UPC · Release
Classics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann)
Jeremy Siepmann
636943803226
80 tracksReleased 2001-01-01Naxos
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636943803226 is the Universal Product Code (UPC barcode) for the release “Classics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann)” by Jeremy Siepmann, released 2001-01-01 on Naxos. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 80 tracks, each with its own ISRC. Tracks include HKI199608011, HKI199290301, HKI199290302.
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UPCClassics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann)
ISRC6 recordings
ISWC1 work
IPI1 songwriter
Track List (80)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Introduction; Cue to Unadorned Bolero Rhythm, Part I | — | ||
| 2 | Bolero Rhythm, Part 2: An Extended Variation of, Part I | — | ||
| 3 | 'Motto' Rhythm Complete (Instrumentation Will Change on Each New Hearing) | — | ||
| 4 | But Here We Have Snare Drums and Plucked Violas and Cellos | — | ||
| 5 | Section 1: Introduction of 'the Theme' (The Only One in the Piece) By Solo Flute | — | ||
| 6 | Flute continues with Part 2 of theme | — | ||
| 7 | Section 2: Complete Statement of Theme by Clarinet as Flute Joins 'Motto' Group | — | ||
| 8 | Introduction of 'Discordant' Harp Into the Unfolding Picture | — | ||
| 9 | Section 3: Bassoon Introduces Closely Related Variant of Theme | — | ||
| 10 | ... but Then Veers Upwards, Slowing Rhythm and Introducting New Syncopation | — | ||
| 11 | Section 4: 'Petite' E Flat Clarinet Takes Over Theme, Including Variants | — | ||
| 12 | Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form | — | ||
| 13 | Section 6: Theme Now Shared by Two Instruments: Muted Trumpet and Flute | — | ||
| 14 | Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto' | — | ||
| 15 | Section 8: Theme Taken by Soprano Saxophone, 'Espressivo' | — | ||
| 16 | Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn | — | ||
| 17 | Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins | — | ||
| 18 | Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides | — | ||
| 19 | Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets | — | ||
| 20 | Section 13: Violins at Last Take the Main Tune, Joining Massed Winds | — | ||
| 21 | Section 14: Violins Divide Into Four Groups, Each 'Double-Stopping' | — | ||
| 22 | Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground | — | ||
| 23 | Section 16: First Trombone and Soprano Saxophone 'Rejoin' Theme | — | ||
| 24 | Section 17: Fortissimo; All Strings 'Double-Stopping'; Trumpets Added | — | ||
| 25 | Section 18: Entire Orchestra Now Employed, 'as Loudly as Possible' | — | ||
| 26 | Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major | — | ||
| 27 | Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest | — | ||
| 28 | Cue to Complete Performance | — | ||
| 29 | Bolero | Maurice Ravel | T-003.006.377-4 | |
| 2-1 | Opening Figure on Flute; Rising, Falling, and Then Repeated | — | ||
| 2-2 | Same Again, With Emphasis on Delicacy of Scoring | — | ||
| 2-3 | Answering Variant, Accompanied by Plucked Double Basses | — | ||
| 2-4 | Reminder of Opening Figure | — | ||
| 2-5 | ... and Now Its Rhythmical Mirror Image, or Almost... | — | ||
| 2-6 | Answering Phrase 2: A Near-Inversion, Over "James Bond" Accompaniment | — | ||
| 2-7 | Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2 | — | ||
| 2-8 | Reprise of Phrases 1 and 2, but With New Accompaniment | — | ||
| 2-9 | Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp | — | ||
| 2-10 | Ma mère l'oye: Pavane de la belle au bois dormant | Symfonický orchester Slovenského rozhlasu, Kenneth Jean | — | |
| 2-11 | Introduction; Opening, With Multi-Metre Rising Scales From Muted Violins | — | ||
| 2-12 | Changes of Metre Continue as Solo Oboe Introduces Theme One | — | ||
| 2-13 | Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings | — | ||
| 2-14 | Theme One Returns, Shared by Clarinet and Flute; Muted Horn Added to Accompaniment | — | ||
| 2-15 | "Motto" Rhythm Dominates as Intensity Increases From Lower Strings to Full Orchestra | — | ||
| 2-16 | Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key | — | ||
| 2-17 | Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc. | — | ||
| 2-18 | Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo | — | ||
| 2-19 | The Main Part of Movement Ends, With Waltz-Like March(!) (feat. Flute) | — | ||
| 2-20 | Ma mère l'oye: Petit poucet | Symfonický orchester Slovenského rozhlasu, Kenneth Jean | — | |
| 2-21 | Introduction; Opening (Introductory) Bars, Followed by Theme One | — | ||
| 2-22 | Oriental-Orchestral Equivalent of an Imperial Telephone Bell | — | ||
| 2-23 | ... Oboe "Answers" With a Very Slightly Varied Version of Theme One | — | ||
| 2-24 | Expanded Derivative of the "Telephone Bell" Interrupts the Theme Again | — | ||
| 2-25 | Fragments of Theme in Flutes and Cor Anglais, With "James Bond" Tag in Violins | — | ||
| 2-26 | "Gamelan" Music From Flute and Piccolo, Accompanied by Harp, Xylophone and Strings | — | ||
| 2-27 | Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong | — | ||
| 2-28 | Ma mère l'oye: III. Laideronnette, impératrice des pagodes | Maurice Ravel | — | |
| 2-29 | Opening, Waltz Theme From Clarinet, With Important Downward Scale Figure in Strings | — | ||
| 2-30 | Characteristic Pattern of Two Short Phrases Answered by a Long One | — | ||
| 2-31 | Clarinet, Flutes and Violas, With "Sighing" Figure Derived From Downward String Motif | — | ||
| 2-32 | Varied Reprise of Opening, Entry of the "Beast" (Contra-Bassoon); "Watch It! Watch It!" | — | ||
| 2-33 | Again the "Beast" Growls; Again the Cautious Warning "Watch It!" From the Winds | — | ||
| 2-34 | Derivative of Beauty's Theme From Flute, Combined With "Caution Motif" in Strings | — | ||
| 2-35 | "Beast's Theme" Rises in Pitch With Each Successive "Growl" (Representing Hope?) | — | ||
| 2-36 | "Beauty", "Beast" and "Caution" Motifs All Combine Simultaneously | — | ||
| 2-37 | "Beast" (Contra-Bassoon) Climbs Ever Higher, Handing Over to Bassoon Proper | — | ||
| 2-38 | Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release | — | ||
| 2-39 | Ma mère l’oye Suite (Mother Goose Suite) (version for orchestra): IV. Les entretiens de la Belle et de la Bête | Slovenský filharmonický zbor, Slovak Radio Symphony Orchestra, Kenneth Jean | — | |
| 2-40 | Introduction; Opening Bars Are Unfurled by the Strings Alone | — | ||
| 2-41 | The Rhythmic Basis, and Its Guises. First, a Question: "Where Went My Childhood?" | — | ||
| 2-42 | The Question Intensified: "Oh Where Went... My Childhood?" | — | ||
| 2-43 | The Answer, With a Falling Inflection: "Gone Is Your Childhood." | — | ||
| 2-44 | The Plea: "Bring Back My Childhood!" | — | ||
| 2-45 | The Response: "Seek In... Your Mem'ry. There It... Will Be." | — | ||
| 2-46 | Ravel's Use of Tone Colour to Change the Feeling of the Music | — | ||
| 2-47 | Further Illustration of the Same Point | — | ||
| 2-48 | Continued | — | ||
| 2-49 | The Nobility of the Strings | — | ||
| 2-50 | Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite | — | ||
| 2-51 | Ma mère l'oye: V. Le jardin féerique | Slovak Radio Symphony Orchestra, Kenneth Jean | — |
Introduction; Cue to Unadorned Bolero Rhythm, Part I
—
Bolero Rhythm, Part 2: An Extended Variation of, Part I
—
'Motto' Rhythm Complete (Instrumentation Will Change on Each New Hearing)
—
But Here We Have Snare Drums and Plucked Violas and Cellos
—
Section 1: Introduction of 'the Theme' (The Only One in the Piece) By Solo Flute
—
Flute continues with Part 2 of theme
—
Section 2: Complete Statement of Theme by Clarinet as Flute Joins 'Motto' Group
—
Introduction of 'Discordant' Harp Into the Unfolding Picture
—
Section 3: Bassoon Introduces Closely Related Variant of Theme
—
... but Then Veers Upwards, Slowing Rhythm and Introducting New Syncopation
—
Section 4: 'Petite' E Flat Clarinet Takes Over Theme, Including Variants
—
Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form
—
Section 6: Theme Now Shared by Two Instruments: Muted Trumpet and Flute
—
Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto'
—
Section 8: Theme Taken by Soprano Saxophone, 'Espressivo'
—
Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn
—
Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins
—
Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides
—
Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets
—
Section 13: Violins at Last Take the Main Tune, Joining Massed Winds
—
Section 14: Violins Divide Into Four Groups, Each 'Double-Stopping'
—
Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground
—
Section 16: First Trombone and Soprano Saxophone 'Rejoin' Theme
—
Section 17: Fortissimo; All Strings 'Double-Stopping'; Trumpets Added
—
Section 18: Entire Orchestra Now Employed, 'as Loudly as Possible'
—
Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major
—
Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest
—
Cue to Complete Performance
—
Opening Figure on Flute; Rising, Falling, and Then Repeated
—
Same Again, With Emphasis on Delicacy of Scoring
—
Answering Variant, Accompanied by Plucked Double Basses
—
Reminder of Opening Figure
—
... and Now Its Rhythmical Mirror Image, or Almost...
—
Answering Phrase 2: A Near-Inversion, Over "James Bond" Accompaniment
—
Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2
—
Reprise of Phrases 1 and 2, but With New Accompaniment
—
Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp
—
Ma mère l'oye: Pavane de la belle au bois dormant
Symfonický orchester Slovenského rozhlasu, Kenneth Jean
—
Introduction; Opening, With Multi-Metre Rising Scales From Muted Violins
—
Changes of Metre Continue as Solo Oboe Introduces Theme One
—
Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings
—
Theme One Returns, Shared by Clarinet and Flute; Muted Horn Added to Accompaniment
—
"Motto" Rhythm Dominates as Intensity Increases From Lower Strings to Full Orchestra
—
Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key
—
Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc.
—
Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo
—
The Main Part of Movement Ends, With Waltz-Like March(!) (feat. Flute)
—
Ma mère l'oye: Petit poucet
Symfonický orchester Slovenského rozhlasu, Kenneth Jean
—
Introduction; Opening (Introductory) Bars, Followed by Theme One
—
Oriental-Orchestral Equivalent of an Imperial Telephone Bell
—
... Oboe "Answers" With a Very Slightly Varied Version of Theme One
—
Expanded Derivative of the "Telephone Bell" Interrupts the Theme Again
—
Fragments of Theme in Flutes and Cor Anglais, With "James Bond" Tag in Violins
—
"Gamelan" Music From Flute and Piccolo, Accompanied by Harp, Xylophone and Strings
—
Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong
—
Ma mère l'oye: III. Laideronnette, impératrice des pagodes
Maurice Ravel
—
Opening, Waltz Theme From Clarinet, With Important Downward Scale Figure in Strings
—
Characteristic Pattern of Two Short Phrases Answered by a Long One
—
Clarinet, Flutes and Violas, With "Sighing" Figure Derived From Downward String Motif
—
Varied Reprise of Opening, Entry of the "Beast" (Contra-Bassoon); "Watch It! Watch It!"
—
Again the "Beast" Growls; Again the Cautious Warning "Watch It!" From the Winds
—
Derivative of Beauty's Theme From Flute, Combined With "Caution Motif" in Strings
—
"Beast's Theme" Rises in Pitch With Each Successive "Growl" (Representing Hope?)
—
"Beauty", "Beast" and "Caution" Motifs All Combine Simultaneously
—
"Beast" (Contra-Bassoon) Climbs Ever Higher, Handing Over to Bassoon Proper
—
Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release
—
Ma mère l’oye Suite (Mother Goose Suite) (version for orchestra): IV. Les entretiens de la Belle et de la Bête
Slovenský filharmonický zbor, Slovak Radio Symphony Orchestra, Kenneth Jean
—
Introduction; Opening Bars Are Unfurled by the Strings Alone
—
The Rhythmic Basis, and Its Guises. First, a Question: "Where Went My Childhood?"
—
The Question Intensified: "Oh Where Went... My Childhood?"
—
The Answer, With a Falling Inflection: "Gone Is Your Childhood."
—
The Plea: "Bring Back My Childhood!"
—
The Response: "Seek In... Your Mem'ry. There It... Will Be."
—
Ravel's Use of Tone Colour to Change the Feeling of the Music
—
Further Illustration of the Same Point
—
Continued
—
The Nobility of the Strings
—
Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite
—
Ma mère l'oye: V. Le jardin féerique
Slovak Radio Symphony Orchestra, Kenneth Jean
—
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What is UPC 636943803226?
636943803226 is a Universal Product Code (UPC) assigned to Classics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann) by Jeremy Siepmann. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 80 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
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