| 1 |
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A Quiet Beginning: Sorrow, Syn |
Jeremy Siepmann |
2:38 |
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| 2 |
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Instrumental Colour As a Prime |
Jeremy Siepmann |
0:57 |
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| 3 |
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The Opening Tune Again, With D |
Jeremy Siepmann |
0:32 |
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| 4 |
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The First Big Surprise: String |
Jeremy Siepmann |
0:36 |
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| 5 |
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Cellos and Basses Take Us Into |
Jeremy Siepmann |
0:32 |
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| 6 |
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Horns, Violas, and Cellos Intr |
Jeremy Siepmann |
0:31 |
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| 7 |
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A Tiny Detail from the Opening |
Jeremy Siepmann |
0:43 |
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| 8 |
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Introduction (Complete) |
Jeremy Siepmann |
2:05 |
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| 9 |
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A Solo Horn Introduces the Mai |
Jeremy Siepmann |
0:39 |
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| 10 |
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The Theme Moves to G Major; An |
Jeremy Siepmann |
0:33 |
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| 11 |
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Long Crescendo, Tremolo String |
Jeremy Siepmann |
0:39 |
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| 12 |
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Transition to the Secondary Th |
Jeremy Siepmann |
1:36 |
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| 13 |
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Three-bar Groupings and Again |
Jeremy Siepmann |
0:34 |
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| 14 |
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The Sequence Continues to Rise |
Jeremy Siepmann |
0:18 |
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| 15 |
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The First Violins Start Off th |
Jeremy Siepmann |
0:21 |
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| 16 |
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The Violins Fall Silent; the V |
Jeremy Siepmann |
0:09 |
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| 17 |
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So Now We Have a Two-bar Group |
Jeremy Siepmann |
0:07 |
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| 18 |
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The Same Thing Again (Though N |
Jeremy Siepmann |
0:05 |
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| 19 |
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Transition Complete. the Secon |
Jeremy Siepmann |
1:00 |
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| 20 |
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The 'bagpipe Drone' Is Taken O |
Jeremy Siepmann |
0:19 |
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| 21 |
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The Tune Is Taken Up By Cellos |
Jeremy Siepmann |
0:57 |
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| 22 |
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The Violins Continue a Pattern |
Jeremy Siepmann |
0:33 |
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| 23 |
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Unexpectedly, We Find Ourselve |
Jeremy Siepmann |
0:26 |
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| 24 |
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Again We Hear the Shortened Ve |
Jeremy Siepmann |
0:33 |
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| 25 |
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The Suspense Is Heightened As |
Jeremy Siepmann |
0:25 |
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| 26 |
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This Beautiful Flute Tune Is S |
Jeremy Siepmann |
0:46 |
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| 27 |
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A Big Crescendo Leads to a Fin |
Jeremy Siepmann |
1:16 |
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| 28 |
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The Development Section Begins |
Jeremy Siepmann |
1:09 |
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| 29 |
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The Beginning of the Closing T |
Jeremy Siepmann |
0:17 |
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| 30 |
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Sequential Chirping from the O |
Jeremy Siepmann |
0:18 |
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| 31 |
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Much of the Development Comes |
Jeremy Siepmann |
0:19 |
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| 32 |
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A Tiny Detail Becomes a Major |
Jeremy Siepmann |
0:31 |
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| 33 |
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Through a Sequence of Keys So |
Jeremy Siepmann |
0:37 |
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| 34 |
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The Main Theme from Massed Cel |
Jeremy Siepmann |
1:46 |
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| 35 |
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After That Major Climax, We Ar |
Jeremy Siepmann |
1:04 |
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| 36 |
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Dvorak Flouts Tradition By Set |
Jeremy Siepmann |
1:10 |
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| 37 |
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The Tumultuous Convulsion of t |
Jeremy Siepmann |
3:09 |
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| 38 |
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Humpty Dumpty: Putting the Bit |
Jeremy Siepmann |
0:20 |
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| 39 |
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First Movement (Complete) |
Jeremy Siepmann |
11:36 |
EUR Album Only |
| 40 |
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The Very Opening Chords Unmist |
Jeremy Siepmann |
1:06 |
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| 41 |
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The Role of Instrumentation In |
Jeremy Siepmann |
1:10 |
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| 42 |
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...and In Enhancing the Qualit |
Jeremy Siepmann |
1:29 |
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| 43 |
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The Cor Anglais Is Joined By t |
Jeremy Siepmann |
1:08 |
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| 44 |
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For the Closing Part of the Tu |
Jeremy Siepmann |
0:24 |
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| 45 |
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The Closing Bar Is Repeated By |
Jeremy Siepmann |
0:28 |
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| 46 |
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Back to the Start to Hear the |
Jeremy Siepmann |
2:24 |
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| 47 |
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A Change of Scoring: The Slow |
Jeremy Siepmann |
1:14 |
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| 48 |
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The Changes In Scoring Are Jus |
Jeremy Siepmann |
2:34 |
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| 49 |
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The Flutes and Oboes Introduce |
Jeremy Siepmann |
1:05 |
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| 50 |
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A Memorable Combination of Con |
Jeremy Siepmann |
1:28 |
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