Jeremy Siepmann

Jeremy Siepmann，男歌手，代表作《Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann)》

最新歌曲

Jeremy Siepmann - First Movement (complete)
Jeremy Siepmann - But that's not the instrument Mozart wrote it for; this is:
Jeremy Siepmann - Brahms: Hungarian Dance No. 7
Jeremy Siepmann&Slovak Philharmonic Orchestra - Back to the start to hear the whole of the story so far, this time without commentary
Jeremy Siepmann - We don't merely use instruments, we play on them. And they play on us.
Jeremy Siepmann - Two functions of metrical change: going with the flow...
Jeremy Siepmann - Brandenburg Concerto No. 4 in G: The Brandenburgs as concerti grossi
Jeremy Siepmann - Instruments of the Orchestra: A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The
Jeremy Siepmann - Introduction of ' discordant ' harp into the unfolding picture
Jeremy Siepmann - Bolero rhythm, Part 2: an extended variation of Part 1
Jeremy Siepmann - Section 3: Bassoon introduces closely related variant of theme
Jeremy Siepmann - ' Motto ' rhythm complete
Jeremy Siepmann - But here we have snare drums and plucked violas and cellos
Jeremy Siepmann - Cue to complete performance
Jeremy Siepmann - Section 20: Key now lurches back to C, as jazzy trombones whiningly protest
Jeremy Siepmann - Section 1: Introduction of ' the theme ' by solo flute
Jeremy Siepmann - ... and now its rhythmical mirror image, or almost...
Jeremy Siepmann - Flute continues with Part 2 of theme
Jeremy Siepmann - ...but then veers upwards, slowing rhythm and introducing new syncopation
Jeremy Siepmann - Change of metre continue as solo oboe introduces Theme One
Jeremy Siepmann - answering variant, accompanied by plucked double basses
Jeremy Siepmann - Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets
Jeremy Siepmann - Section 15: Trumpet, trombone 2 and tuba join the foreground
Jeremy Siepmann - Theme One returns, shared by clarinet and flute, muted horn added to accompaniment
Jeremy Siepmann - Oriental-orchestral equivalent of an imprial telephone bell
Jeremy Siepmann - Section 11: Theme taken by First Trombone, complete with jazzy slides
Jeremy Siepmann - Same again, with emphasis on delicacy of scoring
Jeremy Siepmann - Section 18: Entire orchestra now employed, ' as loudly as possible '
Jeremy Siepmann - Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key
Jeremy Siepmann - Texture thins; Theme one returns, delicately scored for strings and piccolo
Jeremy Siepmann - Section 16: First trombone and soprano saxophone ' rejoin ' theme
Jeremy Siepmann - Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins
Jeremy Siepmann - Section 17: Fortissimo; all strings ' double-stopping '; trumpets added
Jeremy Siepmann - 'Motto' rhythm dominates as intensity increases from lower strings to full orchestra
Jeremy Siepmann - The main part of movement ends, with waltz-like march(!), featuring flute
Jeremy Siepmann - Section 6: Theme now shared by two instruments: uted trumpet and flute
Jeremy Siepmann - Section 13: Violins at last take the main tune, joining massed winds
Jeremy Siepmann - Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment
Jeremy Siepmann - Reprise of Phrases 1 and 2, but with new accompaniment
Jeremy Siepmann - Further Reprise of Phrase 2, now on violin, accompanied by harp
Jeremy Siepmann - Section 4: ' Petite ' E flat clainet takes over theme, including variants
Jeremy Siepmann - Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings
Jeremy Siepmann - Sensational sound effects evoke a wood at night, with screeches, cuckooing etc.
Jeremy Siepmann - Section 5: Oboe d'amore takes over theme but returns to its original form
Jeremy Siepmann - Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2
Jeremy Siepmann - ... oboe ' answers ' with a very slightly varied version of Theme One
Jeremy Siepmann - Section 19: Sudden, amazing change of key, lurching from C to E Major
Jeremy Siepmann - Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated
Jeremy Siepmann - Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif
Jeremy Siepmann - The question intensified:' Oh where went ... my childhood?'
Jeremy Siepmann - The plea: ' Bring back my childhood!'
Jeremy Siepmann - Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! '
Jeremy Siepmann - Section 8: Theme taken by soprano saxphone, ' espressivo '
Jeremy Siepmann - Further illustration of the same point
Jeremy Siepmann - Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group
Jeremy Siepmann - Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto '
Jeremy Siepmann - Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins
Jeremy Siepmann - Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings
Jeremy Siepmann - 'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings
Jeremy Siepmann - arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong
Jeremy Siepmann - The answer, with a falling inflection: ' Gone is your childhood.'
Jeremy Siepmann - Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins
Jeremy Siepmann - Expanded derivative of the ' telephone bell ' interrupts the theme again
Jeremy Siepmann - Section 14: Violins divide into four groups, each ' double-stopping '
Jeremy Siepmann - Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone
Jeremy Siepmann - The response: ' Seek in ... your mem'ry. There it ... will be.'
Jeremy Siepmann - Characteristic pattern of two short phrases answered by a long one
Jeremy Siepmann - ' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?)

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