The war between Prussia and France officially ends with the Treaty of Frankfurt. Bismarck's success has enhanced respect among Germans for his authoritarianism as opposed to the liberalism of his critics. Bavaria agrees to unify with Prussia. France cedes to Germany Alsace and Lorraine, and it is not popular among the people there. French forces crush the Paris Commune, and as many as 30,000 "Communards" and innocent Parisians are summarily executed • The Meiji government sends a few men to Europe and to the US, hoping to secure abolition of the Unequal Treaties and to examine Western technology, banking and agricultural techniques – the Iwakura Mission • Life expectancy at birth in England has risen from 36 years in 1700 to 41 years.
In Pittsburgh, Pennsylvania, Charles Taze Russell begins what will become the Jehovah's Witnesses • Speaking to Union Leaders in Holland, Karl Marx speaks of the possibility of victory for the working class through electoral politics. He says, "We do not deny that there are countries like England and America... where labour may attain its goal by peaceful means." • All former Confederate States have returned to the Union (the United States). An Amnesty Act restores the vote to those whites in the South who have been denied it
Japan's mission to Europe and the United States returns hopeful that Japan can catch up with the West in modernization. The Meiji government declares religious freedom and ends Confucianism as official state ideology • Russia's government orders students in Switzerland to return to Russia. The returning students launch a "To the People" movement, which they hope will revolutionize society
Germany is suffering a small pox epidemic. Vaccination becomes mandatory • In the United States, barbed wire has been invented. It is sold to farmers to keep passing herds of cattle off their land • Billy the Kid's mother, a charming immigrant and hardworking immigrant from Ireland, dies at 43 from tuberucolis in Silver City New Mexico, September 16 • Britain makes a colony of coastal territory 100 kilometers deep and 400 kilometers wide in what today is Ghana. During fighting there a British commander has his troops wear brown jackets and khaki trousers rather than the traditional red coats – a move toward camouflage.
In Canada the light bulb is invented. Thomas Edison buys the patent • Britain has bought into part ownership of the Suez Canal enterpriseAuguste Renoir - Lovers Southern Africa has became the largest diamond producing area in the world • Prospectors discover gold in the Black Hills of South Dakota, an area that the US government has promised the Sioux would be theirs forever • An attempt by Ottoman agents to collect taxes in Herzegovina leads to a popular uprising, and the rebellion spreads to Bosnia • Mark Twai (US) - Adventures of Tom Sawyer • Auguste Renoir - Lovers
Mark Twain (November 30, 1835 – April 21, 1910), real name Samuel Langhorne Clemens, was an American writer, humorist, entrepreneur, publisher, and lecturer. Among his novels are The Adventures of Tom Sawyer (1875) and its sequel, the Adventures of Huckleberry Finn (1885), the latter often called "The Great American Novel".
Georges Bizet - Jeux d'enfants ('Children's Games'),
for piano four hands, Op.22
1.Reverie: L'Escarpolette (The Swing)
2.Impromptu: La Toupie (The Top) 2:30
3. 3.Berceuse: La Poupée (The Doll) 3:31
4.Scherzo: Les Chevaux de bois (The Merry-Go-Round) 5:53
5. 5.Fantaisie: Le Volant (The Shuttlecock) 7:10
6.Marche: Trompette et Tambour (Trumpet and Tambourine) 8:10
7.Rondino: Les Bulles de Savon (The Soap Bubbles) 10:20
8.Esquisse: Les quatre coins (The Four Coins) 11:48
9.Nocturne: Colin-Maillard (Hide and Seek) 14:04
10.Caprice: Saute-Mouton (Leapfrog) 15:38
11.Duo: Petit mari, petite femme (Playing House) 16:54
12.Galop: Le Bal (The Ball) 20:12
Katia and Marielle Labèque, piano
Recording date: 1990
Pyotr Ilyich Tchaikovsky – String Quartet No. 1
Pyotr Ilyich Tchaikovsky - The String Quartet No. 1 in D major, Op. 11
00:00 Moderato e semplice
08:41 Andante cantabile
15:12 Scherzo. Allegro non tanto e con fuoco – Trio
18:49 Finale. Allegro giusto – Allegro vivace
The Smetana Quartet
violin - Jiri Novak
violin - Lubomir Kostecky
viola - Milan Skampa
cello - Antonin Kohout
Recorded in 1969
Sir Arthur Sullivan - Thespis, or The Gods Grown OldThe Victorian burlesque Thespis, first of the Gilbert and Sullivan light opera collaborations, premières at the Gaiety Theatre, London. It does modestly well, but the two composers will not again work together until 1875.
Sir William Schwenck Gilbert (18 November 1836 – 29 May 1911) was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado.
Thespis by Gilbert & Sullivan
Extracts from Act One of Thespis in a new performing edition created by Anthony Baker & Timothy Henty.
Performed at the Normansfield Theatre, Teddington on 2008, Starring Richard Suart as Thespis.
Alexander von Zemlinsky
Alexander Zemlinsky, (born Oct. 14, 1871, Vienna, Austria—died March 15, 1942, Larchmont, N.Y., U.S.), Austrian composer and conductor whose craftsmanship in both areas was and is highly regarded.
Zemlinsky was a student at the Vienna Conservatory from 1887 to 1892. He wrote several chamber pieces in 1893 that attracted the notice of Johannes Brahms, among others. In 1895, while playing in an amateur orchestra, he met Arnold Schoenberg, who became his lifelong friend (and, later, brother-in-law). A number of Zemlinsky’s works were introduced in the late 1890s. He conducted operas at the Vienna Volksoper from 1904 and (except for the 1907–08 season, when he conducted the Hofoper) served as Kapellmeister there from 1906 to 1911. With Schoenberg he founded (1904) an organization to introduce and encourage the appreciation of new music in Vienna. From 1911 to 1927 he was opera conductor for the Deutsches Landestheater in Prague, Czech., and from 1927 to 1930 he was Kapellmeister at the Kroll Opera in Berlin. Until 1933 he taught at the Berlin Musikhochschule. During this time he was a guest conductor with many European orchestras. In 1933 events in Germany compelled him to move to Vienna, and in 1938, after the Anschluss, he left Vienna and immigrated to the United States.
Among his 10 operas, Eine florentinische Tragödie (1915–16) and Der Zwerg (1920–21; also called Der Geburtstag de Infantin), both adapted from works by Oscar Wilde, are probably best known. Lyrische Symphonie (1923) for soprano, baritone, and orchestra is chief among his six symphonies, and Gesänge (“Songs”) to poems by Maurice Maeterlinck (1910–13) the best known of his songs. He also wrote five choral works and several popular instrumental and chamber pieces.
Alexander von Zemlinsky: The Mermaid, fantasy for orchestra after Andersen
Alexander von Zemlinsky: Lyrische Symphonie in sieben Gesängen für Sopran, Bariton und Orchester nach Rabindranath Tagore op. 18 (1922/23)
Kirill Petrenko, conductor · Maria Bengtsson, soprano · Bo Skovhus, baritone · Staatskapelle Berlin · 2011.
Anton von Zemlinsky : Quatuor à cordes n° 2 op. 15 par le Quatuor Hanson
Anton Zemlinsky - Sarema
opera in 3 parts - libretto - Adolph Von Zemlinszky, After R.Von Gottschall Die Rose Vom Kaukasus
Alexander Scriabin, composer, born.
Jacques Offenbach – Fantasio
Fantasio is an 1872 opéra comique in 3 acts, 4 tableaux with music by Jacques Offenbach.
The French libretto by Paul de Musset was closely based on the 1834 play of the same name by his brother Alfred de Musset. The opera found little success in Offenbach's lifetime, was revived in the 1930s and performed in a critical edition in the 2000s.
Jacques Offenbach - Fantasio
Fantasio ............ Martial DEFONTAINE
Elsbeth ............ Ianne ROULEAU
Le prince de Mantoue ....Franck LEGUERINEL
Marinoni ............Christophe CRAPEZ
Sparck ............Philippe RABIER
Flamel ............ Jeanne-Marie LEVY
Le roi ............Jacques LUNGHI
Facio ............ Philippe MORY
Max ............Michel EUMONT
Hartmann ............Guy-Etienne GIOT
Choeur de l'Opéra de Rennes Orchestre de Bretagne Claude SCHNITZLER
Opéra de Rennes, October 2000
Georges Bizet – Djamileh
Djamileh is an opéra comique in one act by Georges Bizet to a libretto by Louis Gallet, based on an oriental tale, Namouna, by Alfred de Musset.
Georges Bizet - OPERA `Djamileh`
Djamileh (Namouna) mezzo-soprano
Haroun (Hassan) tenor
Splendiano (not in de Musset) baritone
A slave merchant - spoken
Chorus of friends of Haroun, slaves, musicians
Camille Saint-Saëns – La princesse jaune, Op. 30
La princesse jaune (The Yellow Princess), Op. 30, is an opéra comique in one act and five scenes by composer Camille Saint-Saëns to a French libretto by Louis Gallet. The opera premiered at the Opéra-Comique (Salle Favart Theatre) in Paris on 12 June 1872.
Camille Saint Saëns - La Princess jaune
Maria Constanza Nocentini, soprano (Lena)
Carlo Allemano, tenor (Kornélis)
2. Lena: 'Outsou Sémisi Kamini'
3. Kornélis: 'J'aime dans son lointain mystère'
4. Lena: Je faisais un rêve insensé'
5. Kornélis: 'Vision dont mon âme éprise'
6. Kornélis: 'Ah! Quel nuage d'or'
7. Lena: 'C'est ainsi que ton image'
8. Kornélis: 'Ce doux mot qu'ignorant de moi-même'
Swiss Italian Orchestra. Francis Travis, conductor
Georges Bizet – L'Arlésienne Suite No. 1 from the incidental music to Alphonse Daudet's play of the same name.
Georges Bizet composed L'Arlésienne as incidental music to Alphonse Daudet's play of the same name, usually translated as The Girl from Arles. It was first performed on 1 October 1872 at the Vaudeville Theatre (now a cinema known as the Gaumont Opéra). Bizet's music consists of 27 numbers (some only a few bars) for voice, chorus, and small orchestra, ranging from short solos to longer entr'actes.
Georges Bizet: L'Arlésienne Suite No. 1 & Suite No. 2 Nathalie Stutzmann, conductor · Royal Stockholm Philharmonic Orchestra
(1) Overture – the March of the Kings; L’Innocent’s theme; Frédéri’s theme.
Tableau 1: The farm at Le Castelet In the first mélodrame (No 2) Francet Mamaï, Frédéri’s grandfather, tells the shepherd Balthazar and Frédéri’s young brother (called ‘l’Innocent’) of Fredéri’s passion for a girl from Arles, while l’Innocent, whose theme dominates this and the next two numbers, tries to talk to the shepherd about a fable about a wolf attacking a goat.
The next mélodrame (3) links the first and second scenes of the play, as the old shepherd, Balthazar, continues telling the wolf story to l’Innocent. The third mélodrame (4) accompanies an exchange between Vivette, Rose Mamaï’s god-daughter, and Balthazar, where the shepherd says he thinks something is stirring in l’Innocent’s mind.
In scene VIII, after a gay offstage chorus, a mélodrame (5), introduces the theme of Mitifio, a cow-herd; he has come to reveal that the Arlésienne has been another’s mistress for two years. In the mélodrame and final chorus (6), Frédéri is about to go off to Arles, but Francet tells him what Mitifio said. The chorus bursts in with a reprise of (5) as Frédéri’s theme accompanies his collapse by the well.
Tableau 2: Alongside the pond of Vaccarès in the Camargue (7) sets the scene, a Pastorale (the Pastorale in the second suite) with offstage chorus and accompaniment. In Mélodrame (8) Balthazar and l’Innocent enter in Scene III (using the latter’s theme), and (9) marks the exit of Rose. The next mélodrame (10) accompanies the discovery of Fréderi in the shepherd’s hut, angry because everyone is spying on him. As wordless offstage chorus sing, Balthazar leaves, having failed to make Frédéri destroy the letters from the Arlésienne which he reads night and day. Mélodrame (12) is only six bars; l’Innocent cannot recall the story he wants to tell his brother. In the next mélodrame (13), (Er dou guet) described as a ‘berceuse’, l’Innocent falls asleep while telling his story. A nine-bar mélodrame (14) evokes Rose’s desperation at Fréderi’s frame of mind.
Tableau 3: The kitchen at Castelet
The next music (the Intermezzo used in the second suite) depicts Vivette, the local girl who wants to marry Frédéri, preparing her parcels to take on the Rhone ferry (15). After men prepare to go out shooting game Rose and the others fear that Frédéri might kill himself. At the end of the act (16) when Frédéri decides that Vivette can help him forget his obsession, Balthazar and Rose express their relief.
This is followed by the Minuet (17) and the Carillon (18), both used in the first suite.
Tableau 4: The Castelet farm courtyard
A 6/8 Andantino Mélodrame (19) marks the entrance of Mère Renaud in Scene III, and in the following Adagio (the Adagietto in the first Suite) Balthazar and Renaud reminisce about old times. As all move off to eat, there is a reprise of the Andantino. Another Andantino follows the exit of Frédéri and Vivette as they declare their love (20). The farandole (21) (Danse dei Chivau-Frus) which begins quietly and builds to a climax sees Frédéri respond with fury to Mitifio who has come to tell Balthazar that he will run off with the girl from Arles (22).
Tableau 5: The Cocoonery
The farandole is heard then the March of the Kings is sung by the chorus, after which the two are combined (23); there is reprise for chorus of the March of the Kings (24). In (25) l’Innocent ‘awakens’ showing he understands his brother’s problem. In mélodrame (26) Rose is momentarily reassured as the clock strikes three, while the Final is a powerful tutti version of Frédéri’s theme (27) which brings down the curtain.
(b. Moscow, January 6, 1872; d. Moscow, April 27, 1915)
Russian composer and pianist. Driven by an egomaniacal mysticism that eventually led to messianic delusions, he started out writing in a fairly conventional late-Romantic idiom and developed into a visionary modernist intent on pushing the envelope of tonality to its limits. His piano music was his most important achievement.
Scriabin’s father, a lawyer and foreign service officer, came from a family with a long tradition of military service. His mother was an exceptionally talented pianist; she died of complications from his birth, less than a year afterward. The only child was raised by his two grandmothers and his doting aunt, living a pampered existence that surely helped form his delicate, nervous, egocentric personality. His aunt, also a pianist, became his first teacher. Taken to concerts and operas, Scriabin developed an interest in literature and the arts. He entered the army cadet corps as a boy, and began his formal musical education when he was 11, studying piano with Nikolay Zverev and following the customary regimen: He lived in his teacher’s house (a fellow student was the young Rachmaninov), learned French and German and social etiquette, and practiced hard. He received help preparing for the Moscow Conservatory entrance examinations from Sergey Taneyev.
Though of diminutive stature and with hands that could barely span an octave, Scriabin attacked the most difficult repertoire during his years at the conservatory; in 1891 he severely strained his right hand with excessive practicing. Forbidden by a doctor to play, he focused on his left hand and developed a formidable technique. (His Prelude in C-sharp minor and Nocturne in D-flat, Op. 9, Nos. 1 and 2, written for the left hand only, date from 1894. Idiomatic and well wrought, they exhibit the young composer’s gift for yearning lyricism as well as a marked predilection for dark moods.)
Scriabin’s conservatory career came to a stormy end, with the 20-year-old in conflict with his fugue teacher Anton Arensky. Aiming to become a sort of latter-day Chopin, Scriabin promptly composed a clutch of preludes and his Piano Sonata No. 1—his first published works. He undertook travel outside of Russia and made his European debut in Paris in 1896; he also developed an unbridled lifestyle, including regular bouts of all-night drinking. In 1897 he married pianist Vera Isakovitch, who bore a child a year for four years. Scriabin’s publisher kept him afloat until he landed a professorship at the Moscow Conservatory in 1898. Over the next three years, he wrote his first two symphonies, which were received with incomprehension and open hostility.
The watershed year was 1903. Scriabin began a love affair with the 20-year-old Tatiana de Schloezer, a pianist (and fol-
lower of philosophical cults), who would encourage his megalomania. In the glow of this relationship, his works for piano became infused with an extreme sensuality. The scintillating brilliance and feverish emotional intensity of the Piano Sonata No. 4 mark it as a breakthrough; on its heels, in 1904, Scriabin finished the hedo-nistically opulent Third Symphony, titled Divine Poem. Having also seduced a 15-year-old student, Scriabin had to leave Russia and seek temporary sanctuary in Switzerland. Tatiana soon moved in. The Divine Poem was premiered in Paris in 1905, the same year the couple moved to Italy, essentially destitute, with Tatiana pregnant (she would bear Scriabin three children in all). The composer was invited to New York for concerts during the winter of 1906-07 followed by a recital tour of the Midwest, in which he acquitted himself ably. But after Tatiana joined him the couple were dis-invited from further musical appearances and effectively kicked out of the country, as friends and colleagues of Scriabin now in the U.S. sided with Vera in the scandalous saga of infidelity and abandonment.
Scriabin and Tatiana next lived in Paris and Lausanne. From this time came two major orchestral works: The Poem of Ecstasy, scored for an enormous orchestra and based aesthetically on Scriabin’s developing philosophy of art as a sexual act, and Prometheus, the Poem of Fire, for piano, large orchestra, wordless chorus, and color organ (an apparatus that bathed performers and audience in colored light, whose “tonalities” were closely coordinated with the music). In 1908 Scriabin met Serge Koussevitzky, who, fascinated by his theories associating colors with keys, became an enthusiastic champion as both conductor and publisher. They toured together in 1910 but afterward had a falling-out over money.
In 1909, when Scriabin returned to Russia, he was recognized as a prophet of modernism, his music finally embraced by the critics. His piano works of the next several years included five brilliant sonatas (Nos. 6 through 10) and Vers la flamme (1914), a poeme for the piano. Scriabin was visited during the summer of 1913 in Switzerland by Igor Stravinsky, who pronounced the late piano pieces “incomparable.” Scriabin now contemplated his “great work,” which he referred to as the Mysterium, a vast, purifying musical happening that would lift participants to a higher spiritual plane; it would take place in India, land of swamis and sages (in 1914 he bought property in Daijeeling), and he would be at the center of it, playing the piano. His visionary music was to be a wonderful glimpse into the future. But that future never came, and in an instant Scriabin too was gone: In the spring of 1915 he developed an infection from a pimple on his mustachioed upper lip and died of sepsis.
The vast majority of Scriabin’s compositional output involved the piano, which he played with exceptional finesse. The influence of Chopin and Liszt on his earlier piano works, scintillating pianistic miniatures, was to be expected. In later works the collagelike assembly of motifs into subjects, and the subsequent processes of recollection within a piece, also owed something to Liszt’s notion of thematic transformation. The lugubriousness of earlier works was superseded by the languor of later ones, which became increasingly turbulent and almost telegraphically compressed.
Scriabin’s other major musical endeavors were his manic, delirious, kaleidoscopic essays for orchestra. While his first two symphonies were nothing special—No. 1 is a sprawling six-movement hodgepodge, No. 2 a dark, slow-moving, minor-key meditation with the obligatory triumphant concluding movement in the major—with the Divine Poem, fulminant and compact, Scriabin hit his stride. Here, and even more so in the Poem of Ecstasy and Prometheus, the harmony is saturated to the point where there is complete freedom to maneuver yet nowhere to go, because every chord sounds pretty much like the one that preceded it, making a palette of shimmering tonal ambiguities. The result is music that at once conveys a longing for the unattainable and, paradoxically, attains it, luxuriating in the contemplation of its own sound.
Alexander Scriabin - Symphony No. 3 "The Divine Poem" (1902)
Danish National Radio Symphony Orchestra
Scriabin - The Poem of Ecstasy
Philharmonia Orchestra and conducted by Esa-Pekka Salonen at 2010 BBC Proms.
Scriabin - Piano Sonatas
Performed by Maria Lettberg
0:00 Sonata No. 1 in F minor, Op. 6
24:32 Sonata No. 2 in G-sharp minor, Op. 19 (also known as Sonata-Fantasy)
37:01 Sonata No. 3 in F-sharp minor, Op. 23
56:38 Sonata No. 4 in F-sharp major, Op. 30
1:04:00 Sonata No. 5, Op. 53
1:15:33 Sonata No. 6, Op. 62
1:29:07 Sonata No. 7 "White Mass", Op. 64
1:41:35 Sonata No. 8, Op. 66
1:54:41 Sonata No. 9 "Black Mass", Op. 68
2:03:04 Sonata No. 10, Op. 70
Scriabin - 24 Preludes, Op. 11, 1888-1896.
Performer: Mikhail Pletnev
1996, Live in Bristol, England
Scriabin - The complete Mazurkas
Alexander Scriabin - Twelve Etudes, Op. 8 (1894)
Anton Kuerti, piano
Scriabin - Poème-nocturne, Op. 61
Vitalij Margulis, piano
Alexander Scriabin: Prometheus or the Poem of Fire
Svetlanov State Orchestra, Academic Grand Choir
Vladimir Jurovski (conductor), Alexei Volodin (piano)
Alexander Scriabin and Alexander Nemtin: Mysterium
Stanislav Kochanovsky, conductor
Alexander Ghindin, Piano
Nadezhda Gulitskaya, Soprano
Hungarian Radio Choir - Belgian National Orchestra
Alexander Scriabin - Alexander Nemtin (1936--1999), L'Acte préalable (Preparation to the Final Mystery)
00:00:00 I. Universe
00:41:46 II. Mankind
01:33:45 III. Transfiguration
Alexei Lubimov, piano
Thomas Trotter, organ
Anna-Kristiina Kaappola, soprano
Ernst Senff Chor
St Peterburg Chamber Choir
Deutsches Symphonie-Orchester Berlin
Hugo Emil Alfvén (1 May 1872 – 8 May 1960) was a Swedish composer, conductor, violinist, and painter.
Alfvén was born in Stockholm, Sweden, and studied at the Royal College of Music (Kungliga Musikhögskolan) from 1887 to 1891 with the violin as his main instrument while receiving lessons from Lars Zetterquist. He also took private composition lessons from Johan Lindegren, a leading counterpoint expert. He earned a living by playing the violin at the Royal Opera in Stockholm. He also played the violin in the Royal Swedish Orchestra.
Starting in 1897, Alfvén travelled much of the next ten years in Europe. He studied violin technique in Brussels with César Thomson and learned conducting in Dresden as sub-conductor under Hermann Ludwig Kutzschbach. In 1903-4 he was professor of composition at the Royal Conservatory, Stockholm. From 1910 Alfvén was Director musices (music director) at the University of Uppsala (a post he held until 1939). There he also directed the male voice choir Orphei Drängar (or 'O.D.') (until 1947). He conducted in festivals at Dortmund (1912), Stuttgart (1913), Gothenburg (1915), and Copenhagen (1918–1919). He toured Europe as a conductor throughout his life. He received a Ph.D. honoris causa from Uppsala in 1917 and became a member of the Royal Academy of Music in Stockholm in 1908. Alfvén recorded some of his orchestral music in stereo late in 1954 (the first classical stereo recordings made in Sweden); the recordings were issued on LP in the U.S. by Westminster Records. A three-CD collection of Alfvén's recordings as a conductor has been issued.
Alfvén became known as one of Sweden's principal composers of his time, together with his contemporary Wilhelm Stenhammar. Alfvén's music is in a late-Romantic idiom. His orchestration is skillful and colorful, reminiscent of that of Richard Strauss. Like Strauss, Alfvén wrote a considerable amount of program music. Some of Alfvén's music evokes the landscape of Sweden.
Among his works are a large number of pieces for male voice choir, five symphonies and three orchestral "Swedish Rhapsodies." The first of these rhapsodies, Midsommarvaka is his best known piece.
Alfvén's five symphonies, the first four of them now several-times recorded (with another cycle in progress), give a picture of the composer's musical progress. The first, in F minor, his Op. 7 from 1897, is an early work, tuneful in a standard four movements. The second, in D major (1898–99), his Op. 11 (and in a way his graduation piece, as recounted) concludes with a substantial, even powerful chorale-prelude and fugue in D minor. The third symphony in E major, Op. 23 (1905), also in four movements, more mature in technique though light in manner was inspired by a trip to Italy. The fourth symphony in C minor, Op. 39, of 1918–9 "From the Outermost Skerries" (there is also a tone-poem, A Legend of the Skerries) is a symphony in one forty-five-minute movement using wordless voices, inspired by Carl Nielsen's Sinfonia Espansiva. The 5th in A minor, begun 1942, is one of the composer's last works, and has only been recorded twice in full.
Hugo Alfvén - Symphony No.4 in C-minor, Op.39 "Från havsbandet" / "From the Outermost Skerries" (1919)
Mov.I: Moderato - Allegretto, ma non troppo 00:00
Mov.II: Allegro - Moderato - Allegro 11:02
Mov.III: Lento - Maestoso - Molto appassionato 16:03
Mov.IV: Allegro agitato 35:16
Soprano: Arndis Halla
Tenor: Johann Valdimarsson
Violin: Sigrun Edvaldsdottir
Cello: Richard Talkowsky
Cor anglais: Kristjan Stephensen
Orchestra: Iceland Symphony Orchestra
Conductor: Niklas Willén
Hugo Alfvén - Swedish Rhapsody No. 1, Op. 19: "Midsommarvaka"
Iceland Symphony Orchestra
Hugo Alfvén - Bergakungen - The Mountain King, Op.37,
ballet pantomime in three acts, first performance 7 February 1923, Royal Opera House, Stockholm.
Act I 00:00
Act II 35:46
Act III 47:02
Orchestra: Sveriges Radios Symfoniorkester
Conductor: Yevgeny Svetlanov
Hugo Alfvén - Symphony No.2 in D-major, Op.11 (1898)
Mov.I: Moderat 00:00
Mov.II: Andante 14:49
Mov.III: Allegro 30:55
Mov.IV: Preludio, Adagio 40:50
Mov.V: Fugue, Allegro energico 47:19
Orchestra: Swedish Radio Symphony Orchestra
Conductor: Yevgeny Svetlanov
Ralph Vaughan Williams
Ralph Vaughan Williams, (born October 12, 1872, Down Ampney, Gloucestershire, England—died August 26, 1958, London, England), English composer in the first half of the 20th century, founder of the nationalist movement in English music.
Vaughan Williams studied at Trinity College, Cambridge, and in London at the Royal College of Music under two major figures of the late 19th-century renaissance of English music, Sir Charles Stanford and Sir Hubert Parry. In 1897–98 he studied in Berlin under the noted composer Max Bruch and in 1909 in Paris under Maurice Ravel. About 1903 he began to collect folk songs, and in 1904–06 he was musical editor of The English Hymnal, for which he wrote his celebrated “Sine Nomine” (“For All the Saints”). After artillery service in World War I, he became professor of composition at the Royal College of Music.
His studies of English folk song and his interest in English music of the Tudor period fertilized his talent, enabling him to incorporate modal elements (i.e., based on folk song and medieval scales) and rhythmic freedom into a musical style at once highly personal and deeply English.
Vaughan Williams’s compositions include orchestral, stage, chamber, and vocal works. His three Norfolk Rhapsodies (numbers 2 and 3 later withdrawn), notably the first in E minor (first performed, 1906), were the first works to show his assimilation of folk song contours into a distinctive melodic and harmonic style. His nine symphonies cover a vast expressive range. Especially popular are the second, A London Symphony (1914; rewritten 1915; rev. 1918, 1920, 1934), and the seventh, Sinfonia Antartica (1953), an adaptation of his music for the film Scott of the Antarctic (1949). Other orchestral works include the Fantasia on a Theme by Thomas Tallis (1910); concerti for piano (later arranged for two pianos and orchestra), oboe, and tuba; and the Romance for harmonica and orchestra (1952).
Of his stage works, The Pilgrim’s Progress (1951) and Job (1931), a masque for dancing, reflect his serious, mystical side. Hugh the Drover (1924), a ballad opera, stems from his folk song interest. Riders to the Sea (1937) is a poignant setting of John Millington Synge’s play.
He wrote many songs of great beauty, including On Wenlock Edge (1909), set to poems of A.E. Housman and consisting of a cycle for tenor, string quartet, and piano (later arranged for tenor and orchestra) and Five Mystical Songs (1911), set to poems of George Herbert. Particularly notable among his choral works are the Mass in G Minor, the cantatas Toward the Unknown Region (1907) and Dona Nobis Pacem (1936; Grant Us Peace), and the oratorio Sancta Civitas (1926; The Holy City). He also wrote many part-songs, as well as hymn and folk song settings.
Vaughan Williams broke the ties with continental Europe that for two centuries through George Frideric Handel, Felix Mendelssohn, and lesser German composers had made Britain virtually a musical province of Germany. Although his predecessors in the English musical renascence, Sir Edward Elgar, Sir Hubert Parry, and Sir Charles Stanford, remained within the Continental tradition, Vaughan Williams, like such nationalist composers as the Russian Modest Mussorgsky, the Czech Bedřich Smetana, and the Spanish Manuel de Falla, turned to folk song as a wellspring of native musical style.
Vaughan Williams: The best orchestral works
01.Five variants of Dives & Lazarus 00:00
02.English Folk Song Suite: 1.March 12:33
03.English Folk Song Suite: 2.Intermezzo 15:27
04.English Folk Song Suite: 3.March 18:20
05.Fantasia on a theme by Thomas Tallis 21:23
06.Fantasia on Greensleeves 37:06
07.March of the kitchen utensils 41:45
08.Norfolk rhapsody no.1 44:55
09.The lark ascending 55:13
10.The Wasps overture 01:09:50
Ralph Vaughan-William: complete 9 symphonies.
01. Symphony no1. "Sea Symphony" 00:00
02. Symphony no2. "The London" 01:01:18
03. Symphony no3. "A Pastorale symphony" 01:44:34
04. Symphony no4. in f minor 02:18:24
05. Symphony no5. in D major 02:51:00
06. Symphony no6. in e minor 03:28:44
07. Symphony no7. "Sinfonia Antarctica" 04:04:55
08. Symphony no8. in d minor 04:47:07
09. Symphony no9. in e minor 05:05:50
New Philharmonia Orchestra/Sir Adrian Boult
Sir John in Love is an opera in four acts by the English composer Ralph Vaughan Williams. The libretto, by the composer himself, is based on Shakespeare's The Merry Wives of Windsor and supplemented with texts by Philip Sidney, Thomas Middleton, Ben Jonson, and Beaumont and Fletcher. The music deploys English folk tunes, including "Greensleeves". Originally titled The Fat Knight, the opera premiered at the Parry Opera Theatre, Royal College of Music, London on 21 March 1929. Its first professional performance was on 9 April 1946 at Sadler's Wells Theatre.
Ralph Vaughan Williams - Sir John in Love
Alan Opie (Hugh Evans)
Owen Brannigan (Falstaff)
Robert Thomas (Bardolph)
Eric Stannard (Pistol)
Leslie Fyson (Shallow)
BBC Concert Orchestra diretta da Brian Priestman.
Two String Quartets, Op. 51;
Variations on a Theme by Haydn
Brahms - String Quartet Op. 51 No.1 in C minor
Norbert Brainin (1st violin)
Siegmund Nissel (2nd violin)
Peter Schidlof (viola)
Martin Lovett (cello)
Brahms - String Quartet in A minor, op 51 No.2
Alexander Pavlovsky, 1st violin
Sergei Bresler, 2nd violin
Ori Kam, viola
Kyril Zlotnikov, cello
Brahms - Variations on a Theme of Haydn for orchestra Op. 56a
Berliner Philharmoniker - Claudio Abbado
String Quartet No.6 in A minor (1873);
String Quartet No.7 in A minor, op 16 B.45 (1874)
Dvorak String Quartets No.6 Op.12 B.40 and No.7 Op.16 B.45, Prague Srting Quartet
String Quartet No.6 in A minor, op.12 B.40
1. Allegro ma non troppo 0:00
2. Poco allegro 8:18
3. Poco adagio 14:34
4. Finale: Allegro molto 23:13
String Quartet No.7 in A minor, op 16 B.45
1. Allegro ma non troppo 31:49
2. Andante cantabile 41:15
3. Allegro scherzando - Trio 49:15
4. Allegro ma non troppo 54:03
Jules Massenet - Marie-Magdeleine
Marie-Magdeleine is an oratorio (Drame Sacré) in three acts and four parts by Jules Massenet to a French libretto by Louis Gallet, based on La vie de Jésus (1863) by Ernest Renan. It was first performed at the Théâtre de l'Odéon in Paris on April 11, 1873.
The story concerns the last days of Jesus from the perspective of Mary Magdalene. The subject initially caused some controversy, as some believed that physical love was implied between Jesus and Mary Magdalene.
Jules Massenet - Marie-Magdeleine
Marie-Magdeleine - Michèle Command (Soprano)
Marthe - Carolyn Sebron (Mezzo Soprano)
Jésus - Hervé Lamy (Tenor),
Judas - Jean-Phillipe Courtis (Baritone)
French Oratorio Orchestra
French Oratorio Choir
Conductor: Jean-Pierre Loré
Léo Delibes — Le roi l'a dit
Le roi l'a dit (The King Has Spoken) is an opéra comique in three acts by Léo Delibes to a French libretto by Edmond Gondinet. It is a lively comedy, remarkably requiring 14 singers – six men and eight women. The libretto had first been offered in 1871 to Offenbach; the title also went through various permutations (Le Talon rouge, Si le Roi le savait, Le Roi le sait) before settling on its final name.
Léo Delibes — Le roi l'a dit
Nikolai Rimsky-Korsakov - The Maid of Pskov
The Maid of Pskov (Pskovityanka), is an opera in three acts and six scenes by Nikolai Rimsky-Korsakov. The libretto was written by the composer, and is based on the drama of the same name by Lev Mei. The story concerns the Tsar Ivan the Terrible and his efforts to subject the cities of Pskov and Novgorod to his will. The original version of the opera was completed in 1872, and received its premiere in 1873 in St. Petersburg, Russia.
Maid of Pskov - Rimsky-Korsakov
Simon Sakharov Bolshoi Theatre Orchestra and Chorus
Aleksandr Pirogov - Tsar Ivan
Elisabeta Shumilova - Olga
Georgi Nelepp - Mikhail Tucha
Alexander Peregudov - Nikita Matuta
Prince Yuri Ivanovich Tokmakov - Alexander Peregudov
Boyar Nikita Matuta - Alexander Peregudov
Prince Afansiy Vyazemsky - Mikhail Soloviev
Stepanida Matuta (Styosha) - Natalia Sokolova
Sir Arthur Sullivan's oratorio The Light of the World (inspired by William Holman Hunt's painting of the same name) is premièred at the Birmingham Festival.
"I Will Pour My Spirit" from THE LIGHT OF THE WORLD by Arthur Sullivan
Combined Choirs of the Worthing United Reformed Churches/Congregational Players.
Richard Hews, Conductor
Jacques Offenbach - Pomme d'api
Pomme d'api is a one-act opérette of 1873 by Jacques Offenbach with a French libretto by Ludovic Halévy and William Busnach.
Offenbach - "Pomme d'Api"
Franco-American Vocal Academy in Périgueux, France on August 13th, 2016.
Rabastens - Tyler Saunders
Gustave - Jamille Brewster
Catherine - Virginia Barr
Max Reger, byname of Johann Baptist Joseph Maximilian Reger, (born March 19, 1873, Brand, Bavaria, Ger.—died May 11, 1916, Leipzig), German composer and teacher noted for his organ works, which use Baroque forms; he was one of the last composers to infuse life into 19th-century musical traditions.
Reger studied at Weiden. In 1888 he heard Die Meistersinger and Parsifal at Bayreuth, but Wagnerian influence on his music was short-lived. From 1890 to 1893 he studied at Sondershausen and Wiesbaden and taught piano, organ, and theory. About this time he became friends with Busoni and with the organist Straube, who introduced Reger’s organ music. By 1901, despite opposition to his traditional methods, he had established himself in Munich as a composer, pianist, and teacher. In 1907 he became professor of composition at the Leipzig Conservatory and musical director at the University of Leipzig. He took on the post of conductor of the court orchestra at Meiningen in 1911.
In addition to organ works, Reger also composed choral and orchestral works, chamber music, and songs. Among his leading orchestral works are the Böcklin Suite, the Variations and Fugue on a Theme by Mozart, the Suite in the Old Style, and variations on themes of Beethoven and Hiller. There are also a piano concerto, sonatas for unaccompanied violin, three suites for solo viola, and other works. His organ works include the fantasy on Ein feste Burg; Phantasie und Fuge über B-A-C-H; the fantasy on the chorale Wachet auf! ruft uns die Stimme; and the Sonata in F Sharp Minor.
Reger influenced such composers as Arthur Honegger and Paul Hindemith.
Max Reger: Symphonische Fantasie und Fuge d-moll op.57 "Inferno Fantasie"
Roberto Marini - Organ of St. Florian Basilika, Austria.
Max Reger - Violin Concerto in A-major, Op.101 (1908)
Violinist: Benjamin Schmid
Tampere Philharmonic Orchestra
Conductor: Hannu Lintu
Reger - Sinfonietta Op.90
Dresdner Philharmonie - Heinz Bongartz
Reger - Tondichtungen nach Böcklin, op 128
Orchestra Sinfonica della RAI di Torino - Gianandrea Gavazzeni, 1994
Jean Jules Aimable Roger-Ducasse (Bordeaux, 18 April 1873 – Le Taillan-Médoc (Gironde), 19 July 1954) was a French composer.
Jean Roger-Ducasse studied at the Paris Conservatoire with Emile Pessard and André Gedalge, and was the star pupil and close friend of Gabriel Fauré. He succeeded Fauré as professor of composition, and in 1935 he succeeded Paul Dukas as professor of orchestration. His personal style was firmly rooted in the French school of orchestration, in an unbroken tradition from Hector Berlioz through Camille Saint-Saëns. Among his notable pupils are Jehan Alain, Claude Arrieu, Sirvart Kalpakyan Karamanuk, Jean-Louis Martinet, and Francis George Scott.
Jean Roger-Ducasse - Sarabande, poema sinfonico con voci (1911)
NBC Symphony Orchestra and Chorus diretti da Arturo Toscanini (New York 7 aprile 1946)
Jean Roger-Ducasse - Pastorale
Played by Andrew Dewar on the 2012 Mathis Organ in the Leonhardskirche, Feldbach (Austria).
Jean Roger-Ducasse - Nocturne de Printemps,
pour orchestre (1920) Dir : Leif Segerstam
Giuseppe Verdi – Requiem
Verdi "Messa da Requiem"
Funeral Mass for four soloists,
double choir and orchestra
Konzertvereinigung Wiener Staatsopernchor
Chor der Nationaloper Sofia
Conductor: Herbert von Karajan 1984
Anna Tomowa-Sintow - Sopran
Agnes Baltsa - Mezzosopran
José Carreras - Tenor
José van Dam - Bass-Bariton
Modest Mussorgsky - Boris Godunov
The work was composed between 1868 and 1873 in Saint Petersburg, Russia. The Russian-language libretto was written by the composer, and is based on the drama Boris Godunov by Aleksandr Pushkin, and, in the Revised Version of 1872, on Nikolay Karamzin's History of the Russian State.
The composer created two versions—the Original Version of 1869, which was rejected for production by the Imperial Theatres, and the Revised Version of 1872, which received its first performance in 1874 in Saint Petersburg.
Johann Strauss II – Die Fledermaus
Die Fledermaus (The Flittermouse or The Bat, sometimes called The Revenge of the Bat) is an operetta composed by Johann Strauss II to a German libretto by Karl Haffner (de) and Richard Genée.
Johann Strauss II - Die Fledermaus
The New Years Eve 1983 Royal Opera House, Covent Garden performance conducted by Placido Domingo.
Kiri Te Kanawa - Rosalinde,
Hildegarde Heichele - Adele,
Herman Prey - Eisenstein,
Doris Soffel - Prince Orlofsky.
Camille Saint-Saëns - Allegro appassionato Op. 70
François-René Duchâble, piano
Edouard Lalo – Symphonie Espagnole Op. 21, in D minor
Edouard Lalo - Symphonie Espagnole, Op.21
Eugene Ormandy conducting Philadelphia Symphony Orchestra
Isaac Stern - violin
I. Allegro non troppo
Camille Saint-Saëns – Allegro appassionato in C♯ minor for piano.
Jacques Offenbach - Madame l'archiduc
Madame l’archiduc is an opéra bouffe, or operetta in three acts, by Jacques Offenbach, with a French libretto by Albert Millaud first performed at the Bouffes-Parisiens (Salle Choiseul) in Paris in 1874.
Jacques Offenbach - Madame L’Archiduc
Marietta ...... Christiane JACQUIN
La comtesse ... Janine LINDAFERLDER
Giacometta .... Régine VALLIER
L'Archiduc Ernest .... Jacques LOREAU
Giletti .... Bernard PLANTEY
Fortunato .... Monique STIOT
Le comte ..... Jacques GILET
Riccardo .... Gérard CHAPPUIS
Pontefiascone ...... Joseph PEYRON
Frangipano .... Michel JARRY
Bonaventura ... Jacques PRUVOST
Bonnardo ..... René TERRASSON
Andantino .... Michel FAUCHEY
Tuttifrutti ... Gaston REY
Chi-Lo-Sa ..... Pierre SAUGEY
Beppino ..... Jacques THARANDE
L'hôtelier .... Jacques VILLA
Pianodolce .... René LENOTY
Chœur et orchestre lyrique de l'ORTF Marcel CARIVEN
Paris, Radio broadcast, ORTF, 27. Juni 1969
(b. Krecovice, January 4, 1874; d. Benesov, May 29, 1935)
CZECH COMPOSER AND VIOLINIST.
After receiving basic musical training in violin, piano, and organ from his father, a schoolteacher and choirmaster, he pursued violin study at the Prague Conservatory in 1885, graduating in 1891. He remained another year to study composition with Dvorak and chamber music with Hanus Wihan. In Wihan’s class, he and three other colleagues formed the Czech Quartet, in which he played second violin. The quartet would tour extensively, giving more than 4,000 performances over 40 years, and enjoy considerable success. In the course of his work with Dvorak, Suk not only became Dvorak’s favorite student but, in 1898, married the composer’s daughter, Otilie. Not surprisingly, Suk’s early style draws from Brahms and Dvorak; his compositions from this period already show remarkable command and assurance, as demonstrated in the popular Serenade for Strings, Op. 6 (1892), written when Suk was only 18. Over the course of the ensuing decade, a deepening emotional range becomes apparent in Suk’s works, which can be tracked from his Dramatic Overture, Op. 4 (1892), through the Piano Quintet, Op. 8 (1893, rev. 1915), the String Quartet, Op. 11 (1896, rev. 1915), and Symphony No. 1 in E, Op. 14 (1899). Some especially fine orchestral works date from the first years of the 20th century, including Pohadka (Fairy Tale), Op. 16, completed in 1900, the Fantasy for Violin and Orchestra, Op. 24, and the Fantastic Scherzo, Op. 25, both dating from 1903. In 1904-05, Suk’s life was shattered by the deaths, 14 months apart, of his father-in-law and his young wife. Deeply depressed, he eventually returned to composition with his Symphony No. 2 in C minor, Op. 27, completed in 1906 and titled Asrael after the angel of death (the score is dedicated to the memory of Otilie and her father). It was a long distance from the springlike beauty of the Serenade for Strings to the tragic splendor of the Asrael Symphony, and Suk traveled it in a terribly short time. Unfortunate as the symphony’s genesis was, it is one of the great symphonic efforts of the post-Romantic era.
Suk soldiered on, and in 1922 he was appointed professor of composition at the Prague Conservatory, where he taught a generation of Czech composers, including Bohuslav Martinu. Over time, Suk’s musical language became more and more complex; despite his Romantic temperament and outlook, he did not stand still. Deeply felt and finely crafted, his work deserves to be better known outside the Czech Republic.
Josef Suk - Scherzo Fantastico op. 25, per orchestra
Czech Philarmonic Orchestra, direttore Sir Charles Mackerras
Josef Suk - Prague, Symphonic Poem, Op 26 (1904)
BBC Symphony Orchestra conducted by Jiri Belohlavek
Josef Suk - Asrael Symphony for large orchestra in C minor, Op.27
1. Andante sostenuto
2. Andante 15:45
3. Vivace 23:30
4. Adagio 36:09
5. Adagio e maestoso 46:27
Czech Philharmonic Orchestra
Jiří Bělohlávek, Conductor
Josef Suk - Pohadka, A Fairy Tale, symphonic suite from the music to Zeyer's dramatic tale « Raduz and Mahulena » (1900)
Dir : Libor Pesek
Josef Suk: Symphony No. 1 in E major, Op. 14 (1898)
BBC Symphony Orchestra conducted by Jiri Belohlavek
Gustav Holst - The Planets, Op. 32
0:35 Mars, the Bringer of War
8:13 Venus, the Bringer of Peace
17:57 Mercury, the Winged Messenger
22:33 Jupiter, the Bringer of Jollity
31:20 Saturn, the Bringer of Old Age
41:11 Uranus, the Magician
47:08 Neptune, the Mystic
Maciej TARNOWSKI - conductor
Henryk WOJNAROWSKI - choir director
Orkiestra i Chór Żeński Filharmonii Narodowej
Warsaw Philharmonic Orchestra & Female Choir, 2015
(b. Cheltenham, September 21, 1874; d. London, May 25, 1934)
English composer of German descent.
Best known as the composer of The Planets, he gave voice in other, less frequently encountered works to a mystical, visionary, and deeply personal spirituality. As he matured, he developed an idiom that combined the melodic contours of English folk music and the bracing clashes of modern harmony in a way that was utterly individual and distinctive.
The son of a musician, Holst learned to play piano, violin, and trombone as a boy, and in 1893 he was admitted to the Royal College of Music, where he studied with Charles Villiers Stanford and Hubert Parry and
became friends with fellow student Ralph Vaughan Williams. His proficiency on the piano and organ was hampered by chronic neuritis in his right hand, so he made the trombone his major instrument; while still a student he played in the Queen’s Hall Orchestra, on one occasion under the guest baton of Richard Strauss. He left school in 1898 to play in a touring opera company; he joined the Scottish Orchestra (now the Royal Scottish National Orchestra) as a trombonist in 1900, performing with it until the end of 1903. In 1905 he became head of the music department at St. Paul’s Girls’ School in Hammersmith, where he remained for the rest of his life (he honored the school in the title of his St. Paul’s Suite for strings, composed 1912-13). He concurrently served as director of music at Morley College (1907-24). During the 1920s he also held teaching posts at the Royal College of Music and at University College, Reading. In 1932 he taught briefly at Harvard, where one of his students was Elliott Carter. He spent the last 18 months of his life as an invalid, composing to the end.
Bookish, introverted, and gentle, Holst maintained an ascetic lifestyle and refused to court fame or popularity, though The Planets, composed in 1914-16 and premiered in 1918 under the baton of Adrian Boult, made him a very popular figure. His lifelong interest in languages and philosophy led him in a number of interesting directions, most of them off the beaten path: He studied Sanskrit at University College, London, out of which emerged his Hymns from the Rig Veda (1907-08) for voice and piano, four groups of Choral Hymns from the Rig Veda (1908-12), and the chamber opera Savitri (1908), based on an episode from the Mahabharata. As a professional brass player, he came honestly by his extraordinary skills as an orchestrator, particularly his knowledge of, and flair in using, the brass. These skills are abundantly displayed in several symphonic suites and put to profligate use in The Planets. Surprisingly for a composer so often thought of as an orchestral master, the bulk of Holst’s output consists of songs, choral pieces, and works for the stage.
The real Holst was a far more profound composer than one might assume from first acquaintance with the all-stops-out orchestral showmanship of The Planets. Yet even here, along with the remarkable rhythmic vitality, one encounters characteristics of the deeper musician—the gift for melody, displayed on nearly every page of the score, and the pervasive mysticism. Holst touched on the mystical numerous times in his music, sometimes in earnest and sometimes parodistically. An example of the latter is his one-act opera The Perfect Fool (1918-19), a send-up of grand opera, which begins with a ballet overture portraying the spirits of Earth, Water, and Fire. The orchestration of this 11-minute curtain-raiser is as brilliant as anything in The Planets. The serious vein of Holstian mysticism comes to the fore in the symphonic sketch Egdon Heath (1927), inspired by Thomas Hardy’s The Return of the Native, which Holst rightly considered his best work.
Holst’s friendship with Vaughan Williams was among the closest ever between two composers of genuine stature. They critiqued each other’s work and had a beneficial influence on one another. Holst’s music continued to exert an influence after his death, not only on Vaughan Williams, but tangentially on composers such as Tippett and Britten. Yet he was too individualistic—in his interests, aims, and methods—to have left any stylistic heirs. While the “sound” of The Planets has been imitated countless times, especially in Hollywood, Holst’s voice—strange, esoteric, conveying both earthiness and spirituality—remains unique.
Gustav Holst - Symphony in F Major, op.8 H.47 "The Cotswolds" (1900).
I. Allegro con brio
II. Elegy (in memoriam William Morris): Molto Adagio [03:36]
III. Scherzo [12:14]
IV. Finale: Allegro moderato [17:12]
Ulster Orchestra diretta da JoAnn Falletta.
Gustav Holst - Japanese Suite, Op.33 H.126 (1915)
I. Prelude: Song of the fisherman
II. Ceremonial Dance [02:30]
III. Dance of the marionette [04:04]
IV. Interlude: Song of the fisherman [05:43]
V. Dance under the cherry tree [06:30]
VI. Final: Dance of the wolves [08:30]
Ulster Orchestra diretta da JoAnn Falletta.
Gustav Holst - The Cloud Messenger Op. 30
Conductor: Richard Hickox & London Symphony Orchestra
Holst - First Choral Symphony, Op. 41 (1923-24)
London Philharmonic Orchestra & Choir conducted by Sir Adrian Boult. Soprano: Felicity Palmer.
Prelude: Invocation to Pan (0:00)
I. Song and Bacchanal (2:55)
II. Ode on a Grecian Urn (12:58)
III. Scherzo: Fancy-Folly’s Song (25:54)
IV. Finale (31:26)
Gustav Holst - Indra, Symphonic Poem, op.13 H.66 (1903).
Ulster Orchestra diretta da JoAnn Falletta.
Charles Ives, in full Charles Edward Ives, (born October 20, 1874, Danbury, Connecticut, U.S.—died May 19, 1954, New York City), significant American composer who is known for a number of innovations that anticipated most of the later musical developments of the 20th century.
Ives received his earliest musical instruction from his father, who was a bandleader, music teacher, and acoustician who experimented with the sound of quarter tones. At 12 Charles played organ in a local church, and two years later his first composition was played by the town band. In 1893 or 1894 he composed “Song for the Harvest Season,” in which the four parts—for voice, trumpet, violin, and organ—were in different keys. That year he began studying at Yale University under Horatio Parker, then the foremost academic composer in the United States. His unconventionality disconcerted Parker, for whom Ives eventually turned out a series of “correct” compositions.
After graduation in 1898, Ives became an insurance clerk and part-time organist in New York City. In 1907 he founded the highly successful insurance partnership of Ives & Myrick, which he headed from 1916 to 1930. He devised the insurance concept of estate planning and considered his years in business a valuable human experience that contributed to the substance of his music. Nearly all his works were written before 1915; many lay unpublished until his death. Chronic diabetes and a hand tremor eventually forced him to give up composing and to retire from business. His music became widely known only in the last years of his life. In 1947 he received the Pulitzer Prize for his Third Symphony (The Camp Meeting; composed 1904–11). His Second Symphony (1897–1902) was first performed in its entirety 50 years after its composition.
Ives’s music is intimately related to American culture and experience, especially that of New England. His compositions—with integrated quotations from popular tunes, revival hymns, barn dances, and classical European music—are frequently works of enormous complexity that freely employ sharp dissonance, polytonal harmonies, and polymetric constructions. He drew from European music what techniques he wished while experimenting with tone clusters, microtonal intervals, and elements of chance in music (in one bassoon part he directs the player to play whatever he wants beyond a specific point). Believing that all sound is potential music, he was somewhat of an iconoclast and occasionally a parodist.
In The Unanswered Question (composed before 1908), a string quartet or string orchestra repeats simple harmonies; placed apart from them, a trumpet reiterates a question-like theme that is dissonantly and confusedly commented upon by flutes (optionally with an oboe or a clarinet). In the second movement of Three Places in New England (also titled First Orchestral Set and A New England Symphony; 1903–14), the music gives the effect of two bands approaching and passing each other, each playing its own melody in its own key, tempo, and rhythm. His monumental Second Piano Sonata (subtitled Concord, Mass., 1840–60), which was written from 1909 to 1915 and first performed in 1938, echoes the spirit of the New England Transcendentalists in its four sections, “Emerson,” “Hawthorne,” “The Alcotts,” and “Thoreau.” It contains tone clusters, quotes Beethoven, and includes a flute obbligato honouring Thoreau’s wish to hear a flute over Walden. The mood of the sonata ranges from wild and dissonant to idyllic and mystical. It was published in 1920, together with Ives’s pamphlet Essays Before a Sonata.
Ives conceived his Second String Quartet (1911–13; composition on second movement begun 1907) as a conversation, political argument, and reconciliation among four men; it is full of quotations from hymns, marches, and Beethoven, Brahms, and Tchaikovsky. His Variations on America (1891; additions before 1894) is the earliest polytonal piece known. In one of his piano and violin sonatas, he adds a passage for trumpet. His 114 Songs (1919–24) for voice and piano vary from ballads to satire, hymns, protest songs, and romantic songs. In technique they range from highly complex (e.g., with tone clusters, polytonality, and atonality) to straightforward and simple.
Other compositions include Central Park in the Dark (1906), for chamber orchestra; General William Booth Enters into Heaven (1914; to Vachel Lindsay’s poem), for soloist or choir and band but also performed in arrangements for chamber orchestra and for voice and piano; and the four-part symphony A Symphony: New England Holidays (“Washington’s Birthday,” 1909, rescored 1913; “Decoration Day,” 1912; “Fourth of July,” 1912–13; and “Thanksgiving and Forefathers’ Day,” 1904). The Ives manuscripts were given to the Library of the Yale School of Music by his wife, Harmony Ives, in 1955, and a temporary mimeographed catalog was compiled from 1954 to 1960 by pianist John Kirkpatrick.
Charles Ives - A Symphony: New England Holidays
I. Washington’s Birthday
II. Decoration Day
III. The Fourth of July
Charles Ives - "Symphony No 1"
1. Allegro con moto
2. Adagio molto
4. Allegro molto
National Symphony Orchestra of Ireland
James Sinclair, conductor. 2002
Charles Ives - Symphony No. 2
New York Philharmonic
Charles Ives - Symphony 3
Charles Ives - Symphony No. 4
BBC Symphony Orchestra
David Robertson, cond.
Ralph van Raat, piano
The Best of Charles Ives
0:00 The Unanswered Question
6:07 Violin Sonata No. 1. II: Largo cantabile
12:03 Violin Sonata No. 3. I. Adagio - Andante - Allegretto - Adagio
24:24 Three Places in New England: Putnam's Camp II
29:46 Three Places in New England: The Housatonic at Stockbridge III
33:54 Symphony No. 2. I: Andante moderato
40:10 Symphony No. 2. V: Allegro molto vivace
50:27 Symphony No. 4. III: Fugue: Andante moderato con moto
57:04 Central Park in the Dark
1:04:21 The Things Our Fathers Loved
1:08:38 The Circus Band
1:11:40 They are There!
1:14:32 Tom Sails Away
1:17:21 Tone Roads No. 1
1:20:42 Psalm 100
1:22:17 Hallowe'en (from "Three Outdoor Scenes")
1:24:18 Piano Sonata No. 2, Concord, Mass, 1840–60 IV: "Thoreau" (after Henry David Thoreau)
Edvard Grieg – incidental music to Ibsen's Peer Gynt
"Peer Gynt" incidental music - Edvard Grieg
The London Symphony Orchestra and the Olso Philharmonic Chorus conducted by Per Dreier.
I - Prelude: At the wedding garden. Allegro con brio - Poco Andante - Un poco Allegro - Poco andante - Vivace - Poco andante - Allegro con brio: 0:00
II - The Bridal Procession passes. Alla marcia: 5:19
III - Two folk dances. (I) Halling dance. Allegretto: 8:44 (II) Springar dance. Allegro moderato: 10:08
IV - Prelude: The Abduction of the Bride and Ingrid's Lament. Allegro furioso - Andante - Andante doloroso - Allegro furioso - Andante: 12:16
V - Peer Gynt and the Herd-Girls. Allegro marcato - Molto meno allegro - Poco più allegro - A tempo vivo - Tempo I - Quasi presto: 17:03
VI - Peer Gynt and the Woman in Green. Andante: 20:50
VII - Peer Gynt: ''You can tell great men by the style of their mounts!''. Presto: 22:49
VIII - In the Hall of the Mountain King. Alla marcia e molto marcato - Più vivo: 23:15
IX - Three norwegian dances. Allegro marcato (25:44) - Allegretto tranquillo e grazioso (32:35) - Allegro moderato alla marcia (35:02)
X - Dance of the Mountain King's Daughter. Allegretto alla burla - Presto: 38:38
XI - Peer Gynt hunted by the trolls. Presto: 40:35
XII - Peer Gynt and the Bøyg. Andante - Allegro - Stretto sempre - Andante: 42:37
XIII - Prelude: Deep inside the pine forest. Largo: 46:31
XIV - Solveig's song. Andante - Allegretto tranquillamente - Tempo I - Allegretto tranquillamente - Tempo I: 48:37
XV - The death of Åse. Andante doloroso: 53:51
XVI - Prelude: Morning Mood. Allegretto pastorale - Più tranquillo: 58:23
XVII - The Thief and the Receiver. Presto: 1:02:22
XVIII - Arabian Dance. Allegretto vivace: 1:03:51
XIX - Anitra's Dance. Tempo di Mazurka: 1:08:52
XX - Peer Gynt's Serenade. Poco Andante - Allegretto - Allegro - Tempo I - Tranquillo e dolce - Allegro molto: 1:12:31
XXI - Peer Gynt and Anitra. Allegro vivace - Poco meno allegro - Prestissimo - Molto più lento, quasi moderato: 1:15:32
XXII - Solveig's Song. Un poco Andante - Allegretto tranquillamente - Tempo I - Con moto - Allegretto tranquillamente - Tempo I: 1:17:03
XXIII - Peer Gynt at the Statue of Memnon (Gothenburg Symphony Orchestra conducted by Neeme Järvi). Largo: 1:22:16
XXIV - Prelude: Peer Gynt's homecoming, stormy evening on the sea. Allegro agitato: 1:24:26
XXV - Shipwreck. Allegro moderato - Allegro marcato e sempre stretto - Presto - Andante: 1:28:11
XXVI - Day scene: 1:29:09
XXVII - Solveig sings in the hut. Andante: 1:30:36
XXVIII - Night scene. Adagio - Un poco Allegro - Andante - Poco più animato - Allegro agitato e stretto - Andante - Adagio - Allegro: 1:31:54
XXIX - Whitsun Hymn: ''Oh Blessed morning''. Langsam: 1:39:08
XXX - Solveig's Cradle Song. Lento - Tranquillo: 1:40:10
Jules Massenet - Eve
Michèle Command (Soprano)
Carolyn Sebron (Mezzo Soprano)
Hervé Lamy (Tenor),
Jean-Phillipe Courtis (Baritone)
French Oratorio Orchestra - French Oratorio Choir
Conductor: Jean-Pierre Loré
Mussorgsky - Songs And Dances Of Death
Yevgeni Nesterenko, bass - Vladimir Krainev, piano
The Field General 15:07
Anton Rubinstein - Demon
The Demon (Демон) is an opera in three acts (six scenes) by Russian composer Anton Rubinstein. The work was composed in 1871. The libretto was by Pavel Viskovatov, based on the poem of the same name by Mikhail Lermontov. The opera was premiered at the Mariinsky Theatre, St. Petersburg, on 25 January [O.S. 13 January] 1875, conducted by Eduard Nápravník.
Anton Rubinstein - The Demon
Latvian National Opera
Music Director and Conductor: Normunds Vaicis
Georges Bizet - Carmen
Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875.
Maurice Ravel, French composer, born.
Karl Goldmark - Die Königin von Saba
Die Königin von Saba (The Queen of Sheba) is an opera in four acts by Karl Goldmark. The German libretto by Hermann Salomon Mosenthal sets a love triangle into the context of the Queen of Sheba's visit to the court of King Solomon, recorded in First Kings 10:1-13 (largely copied in 2 Chronicles 9:1–12). The plot centres on a love triangle not found in the Bible between the Queen of Sheba, Assad (an ambassador at the court of Solomon), and Sulamith (Assad's betrothed).
The opera was first performed at the Hofoper (now the State Opera) in Vienna, on 10 March 1875.
Karl Goldmark - “Die Königin von Saba” Veronika Kincses & Ádám Fischer
Hungarian State Opera
Bedřich Smetana – Má vlast (My Country) – Six symphonic poems
Smetana - Má Vlast
Vltava (Moldau) 13:14
From Bohemia's Woods & Fields 12:48
Intérprete: Polish National Radio Symphony Orchestra: Antoni Wit, maestro
Moravian duets (for voices and piano);
Symphony No. 5
Antonín Dvořák - Moravian Duets I-VI, Op 32
California Institute of the Arts, Mid Residency Recital
Kelliann Wright: Soprano
Harmony Jiroudek: Mezzo Soprano
Richard Valitutto: Piano
1. DIE FLUCHT
2. DAS VOGLEIN
3. DIE TRENNUNG
4. SCHEIDEN OHNE LEIDEN
5. DAS PFAND DER LIEBE
6. DIE VERLASSENE
Dvorak : Symphony no.5 in F major, op.76
cond : Martin Turnovský
orch : Bamberger Symphoniker
Arthur Sullivan - The Zoo
The Zoo is a one-act comic opera, with music by Arthur Sullivan and a libretto by B. C. Stephenson, writing under the pen name of Bolton Rowe. It premiered on 5 June 1875 at the St. James's Theatre in London (as an afterpiece to W. S. Gilbert's Tom Cobb), concluding its run five weeks later, on 10 July 1875, at the Haymarket Theatre.
Arthur Sullivan - The Zoo
Piano Concerto No. 4;
Saint-Saëns - Piano Concerto No. 4 in C Minor
Anna Malikova, piano - WDR Sinfonieorchester Köln, Thomas Sanderling conductor
Camille Saint-Saëns - Danse macabre, Op. 40, in G minor
Leonard Bernstein - New York Philharmonic
Tchaikovsky - Symphony No. 3
Tchaikovsky - Symphony No.3 D major Op.29 "Polish"
Herbert von Karajan - Berlin Philharmonic
First movement：Introduzione e Allegro: Moderato assai (Tempo di marcia funebre) - Allegro Billante 0:00
Second Movement：Alla tedesca: Allegro moderato e semplice 14:33
Third movement：Andante elegiaco 22:49
Fourth movement：Scherzo: Allegro vivo 31:02
Fifth movement：Finale: Allegro con fuoco (Tempo di polacca) - Presto 37:01
Gilbert & Sullivan – Trial By Jury
Trial by Jury is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced on 25 March 1875, at London's Royalty Theatre, where it initially ran for 131 performances and was considered a hit, receiving critical praise and outrunning its popular companion piece, Jacques Offenbach's La Périchole. The story concerns a "breach of promise of marriage" lawsuit in which the judge and legal system are the objects of lighthearted satire. Gilbert based the libretto of Trial by Jury on an operetta parody that he had written in 1868.
Sullivan – Trial By Jury
The first performance of Tchaikovsky's Piano Concerto No. 1 is given in Boston, Massachusetts, with Hans von Bülow as soloist.
Tchaikovsky - Piano Concerto No 1
Martha Argerich, piano - Charles Dutoit, conductor
Orchestre de la Suisse Romande 1975
(b. Vienna, February 2, 1875; d. New York, January 29, 1962)
His life was remarkably eventful, and his radiant charm and incomparably expressive playing delighted audiences and aroused
the admiration of his fellow musicians for more than 50 years. He studied violin in Vienna and Paris, won prizes at the conservatories in both cities, and as a lad of 14 toured the United States with Moriz Rosenthal in 1889-90. He returned to Vienna and set aside his fiddle for a while, studying art and then medicine, each for two years, whereupon he entered the Austrian army. He resumed playing in 1896. In 1898 he appeared as a soloist with the Vienna Philharmonic and in December 1899 he made a sensational debut with the Berlin Philharmonic under Arthur Nikisch. He revisited the United States during the 1900-01 season and made his London debut in 1902, with Hans Richter conducting. This phase of his career climaxed in 1910 when he gave the premiere of Edward Elgar’s Violin Concerto in London, with the composer conducting.
Kreisler rejoined his old regiment in 1914 at the outbreak of World War I, was wounded fending off a Russian cavalry charge during the first weeks of the war, and spent the remainder of the conflict in the United States, deliberately keeping a low profile as sentiment against Austria and Germany mounted. Continuing his career in Europe after the war, he lived in Berlin from 1924 to 1934, then moved to France. In 1938, following the annexation of Austria by Germany, he became a French citizen. In 1939 he returned once again to the U.S., becoming an American citizen in 1943. He gave his last performance in Carnegie Hall on November 1, 1947.
Famous for his effortless technique and the extraordinary warmth and beauty of his tone, Kreisler was not only a virtuoso of the first rank but an outstanding interpreter of the classics. During the course of his long life, his career intersected with many others: In the 1880s, while attending conservatory in Vienna, he studied theory with Anton Bruckner; in the 1890s he clowned around with Arnold Schoenberg in the “frohiiches Quintett” (Schoenberg was the group’s cellist); during the 1920s he played and recorded much of his recital repertoire with Sergey Rachmaninov at the piano. Kreisler composed admirable cadenzas for the Beethoven and Brahms concertos as well as many short concert pieces, some of them clever fakes written in the style of (and impishly attributed to) various minor 17th- and 18th-century masters, some of them sentimental Viennese bonbons to which he attached his name from the start. The best known of these—Liebes-freud, Liebesleid, Schon Rosmarin, Caprice viennois, and Tambourin chinois—have become fixtures of the encore repertoire.
Itzhak Perlman/Samuel Sanders
Kreisler - 37 short pieces
1. A May Breeze
2. Aubade Provencale in the style of Couperin 2:44
3. Ballet in G 5:32
4. Caprice Viennois. 8:38
5. Chanson Pavane in the style of Couperin 12:24
6. Chanson Hindoue 16:00
7. Chansons sans paroles 19:16
8. La Vida Breve 22:02
9. Gavotte 25:32
10. Gypsy Caprice 28:51
11. Humoresque Op. 101 No. 7 33:20
12. Hymn to the Sun 37:02
13. Jota No. 4 41:04
14. La Gitana 43:50
15. La Precieuse in the style of Couperin 47:03
16. Larghetto 50:26
17. Liebesfreud 53:06
18. Liebesleid 56:25
19. Mazurka No. 4, Op. 67 posth. 59:48
20. Midnight Bells (Der Opernball 1:02:36
21. Polichinelle 1:05:53
22. Pupée valsante (Poldini-Kreisler) 1:08:19
23. Rondino on a Theme by Beethoven 1:14:32
24. Mozart: Rondo 1:17:04.
25. Scherzo alla Dittersdorf 1:24:37
26. Serenade Espagnole, Op. 20 No. 2 1:28:02
27. Shepherds Madrigal 1:30:48
28. Stars in My Eyes 1:35:12
29. Tambourin Chinois, Op. 3 1:38:15
30. The Londonderry Air 1:41:41
31. The Old Refrain 1:45:22
32. Viennese Rhapsodic Fantasietta 1:48:26
33. Humoresque Op. 101 No. 7 1:57:00
34. Lotus Land 2:00:44
35. Poupée Valsante 2:04:53
36. Schon Rosmarin 2:07:22
37. Andante Cantabile 2:09:20
Samuel Coleridge-Taylor, (born Aug. 15, 1875, London, Eng.—died Sept. 1, 1912, Croydon, Surrey), English composer who enjoyed considerable acclaim in the early years of the 20th century.
Coleridge-Taylor’s father, thwarted in his attempts to progress as a physician—through apparent racial prejudice—deserted his son and English wife and returned to his native West Africa. At the age of five Samuel began playing the violin and joined the choir of a Presbyterian church in Croydon, where H.A. Walters guided his progress and arranged his admittance to the Royal College of Music in 1890.
While still a student he published some anthems, but his creative gifts were more apparent in various colourful instrumental works. In 1896 he became conductor of an amateur orchestra in Croydon and began teaching, guest-conducting, recital work, and judging at music festivals to support his wife and two children. He also continued to compose and was an early success at the Gloucester Festival with an orchestral Ballade in A Minor (1898), which was followed by his outstanding achievement, the Longfellow trilogy for solo voices, chorus, and orchestra of Hiawatha’s Wedding Feast (1898), The Death of Minnehaha (1899), and Hiawatha’s Departure (1900). In these and numerous other works, including incidental music, choral works, and a violin concerto (1911), influences from Dvořák, Tchaikovsky, and Grieg appear along with a spontaneity derived from appreciation of African American folk music, in which Coleridge-Taylor was a pioneer. He was well received in the United States, where he toured in 1904, 1906, and 1910.
Samuel Coleridge- Taylor: Symphony in A minor,Op.8 (1896)
III.Scherzo:Allegro ma non troppo:7:24
IV.Allegro maestoso ed energico:10:14
Aarhus Symphony Orchestra
Samuel Coleridge-Taylor: Hiawatha's Wedding Feast
2013, Knox Church, Dunedin, New Zealand
Conductor: David Burchell
City Choir Dunedin
Tenor: Matthew Wilson
Samuel Coleridge-Taylor - Romance in G for violin and orchestra
Nicholas Braithwaite conducts the London Philharmonic.
Auguste Renoir - Lovers