| 1 |
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Introduction, Background and P |
Jeremy Siepmann |
5:04 |
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| 2 |
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A Gentle, Other-worldly Start; |
Jeremy Siepmann |
1:33 |
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| 3 |
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Music As Mosaic; The Composer |
Jeremy Siepmann |
1:57 |
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| 4 |
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Two Functions of Metrical Chan |
Jeremy Siepmann |
1:23 |
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| 5 |
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...Or Disrupting It: A Sample |
Jeremy Siepmann |
1:02 |
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| 6 |
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A Stealthy Entry (Clarinets) |
Jeremy Siepmann |
0:34 |
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| 7 |
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Detour: The Destabilising Prop |
Jeremy Siepmann |
4:04 |
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| 8 |
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On Melodies, Themes and Motifs |
Jeremy Siepmann |
1:03 |
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| 9 |
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The New Cor Anglais Motif Domi |
Jeremy Siepmann |
0:27 |
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| 10 |
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The Oboe's Rhythmic Motif Take |
Jeremy Siepmann |
0:25 |
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| 11 |
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A Primeval Awakening |
Jeremy Siepmann |
0:37 |
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| 12 |
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A Panoply of Stravinskyan Bird |
Jeremy Siepmann |
0:59 |
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| 13 |
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A Matter of Mode |
Jeremy Siepmann |
1:15 |
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| 14 |
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Cue to Introduction |
Jeremy Siepmann |
0:08 |
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| 15 |
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Introduction (Complete) |
Jeremy Siepmann |
3:38 |
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| 16 |
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Part I: The Adoration of the E |
Jeremy Siepmann |
0:41 |
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| 17 |
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The Great Arrival: Bitonality |
Jeremy Siepmann |
1:35 |
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| 18 |
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Putting the Boot In: A Metrica |
Jeremy Siepmann |
1:45 |
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| 19 |
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The Prevalence of Ostinatos, a |
Jeremy Siepmann |
1:51 |
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| 20 |
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Metre Restores (Briefly) But t |
Jeremy Siepmann |
0:50 |
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| 21 |
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The Musical Savages Routed |
Jeremy Siepmann |
1:19 |
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| 22 |
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An Important New Arrival (The |
Jeremy Siepmann |
1:05 |
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| 23 |
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Another New Theme from the Hor |
Jeremy Siepmann |
0:48 |
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| 24 |
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A Crowded Conclusion |
Jeremy Siepmann |
1:43 |
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| 25 |
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A Real Study In Contrasts |
Jeremy Siepmann |
1:31 |
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| 26 |
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Panic and Pandemonium As Timpa |
Jeremy Siepmann |
1:10 |
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| 27 |
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Climactic Melee Haunted By 'Fe |
Jeremy Siepmann |
1:34 |
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| 28 |
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Suddenly Another World, As Flu |
Jeremy Siepmann |
0:59 |
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| 29 |
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...But a Transient One: New Mo |
Jeremy Siepmann |
0:51 |
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| 30 |
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'Dragging Feet Motif' Over Ost |
Jeremy Siepmann |
0:43 |
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| 31 |
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'Marching Motif' Developed Fur |
Jeremy Siepmann |
0:45 |
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| 32 |
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A Trilling Commentary from Pic |
Jeremy Siepmann |
0:25 |
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| 33 |
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'Marching Motif' Theme Goes Po |
Jeremy Siepmann |
1:16 |
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| 34 |
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An Unexpected Change of Pace A |
Jeremy Siepmann |
0:53 |
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| 35 |
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And an Unexpected Reversion, t |
Jeremy Siepmann |
0:41 |
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| 36 |
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Violent Onslaught from Brass a |
Jeremy Siepmann |
0:25 |
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| 37 |
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Rival Tribes, Rival Motifs |
Jeremy Siepmann |
0:22 |
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| 38 |
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Sensational Violence Comes Clo |
Jeremy Siepmann |
0:38 |
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| 39 |
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Effects, Impressions and Alter |
Jeremy Siepmann |
1:40 |
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| 40 |
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A Surprise Re-entry and a Chan |
Jeremy Siepmann |
0:54 |
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| 41 |
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A Thinning of Texture, a New I |
Jeremy Siepmann |
0:34 |
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| 42 |
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The New Idea Developed: A Mino |
Jeremy Siepmann |
0:41 |
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| 43 |
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The Use of Tone Colour As an A |
Jeremy Siepmann |
1:32 |
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| 44 |
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An Unusual Climax... |
Jeremy Siepmann |
1:31 |
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| 45 |
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...And a Sinister Transition |
Jeremy Siepmann |
0:51 |
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| 46 |
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Across the Threshold Into an I |
Jeremy Siepmann |
1:29 |
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| 47 |
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A Sudden Silence and Then Anot |
Jeremy Siepmann |
1:00 |
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| 48 |
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Catapulted Into the 'Dance of |
Jeremy Siepmann |
0:38 |
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| 49 |
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Tiny Changes, Unyielding Ostin |
Jeremy Siepmann |
3:19 |
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| 50 |
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Cue to Part I Complete |
Jeremy Siepmann |
0:07 |
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