1

On Beethoven's Openings

2

Opening Phrase Of The 'Pastoral': Mood, Symbolism And Musical Fu

3

Musical Acorns: The Outline Of Melody; the Shape Of A Question

4

The 'Question' In The 'Pastoral' Repeated...

5

...And Answered

6

The Opening Phrase Ends On A Note Full Of Pregnant Expectation

7

Starting With A Stop

8

The Rhythmic Profile Of The Opening Phrase; A Two-Part Construct

9

Phrase One, Part One

10

Phrase One, Part Two

11

The Properties Of Rhythmic Ambiguity; The 'Question' Of Phrase O

12

Phrase Two: From Meander To March

13

The Makings Of A Conversation: Contrast And Variation

14

Repetition As A Major Factor, But It's Never Mere Repetition; Ea

15

From Soft To loud And Back Again; Instrumental Enrichment From H

16

Mega-Repetition: Violins Play Exactly The Same Little Fragment T

17

but No Two Repetitions Are Quite The Same; Variaties Of Contrast

18

More Variation; Pitch Rises; Violins Joined First By The Clarine

19

Return To Opening Idea, but With New InstrumentationAnd Articula

20

Clarinets, Horns, Bassoons And Flutes Now Join Expansive Variati

21

'New' Insistent Rhythm Derived From The First Four Notes Of The

22

With The Dawn Chorus, A Whole Forest Is Waking Up; Feelings Of R

23

First Violins Play A Derivative Of The Opening Figure, Joined By

24

Sudden Change Of Key, From The Home Key (Tonic) To The Dominant

25

Arrival At The Highly Contrasting Second Main Theme

26

Unusual Properties Of Second Main Theme

27

Rhythmic Clash Between Simultaneous Groups Of Three Beats And Gr

28

Winds Fall Silent As The Violins And Violas Interrupt With A New

29

Winds Answer With the Same Morse-Like Rhythm, But At Half The Sp

30

Crescendo Leads To Strings' Acceleration Of The Pace With No Inc

31

Beginning Of Coda, Directly Based On Morse-Like Rhythm Of The Ma

32

Strings Reiterate Small FragmentOf The New Theme 13 Times In A R

33

A Simple, Rising Violin Phrase Leads To A Repeat Of The Expositi

34

The Nature And Function Of The Development Section In Sonata For

35

The Nature Of Harmonic Rhythm Illustrated

36

A Typically Beethovenian Exercise In The Frustration Of Expectat

37

Repetitiousness And Magic Effected Largely Through Instrumental

38

Then Come Four, Almost Identical Bars

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Even Greater Magic, With Sudden Switch Of Key And Tone Colour

40

Entire Development Section Up To This Point

41

The Development Continued

42

Increased Unease And Suspense As Harmonic Rhythm Accelerates

43

Arrival At The Point Of Recapitualtion; Back To The Beginning, A

44

Beginning Of Recapitulation

45

More Beethovenian Frustrations Of Expectations Which He Himself

46

Harmonic Rhythm Speeds Up, Giving The Impression Of An Accent On

47

Prevailing Mood Restored; New ThemeFrom Clarinets And Bassoons

48

Violins And Violas Take Up Theme; Horns, Cellos, Double-Basses A

49

A Hush Falls, Followed By A Return Of The Movement's Most Famili

50

Clarinet Takes Up The Running Triplet Figures Of The Main Closin

51

First Violins Take Up The Opening Phrase Again, Accompanied By D

52

Beethoven Slips In One Last Surprise; Cue To Complete Movement

53

First Movement (Complete)

54

General Introduction; the Birth Of A Melody

55

Brook Music Quickens; Syncopated Horns; Themes Change Hands; Evo

56

The 'Mottl' theme Introduced By Violins And Treated To Round-Lik

57

Transitional 'Bridge' Theme Sets Off For New Key Group. But Is

58

Will He, or Won't He? Beethoven Keeps Us Guessing

59

The Run-Up To The Second Group

60

Arrival At The Second Group; But Where Is The Actual Second Subj

61

A New Tune Is Introduced By The Bassoon

62

Tune Is Repeated Three Times

63

...Which The Full Orchestra Now Takes Up In Varied Form

64

Theme Carried By Flutes And First Violins In A CharminglyWaltz-L

65

A Reminder Of Precedent

66

Back To The Prevailing Triple-Metre With Violins, Bassoons And F

67

Another Reminder Of Precedent...

68

... And A Cue To Some Unexpected Departures

69

The Transformational Magic Of Beethoven's Tone-Painting - And A

70

Conversation Of Clarinet, Flute And Oboe On The Way To The Devel

71

Harmonic Movement Emphasised By Violins; Oboe Takes Up The First

72

Flute And Oboe Discuss The First Subject, Before Arriving Togeth

73

Gains In Volume And Intensity Lead To A New Key-Change

74

More Thematic Transformation Through The Agency Of Tone-Colour

75

Harmonic Fluidity - Instability - As The Central Engine Of The D

76

Harmonic Instability, Thematic Dissolution Increase, Then Lessen

77

Recap. And Transformation: Key And Material Are Right, But What

78

Just When We Know What's Coming, Beethoven Changes The Rules (Or

79

Transformation By Reorchestration; Switch To Long Sustained Chor

80

The Silence is Broken By Voices Of Nightingale (Flute), Quail (O

81

First Violins Bring Back Motto Theme

82

Cue To Complete Movement On CD 2