Jeremy Siepmann ( - 06 Apr 2016)

Male Person - United States editor, liner notes

Recordings by (289)

1. Chopin and the Soul of the Piano 1:49 (23 Jul 2001)
2. Chopin the Pole 1:49 (23 Jul 2001)
3. Early Education 3:06 (23 Jul 2001)
4. Encounters With the Polish Peasantry 1:02 (23 Jul 2001)
5. Chopin as Industrious Pupil 0:58 (23 Jul 2001)
6. He Finds His True Voice as a Composer 1:50 (23 Jul 2001)
7. The Fun - Loving Teenager 1:17 (23 Jul 2001)
8. Onset of Illness and the Death of a Sister 2:05 (23 Jul 2001)
9. "Hats Off, Gentlemen! A Genius!" 1:37 (23 Jul 2001)
10. The Influence of Paganini 1:20 (23 Jul 2001)
11. The First Etudes 0:45 (23 Jul 2001)
12. Success in Vienna 5:58 (23 Jul 2001)
13. Chopin in Love 5:20 (23 Jul 2001)
14. Stagnation, Celebrity and the First Concerto 2:18 (23 Jul 2001)
15. Return of Vitality and Inspiration 5:10 (23 Jul 2001)
16. Farewells and the Final Departure From Poland 1:38 (23 Jul 2001)
17. Europe and Chopin in Crisis 7:43 (23 Jul 2001)
18. Arrival in Paris 2:24 (23 Jul 2001)
19. Paris, Politics, Poles and Performance 7:40 (23 Jul 2001)
20. Chopin and the Opera 1:49 (23 Jul 2001)
21. Chopin and Kalkbrenner 2:15 (23 Jul 2001)
22. The Cholera Epidemic; The Fashionable Teacher 7:53 (23 Jul 2001)
23. Teaching in Earnest 4:59 (23 Jul 2001)
24. "Souplesse avant tout!" 2:25 (23 Jul 2001)
25. The Wodzinska Affair 3:44 (23 Jul 2001)
26. "An Elegant, Pale, Sad Young Man" 2:14 (23 Jul 2001)
27. George Sand and a Majorcan Winter 22:08 (23 Jul 2001)
28. Misanthropy, Hypocrisy and Prejudice 3:38 (23 Jul 2001)
29. At Nohant: An Idyllic and Creative Summer 2:34 (23 Jul 2001)
30. The Idyll Continues 4:58 (23 Jul 2001)
31. The Return to Paris 2:27 (23 Jul 2001)
32. Chopin Grows Moody, Petulant and Volatile 5:57 (23 Jul 2001)
33. Failing Health and Mounting Tensions 4:35 (23 Jul 2001)
34. The Break With Sand; Illness; London 12:34 (23 Jul 2001)
35. Scotland, London, Paris; Decline and Death 14:01 (23 Jul 2001)
36. Introduction; Cue to Unadorned Bolero Rhythm, Part I 2:29 (2001)
37. Bolero Rhythm, Part 2: An Extended Variation of, Part I 0:07 (2001)
38. 'Motto' Rhythm Complete (Instrumentation Will Change on Each New Hearing) 0:21 (2001)
39. But Here We Have Snare Drums and Plucked Violas and Cellos 0:22 (2001)
40. Section 1: Introduction of 'the Theme' (The Only One in the Piece) By Solo Flute 0:37 (2001)
41. Flute continues with Part 2 of theme 0:48 (2001)
42. Section 2: Complete Statement of Theme by Clarinet as Flute Joins 'Motto' Group 1:30 (2001)
43. Introduction of 'Discordant' Harp Into the Unfolding Picture 0:18 (2001)
44. Section 3: Bassoon Introduces Closely Related Variant of Theme 0:34 (2001)
45. ... but Then Veers Upwards, Slowing Rhythm and Introducting New Syncopation 0:59 (2001)
46. Section 4: 'Petite' E Flat Clarinet Takes Over Theme, Including Variants 1:21 (2001)
47. Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form 1:34 (2001)
48. Section 6: Theme Now Shared by Two Instruments: Muted Trumpet and Flute 1:16 (2001)
49. Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto' 1:39 (2001)
50. Section 8: Theme Taken by Soprano Saxophone, 'Espressivo' 1:09 (2001)
51. Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn 1:24 (2001)
52. Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins 2:06 (2001)
53. Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides 1:40 (2001)
54. Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets 1:13 (2001)
55. Section 13: Violins at Last Take the Main Tune, Joining Massed Winds 1:14 (2001)
56. Section 14: Violins Divide Into Four Groups, Each 'Double-Stopping' 1:04 (2001)
57. Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground 1:18 (2001)
58. Section 16: First Trombone and Soprano Saxophone 'Rejoin' Theme 0:56 (2001)
59. Section 17: Fortissimo; All Strings 'Double-Stopping'; Trumpets Added 1:26 (2001)
60. Section 18: Entire Orchestra Now Employed, 'as Loudly as Possible' 1:18 (2001)
61. Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major 1:20 (2001)
62. Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest 0:36 (2001)
63. Cue to Complete Performance 0:20 (2001)
64. Opening Figure on Flute; Rising, Falling, and Then Repeated 1:04 (2001)
65. Same Again, With Emphasis on Delicacy of Scoring 0:30 (2001)
66. Answering Variant, Accompanied by Plucked Double Basses 0:19 (2001)
67. Reminder of Opening Figure 0:18 (2001)
68. ... and Now Its Rhythmical Mirror Image, or Almost... 0:12 (2001)
69. Answering Phrase 2: A Near-Inversion, Over "James Bond" Accompaniment 0:41 (2001)
70. Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2 0:46 (2001)
71. Reprise of Phrases 1 and 2, but With New Accompaniment 0:39 (2001)
72. Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp 0:40 (2001)
73. Introduction; Opening, With Multi-Metre Rising Scales From Muted Violins 0:49 (2001)
74. Changes of Metre Continue as Solo Oboe Introduces Theme One 0:24 (2001)
75. Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings 0:44 (2001)
76. Theme One Returns, Shared by Clarinet and Flute; Muted Horn Added to Accompaniment 0:25 (2001)
77. "Motto" Rhythm Dominates as Intensity Increases From Lower Strings to Full Orchestra 0:46 (2001)
78. Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key 0:32 (2001)
79. Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc. 0:44 (2001)
80. Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo 0:19 (2001)
81. The Main Part of Movement Ends, With Waltz-Like March(!) (feat. Flute) 0:28 (2001)
82. Introduction; Opening (Introductory) Bars, Followed by Theme One 2:00 (2001)
83. Oriental-Orchestral Equivalent of an Imperial Telephone Bell 0:15 (2001)
84. ... Oboe "Answers" With a Very Slightly Varied Version of Theme One 0:15 (2001)
85. Expanded Derivative of the "Telephone Bell" Interrupts the Theme Again 1:00 (2001)
86. Fragments of Theme in Flutes and Cor Anglais, With "James Bond" Tag in Violins 0:24 (2001)
87. "Gamelan" Music From Flute and Piccolo, Accompanied by Harp, Xylophone and Strings 0:32 (2001)
88. Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong 0:47 (2001)
89. Opening, Waltz Theme From Clarinet, With Important Downward Scale Figure in Strings 0:51 (2001)
90. Characteristic Pattern of Two Short Phrases Answered by a Long One 0:36 (2001)
91. Clarinet, Flutes and Violas, With "Sighing" Figure Derived From Downward String Motif 0:21 (2001)
92. Varied Reprise of Opening, Entry of the "Beast" (Contra-Bassoon); "Watch It! Watch It!" 0:32 (2001)
93. Again the "Beast" Growls; Again the Cautious Warning "Watch It!" From the Winds 0:40 (2001)
94. Derivative of Beauty's Theme From Flute, Combined With "Caution Motif" in Strings 0:38 (2001)
95. "Beast's Theme" Rises in Pitch With Each Successive "Growl" (Representing Hope?) 0:52 (2001)
96. "Beauty", "Beast" and "Caution" Motifs All Combine Simultaneously 1:12 (2001)
97. "Beast" (Contra-Bassoon) Climbs Ever Higher, Handing Over to Bassoon Proper 0:49 (2001)
98. Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release 2:09 (2001)
99. Introduction; Opening Bars Are Unfurled by the Strings Alone 0:40 (2001)
100. The Rhythmic Basis, and Its Guises. First, a Question: "Where Went My Childhood?" 1:23 (2001)
101. The Question Intensified: "Oh Where Went... My Childhood?" 0:15 (2001)
102. The Answer, With a Falling Inflection: "Gone Is Your Childhood." 0:20 (2001)
103. The Plea: "Bring Back My Childhood!" 0:14 (2001)
104. The Response: "Seek In... Your Mem'ry. There It... Will Be." 0:25 (2001)
105. Ravel's Use of Tone Colour to Change the Feeling of the Music 0:49 (2001)
106. Further Illustration of the Same Point 0:27 (2001)
107. Continued 1:44 (2001)
108. The Nobility of the Strings 0:45 (2001)
109. Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite 1:11 (2001)
110. Family Background and Early Years 8:39 (May 2002)
111. Bach and the Organ 2:02 (May 2002)
112. Bach in Trouble 10:17 (May 2002)
113. Bach the Husband and Father 4:11 (May 2002)
114. Bach the Younger Composer 2:12 (May 2002)
115. Bach in Weimar (And in Jail) 3:46 (May 2002)
116. Bach Leaves Weimar 0:28 (May 2002)
117. Bach at Cothen 2:56 (May 2002)
118. Bach and the Brandenburgs 2:35 (May 2002)
119. From Grief to Joy Through Faith 1:27 (May 2002)
120. New Beginnings: Bach Remarries and His Family Grows 2:09 (May 2002)
121. Goldberg Variations and Anna Magdalena's Notebook 0:51 (May 2002)
122. Domestic Happiness and the Move to Leipzig 4:16 (May 2002)
123. Bach's Duties at Lepzig 4:48 (May 2002)
124. Bach the Teacher 7:00 (May 2002)
125. The Great Keyboard Works on Educational Agenda 0:16 (May 2002)
126. A Letter to the King 2:26 (May 2002)
127. Bach Takes Up the Poet's Pen 2:45 (May 2002)
128. Bach's Frustration at Leipzig 4:01 (May 2002)
129. Frustrations Intensify 3:25 (May 2002)
130. Bach's Efforts to Leave Leipzig 6:12 (May 2002)
131. The King of Poland's Jubilee 2:07 (May 2002)
132. The Ernesti Affair 9:05 (May 2002)
133. Adolf Scheibe's Scathing Views on Bach 3:05 (May 2002)
134. Bach and Opera 2:29 (May 2002)
135. The Twilight Years 4:57 (May 2002)
136. Bach's Visit to Frederick the Great 10:33 (May 2002)
137. Decline and Death 8:04 (May 2002)
138. A Miracle Exported 5:02 (2002)
139. Prodigy and the Child: At Home and Abroad 9:10 (2002)
140. A Prodigy at Home 3:18 (2002)
141. The Grand Tour 5:19 (2002)
142. Salzburg's Ambassadors 1:52 (2002)
143. Italian Investments 5:13 (2002)
144. A Dream Come True 6:53 (2002)
145. To Paris Under Protest 6:31 (2002)
146. An Unexpected Triumph 3:16 (2002)
147. Death, Deception, and Grief 3:54 (2002)
148. Recrimination and Capitulation 9:07 (2002)
149. Liberation in Vienna 7:30 (2002)
150. Love, Marriage... and Leopold 8:09 (2002)
151. A Miraculous Outpouring 1:43 (2002)
152. On the Cadge 2:49 (2002)
153. Reunion, Parenthood, Grief, and Resilience 4:34 (2002)
154. Father, Father-figure, and Friendship 2:50 (2002)
155. Destiny versus Popularity 3:39 (2002)
156. Prague, Figaro and Celebrity 1:26 (2002)
157. Don Giovanni, Death, and Desolation 6:36 (2002)
158. Despair and Recovery 4:07 (2002)
159. Genius in Adversity 0:53 (2002)
160. Decline, Death and Immortality 9:11 (2002)
161. Mozart as Eternal Child 1:50 (2002)
162. Leopold and the Eternal Child 5:57 (2002)
163. Dashed Hopes of Escape 1:56 (2002)
164. The Composer Comes of Age 2:11 (2002)
165. The Genius Emerges Fully Fledged 2:53 (2002)
166. Fired by the Archbishop, Mozart seeks his fortune elsewhere 9:04 (2002)
167. Sexual Awakening 4:56 (2002)
168. Mozart, Love, and Filial Obedience 12:44 (2002)
169. Introduction, origins 1:39 ()
170. Imagery, analogy and the shape of the things to come; the opening flourish 1:50 ()
171. The unusual presence of the double-bass 0:54 ()
172. A palette of tone colours and the emergence of a theme 0:47 ()
173. Trouble getting off the ground, but the key is not in doubt. 0:49 ()
174. Jumping the queue: Schubert takes a lesson from Mozart. 1:33 ()
175. Mozart demonstrates a traditional transition. 0:33 ()
176. Destination clarified 0:07 ()
177. Mozart confirms our arrival. 0:08 ()
178. A Schubertian shocker from a later work 0:52 ()
179. Rejoining the 'Trout', with a reminder 0:27 ()
180. The piano joins the strings with yet a third variant of the theme. 0:31 ()
181. A rhythmic motto: the 'triplet motif' 1:26 ()
182. We get it here. 0:17 ()
183. We get it there. 0:17 ()
184. We find it everywhere, even in the double-bass. 0:27 ()
185. The strings' answer to the piano's opening flourish 0:36 ()
186. The two-part structure of the 'answering motif'... 0:24 ()
187. ...but scarcely ever the same way twice 0:34 ()
188. The piano and strings now share the material for the first time. 0:42 ()
189. Conversation as the first principle of chamber music 0:43 ()
190. Opening (introductory) section heard complete 1:01 ()
191. The violin and double-bass in partnership 1:16 ()
192. The violin and piano swap roles. 0:59 ()
193. Transition to second main theme; triplets now everywhere 1:12 ()
194. On the threshold of the new theme 0:30 ()
195. Second main theme (a 'love duet'), shared by cello and viola 1:24 ()
196. The abandonment of octaves in the piano changes the tone colour. 1:07 ()
197. A surprising change of tone and a premonition 0:39 ()
198. A return to lyricism, but the cello jumps the gun 0:37 ()
199. A buoyant, skipping new theme is given to the solo piano. 0:36 ()
200. Re-entry of the strings as the violin takes up the new theme 0:25 ()
201. A transitional theme, and another Schubertian key-jump 1:33 ()
202. We sense the imminent arrival of the closing theme. 1:31 ()
203. A sudden, hushed key-change introduces part two of the closing theme. 0:40 ()
204. The exposition comes to an end. 0:32 ()
205. Cue to complete exposition 0:06 ()
206. Music: exposition complete 4:09 ()
207. Introduction to the development; the genetic code of 'key' 7:20 ()
208. The contrasting aural properties of piano and violin 1:03 ()
209. The ponderous double-bass is featured in the first main theme 0:49 ()
210. The strings are liberated from servitude, but are a long way from home. 0:42 ()
211. A joyful conversation and a change of pace in the piano 1:06 ()
212. The piano takes the melodic lead again. 0:31 ()
213. A conversation between violin and piano leads to the exposition... 1:20 ()
214. ...but Schubert gets it 'wrong'. 1:35 ()
215. Introduction to second movement 1:53 ()
216. The violin now takes theme one. 0:29 ()
217. The piano regains the theme. 0:42 ()
218. The violin and piano round off first section with the new 'closing' theme. 0:35 ()
219. A major change of tone: a passing cloud and a dark new key 1:19 ()
220. The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme. 1:28 ()
221. The sun returns with a new theme, in two contrasting parts. 1:21 ()
222. An evaporating dialogue between violin and piano 0:58 ()
223. A major mood change as twilight falls 1:12 ()
224. Cue to whole movement 0:33 ()
225. Introduction to the Scherzo - And a Clear Four-Bar Phrase... 1:37 ()
226. ..."Answered" by Two Two-Bar Phrases 0:21 ()
227. A Disconcerting "Echo" 1:02 ()
228. Expectation, Frustration and Surprise 0:27 ()
229. The Phrase Length Exands From Nine to Fourteen Bars 0:36 ()
230. The Beginning of the Second Half... 1:07 ()
231. ... or Should It Go From G minor to D major? 0:08 ()
232. Doubts Are Sown as the Tonality Becomes Elusive. 0:48 ()
233. A Varied Reprise of Part One, and the End of the Scherzo Proper 0:33 ()
234. A Conversational Start to the Trio Section 0:40 ()
235. Another Schubertian Phrase Extension 0:25 ()
236. Two Overlapping Phrases Add Up to a Single Theme. 0:22 ()
237. The Piano Adds a Third Phrase to the Overlap. 0:32 ()
238. The Overlaps Continue as the Key Drifts Downwads 0:36 ()
239. Another Schubertian Key-Jump, Now to B flat 0:45 ()
240. A Dramatic Transformation of Mood 0:52 ()
241. Awakening From a Dream: The Main Theme's Return 0:51 ()
242. Cue to Complete Scherzo 0:11 ()
243. Enter the Trout, at Last; A Meeting With the Original 0:30 ()
244. Music: "Die Forelle" 1:59 ()
245. Back to the Quintet: The Strings, Headed by the Violin, Introduce the Theme. 1:24 ()
246. The First Variation 1:41 ()
247. The Second Variation 1:14 ()
248. The Third Variation 1:20 ()
249. The Fourth Variation, Part One 1:33 ()
250. The Fourth Variation, Part Two 0:57 ()
251. The Fifth Variation 2:45 ()
252. The Final Variation, Part One: Violin and Piano Alone Introduce the Theme 0:31 ()
253. The Final Variation, Part Two: The Cello Takes the Tune. 0:25 ()
254. The Final Variation, Part Three: Piano and Violin Return as a Duo... 0:25 ()
255. The Final Variation, Part Four: ...as Do the Viola and Cello. 0:17 ()
256. The Final Variation, Part Five: The Entire Ensemble Is Reunited. 0:39 ()
257. Introduction to the Finale: Schubert as Wizard of Repetition 2:17 ()
258. Easily Overlooked: The Accompaniment From Cello and Double-Bass 0:36 ()
259. Contrasts of Timbre and Register 0:59 ()
260. A Repetition, and Yet Not a Repetition 0:07 ()
261. A Journey Begun; The Phenomenon of Musical Gravity 0:22 ()
262. The Journey Completed 0:16 ()
263. The Source of Musical Gravity 0:22 ()
264. Music: Saint-Saens - The Carnival of the Animals "The Pianists" 0:28 ()
265. A Scale of Shifting Tensions 0:49 ()
266. Music: Beethoven, Symphony No. 1 (Finale) 0:37 ()
267. Back to Schubert 0:39 ()
268. The Piano Embellishes a Scalewise Descent. 0:18 ()
269. A Retrospective Moment 0:33 ()
270. Repetition More Apparent Then Real 1:02 ()
271. A Taste of Phrase Rhythm 1:26 ()
272. Shifting Patterns of Accentuation 0:27 ()
273. The Section Reviewed 0:15 ()
274. An Increasingly Sophisticated Texture as Parts Interact 0:46 ()
275. More Phrase Rhythm 0:29 ()
276. A Repetition From the Strings... 0:11 ()
277. ... and an Answer From the Piano 0:13 ()
278. In Transition to the Secondary Key 0:51 ()
279. The Origin of the Second Theme 0:19 ()
280. The Second Main Theme 0:38 ()
281. The Closing Section Begins, With a Question Answered. 0:42 ()
282. The Question Repeated, a Slightly Different Answer 0:28 ()
283. First Theme of Closing Section Reviewed 0:59 ()
284. Remembrance of Things Past 0:28 ()
285. The Piano and Strings Argue Over the Harmony. 1:13 ()
286. Emergence of the Final Theme 0:24 ()
287. An Unexpected Thunderstorm 0:51 ()
288. The Sound of Silence 1:29 ()
289. Cue to Complete Finale 1:00 ()