[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.60,0:00:03.16,Default,,0000,0000,0000,,- The second movement is\Nan andantino in the style
Dialogue: 0,0:00:03.16,0:00:03.99,Default,,0000,0000,0000,,of a canzona.
Dialogue: 0,0:00:03.99,0:00:06.60,Default,,0000,0000,0000,,A canzona is an instrumental\Nform of the Renaissance.
Dialogue: 0,0:00:06.60,0:00:09.45,Default,,0000,0000,0000,,In the Renaissance, there\Nwere two basic musical forms:
Dialogue: 0,0:00:09.45,0:00:12.70,Default,,0000,0000,0000,,the Matraville, or sung form,\Nand a canzona, an instrumental
Dialogue: 0,0:00:12.70,0:00:15.03,Default,,0000,0000,0000,,form, so he calls it a canzona.
Dialogue: 0,0:00:15.03,0:00:18.53,Default,,0000,0000,0000,,Canzonas were never slow\Nmovements; they were always moving,
Dialogue: 0,0:00:18.53,0:00:21.85,Default,,0000,0000,0000,,never terribly fast, but at\Na nice pace, and that's what
Dialogue: 0,0:00:21.85,0:00:24.37,Default,,0000,0000,0000,,this is: not slow movement at all.
Dialogue: 0,0:00:24.37,0:00:28.21,Default,,0000,0000,0000,,The first movement has a waltz\Nelement, but it is kind of
Dialogue: 0,0:00:28.21,0:00:29.62,Default,,0000,0000,0000,,a slow movement.
Dialogue: 0,0:00:29.62,0:00:32.46,Default,,0000,0000,0000,,It is played by the oboe\Nand it's a melancholy tune.
Dialogue: 0,0:00:33.38,0:00:38.38,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:00:49.91,0:00:52.74,Default,,0000,0000,0000,,Interestingly, it just never\Nstops, so once he starts
Dialogue: 0,0:00:52.74,0:00:55.47,Default,,0000,0000,0000,,with these eighth notes,\Nit just continues.
Dialogue: 0,0:00:55.47,0:00:58.86,Default,,0000,0000,0000,,The melody is so beautiful\Nand the only accompaniment
Dialogue: 0,0:00:58.86,0:01:01.18,Default,,0000,0000,0000,,to that are these little pizzicatos.
Dialogue: 0,0:01:02.08,0:01:07.08,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:01:17.37,0:01:20.53,Default,,0000,0000,0000,,After that, the cello section\Nrepeats that same melody.
Dialogue: 0,0:01:21.72,0:01:26.72,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:01:36.42,0:01:38.50,Default,,0000,0000,0000,,Flutes come in with the counter melody.
Dialogue: 0,0:01:39.71,0:01:44.71,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:01:49.90,0:01:53.70,Default,,0000,0000,0000,,And then, the second themed\Ngroup begins and the strings.
Dialogue: 0,0:01:54.57,0:01:59.57,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:02:15.21,0:02:18.48,Default,,0000,0000,0000,,And again, what Tchaikovsky so\Noften does, he takes material
Dialogue: 0,0:02:18.48,0:02:22.61,Default,,0000,0000,0000,,like that and he'll do\Nit in a different key.
Dialogue: 0,0:02:22.61,0:02:27.61,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:02:33.09,0:02:34.13,Default,,0000,0000,0000,,(light piano)
Dialogue: 0,0:02:34.13,0:02:37.31,Default,,0000,0000,0000,,I mean, it can keep going, you\Ncan go forever, and he builds
Dialogue: 0,0:02:37.31,0:02:40.83,Default,,0000,0000,0000,,and it builds, then he brings\Nback the original theme played
Dialogue: 0,0:02:40.83,0:02:42.68,Default,,0000,0000,0000,,by the bassoon and the viola section.
Dialogue: 0,0:02:44.01,0:02:49.01,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:03:09.53,0:03:13.22,Default,,0000,0000,0000,,And this is basically\Nwhat he does until he gets
Dialogue: 0,0:03:13.22,0:03:14.98,Default,,0000,0000,0000,,to the third theme group.
Dialogue: 0,0:03:14.98,0:03:18.17,Default,,0000,0000,0000,,Some people consider\Nit to be like a march.
Dialogue: 0,0:03:18.17,0:03:23.17,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:03:29.95,0:03:32.89,Default,,0000,0000,0000,,To me, it is more poignant.
Dialogue: 0,0:03:32.89,0:03:35.50,Default,,0000,0000,0000,,A march would give you the\Nimpression that it was somewhat
Dialogue: 0,0:03:35.50,0:03:39.59,Default,,0000,0000,0000,,superficial, but it's as\Npoignant as ever, gorgeous.
Dialogue: 0,0:03:39.59,0:03:43.81,Default,,0000,0000,0000,,He repeats it, he varies it,\Nhe has a counter-theme to it,
Dialogue: 0,0:03:43.81,0:03:47.39,Default,,0000,0000,0000,,and eventually he brings\Nback the original theme.
Dialogue: 0,0:03:47.39,0:03:52.39,Default,,0000,0000,0000,,This time, I choose to bring\Nit back in a very quiet way,
Dialogue: 0,0:03:52.82,0:03:57.78,Default,,0000,0000,0000,,almost without expression, and\Nhighlights the little scales
Dialogue: 0,0:03:57.78,0:03:59.93,Default,,0000,0000,0000,,(vocal percussion)
Dialogue: 0,0:03:59.93,0:04:02.25,Default,,0000,0000,0000,,that the woodwinds have: the flute,
Dialogue: 0,0:04:02.25,0:04:03.63,Default,,0000,0000,0000,,the clarinet, the bassoon.
Dialogue: 0,0:04:04.77,0:04:09.77,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:04:39.81,0:04:42.36,Default,,0000,0000,0000,,Eventually they use the\Nsame second theme material,
Dialogue: 0,0:04:43.46,0:04:46.49,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:04:46.49,0:04:50.45,Default,,0000,0000,0000,,and then a transition, woodwind\Nstrings, that brings us back
Dialogue: 0,0:04:50.45,0:04:55.41,Default,,0000,0000,0000,,to the end, which this time\Nit has the wonderful melody
Dialogue: 0,0:04:55.41,0:04:56.81,Default,,0000,0000,0000,,being played by the bassoon.
Dialogue: 0,0:04:58.16,0:05:03.16,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)
Dialogue: 0,0:05:33.51,0:05:36.01,Default,,0000,0000,0000,,And a little coda with\Nlittle chords throughout
Dialogue: 0,0:05:36.01,0:05:38.07,Default,,0000,0000,0000,,the orchestra comes it to an absolutely
Dialogue: 0,0:05:38.07,0:05:39.24,Default,,0000,0000,0000,,gorgeous, poignant end.
Dialogue: 0,0:05:40.71,0:05:45.71,Default,,0000,0000,0000,,("Symphony No.4" by\NPyotr Ilyich Tchaikovsky)