: The "Ttriple |
Jeremy Siepmann |
1:26 |
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| 14 |
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We Get It Here |
Jeremy Siepmann |
0:17 |
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| 15 |
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We Get It There |
Jeremy Siepmann |
0:17 |
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| 16 |
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We Find It Everywhere, Even In |
Jeremy Siepmann |
0:27 |
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| 17 |
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The Strings' Answer to the Pia |
Jeremy Siepmann |
0:36 |
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| 18 |
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The Two-Part Structure of the |
Jeremy Siepmann |
0:24 |
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| 19 |
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...But Scarcely Ever the Same |
Jeremy Siepmann |
0:34 |
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| 20 |
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The Piano and Strings Now Shar |
Jeremy Siepmann |
0:42 |
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| 21 |
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Conversation As the First Prin |
Jeremy Siepmann |
0:43 |
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| 22 |
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Opening (Introductory) Section |
Jeremy Siepmann |
1:01 |
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| 23 |
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The Violin and Double-Bass In |
Jeremy Siepmann |
1:16 |
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| 24 |
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The Violin and Piano Swap Role |
Jeremy Siepmann |
0:59 |
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| 25 |
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Transition to Second Main Them |
Jeremy Siepmann |
1:12 |
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| 26 |
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On the Threshold of the New Th |
Jeremy Siepmann |
0:30 |
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| 27 |
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Second Main Theme (A "Love Due |
Jeremy Siepmann |
1:24 |
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| 28 |
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The Abandonment of Octaves In |
Jeremy Siepmann |
1:07 |
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| 29 |
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A Surprising Change of Tone an |
Jeremy Siepmann |
0:39 |
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| 30 |
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A Return to Lyricism, But the |
Jeremy Siepmann |
0:37 |
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| 31 |
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A Buoyant, Skipping New Theme |
Jeremy Siepmann |
0:36 |
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| 32 |
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Re-entry of the Strings As the |
Jeremy Siepmann |
0:25 |
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| 33 |
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A Transitional Theme, and Anot |
Jeremy Siepmann |
1:33 |
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| 34 |
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We Sense the Imminent Arrival |
Jeremy Siepmann |
1:31 |
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| 35 |
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A Sudden, Hushed Key-Cchange I |
Jeremy Siepmann |
0:40 |
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| 36 |
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The Exposition Comes to an End |
Jeremy Siepmann |
0:32 |
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| 37 |
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Cue to Complete Exposition |
Jeremy Siepmann |
0:06 |
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| 38 |
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Music: Exposition Complete |
Jeremy Siepmann |
4:09 |
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| 39 |
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Introduction to the Developmen |
Jeremy Siepmann |
7:20 |
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| 40 |
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The Contrasting Aural Properti |
Jeremy Siepmann |
1:03 |
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| 41 |
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The Ponderous Double-Bass Is F |
Jeremy Siepmann |
0:49 |
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| 42 |
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The Strings Are Liberated from |
Jeremy Siepmann |
0:42 |
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| 43 |
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A Joyful Conversation and a Ch |
Jeremy Siepmann |
1:06 |
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| 44 |
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The Piano Takes the Melodic Le |
Jeremy Siepmann |
0:31 |
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| 45 |
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A Conversation Between Violin |
Jeremy Siepmann |
1:20 |
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| 46 |
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...But Schubert Gets It "Wrong |
Jeremy Siepmann |
1:35 |
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| 47 |
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Music: First Movement (Complet |
Jeremy Siepmann |
9:09 |
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| 48 |
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Introduction to Second Movemen |
Jeremy Siepmann |
1:53 |
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| 49 |
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The Violin Now Takes Theme One |
Jeremy Siepmann |
0:29 |
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| 50 |
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The Piano Regains the Theme |
Jeremy Siepmann |
0:42 |
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