|
| |
| Played
@: |
on
line |
| |
Wolfgang
Amadeus |
Symphony
no. 34 in C major, K.338
|
|
Mozart (1756-1791) |
| |
| |
|
Allegro
vivace |
| |
|
Andante
di molto (più tosto allegretto) |
| |
|
Allegro
vivace |
| Played
@: |
on
line |
|
Johannes
|
Tragic Overture for Orchestra in D minor, Op. 81
|
|
|
Brahms (1833-1897) |
| Played
@: |
on
line |
|
Ludwig
van |
Symphony No. 8 in F major, Op. 93
|
|
|
Beethoven (1770-1827) |
| |
|
Allegro
vivace e con brio |
| |
|
Allegretto
scherzando |
| |
|
Tempo di
Minuetto |
| |
|
Allegro
vivace |
| Played
@: |
on
line |
| |
Claude |
Prelude
to the Afternoon of a Faun
|
|
| Debussy |
| Played
@: |
on
line |
| |
Nikolay
|
Scheherazade,
Op.35
Symphonic Suite after The 1001 Nights
Symphonic
Suite, Scheherazade, Op. 35. Completed August 7th, 1888, first performance
December 15, 1888, in St. Petersburg. Scored for 2 flutes, piccolo, 2 oboes,
2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone,
tuba, tympani, triangle, tambourine, large and small snare drums, bass drum,
cymbals, tam-tam, harp, and strings.
|
|
| Rimsky-Korsakov
(1844-1908) |
| |
Nikolay
Rimsky-Korsakov began his life as a sailor, having continued a family tradition
by becoming a cadet in the Imperial Russian Navy at the tender age of twelve.
Although the boy was exposed to amateur music-making and even some piano
lessons in his early years, he had shown much more interest in academic
subjects than the arts. In St. Petersburg, while still a cadet, he heard
his first operas, which developed a deeper appreciation for music in the
lad. But although he found time for some limited training, spent his pocket
money on scores for study, and even began work on what would later become
the first Russian symphony, he decided that a naval career would provide
a more reliable living and found himself assigned to the sailing steamship
Almaz, on which he spent three years helping to further Russian interests
in Europe and the Americas. Eventually, as we know, Rimsky-Korsakov turned
to composition as a full-time career, but his conversion was slow and tortuous.
He maintained his connection with the Navy for over 25 years, serving for
most of that time as Inspector of Naval Bands, a position that was created
for him and which he executed eagerly and well, even though when he was
appointed, he knew nothing of band instruments. (He lost no time in learning
about them, however, and it is typical of the man that he taught himself
enough about orchestration to write a classic text on the subject, even
though he was completely ignorant of it when he began his first symphony.)
In 1883, Rimsky-Korsakov accepted a lucrative position as Assistant Musical
Director of the Imperial Chapel, but quickly became bored with his new job
and suffered a lengthy dry spell, producing very little until 1887, when
Alexander Borodin died. Spurred by the necessity of completing his friend's
opera Prince Igor, he returned to his work full-force, and soon produced
some of his best-known works, including Scheherazade. Although the work
and its individual sections bear programmatic titles, and the composer initially
wrote an introductory scenario, he later stated that he had not attempted
to paint any specific images, but rather wished the title to merely guide
the listener's attention in the general directions in which his own had
wandered. Nevertheless, two recurring themes, both introduced in the first
few measures, are worth special attention. The piece opens with a stately
motive in the low brass, which represents the disaffected Sultan who vowed
to kill every woman he wed until he was captivated by Scheherazade's stories.
(Rimsky-Korsakov felt that one of his best orchestral effects was achieved
by the silence of the grand pause that breaks this brief passage just before
the end, and it is worth contemplating how much less menacing it would sound
without that pause and the two notes that follow it.) Immediately following
the Sultan's theme, almost interrupting it, is the gentle and passionate
violin solo that represents the Princess herself, surely one of the loveliest
melodies ever penned. Listening to these two themes, and the sweeping music
of Scheherazade's tales that transports us bodily into the magic of the
1001 Tales of the Arabian Nights, one can only wish that Rimsky-Korsakov
had had the time to produce settings for the other 997. |
| |
|
2
- The Story of the Calender Prince |
| |
|
3
- The Young Prince and the Young Princess |
| Played
@: |
on
line |
| |
Jean |
Valse
Triste - Op. 44
|
|
|
Sibelius |
| Played
@: |
on
line |
| |
Modest
Petrovich |
A
Night on Bald Mountain
|
|
| Mussorgsky
(1839-81) |
| Played
@: |
on
line |
| |
|
Sicilienne
|
|
| |
| Played
@: |
on
line |
| |
|
Bassoon
Concerto
|
|
|
Vicman |
| |
| Played
@: |
on
line |
|
Antonin |
Serenade
for strings in E, (Op.22)
|
|
| Dvoràk |
| |
|
Moderato |
| |
|
Tempo di
Valse |
| |
|
Scherzo |
| |
|
Larghetto |
| |
|
Finale |
| |
| Played
@: |
on
line |
|
Claude
|
La
Mer
|
|
| Debussy |
| |
|
De l'aube
à midi sur la mer |
| |
| Played
@: |
on
line |
|
Carl |
Symphony
no. 1 in G minor, FS 16, Op. 7
|
|
| Nielsen
(1865-1931) |
| |
|
Allegro
orgoglioso |
| |
|
Andante |
| |
|
Allegro
comodo - Andante sostenuto - Tempo I |
| |
| Played
@: |
on
line |
|
Carl |
Symphony
no. 2 (‘The Four Temperaments’), FS 29, Op. 16
|
|
| Nielsen
(1865-1931) |
| |
|
Allegro
collerico |
| |
|
Allegro
comodo e flemmatico |
| |
|
Andante
malincolico |
| |
|
Allegro
sanguineo |
| |
| Played
@: |
on
line |
|
Wilhelm |
Serenade
for Orchestra in F major, Op. 31
|
|
| Stenhammar
(1871-1927) |
| |
|
Overture
- Allegrissimo |
| |
| Played
@: |
on
line |
|
Pyotr Ilich |
Symphony
No.4 in F-, Op.36
|
|
| Tachikovsky
(1840-1893) |
| |
|
Scherzo
Pizzicato ostinato |
| |
| Played
@: |
on
line |
|
Antonin |
Symphony
No.9 in E- (From The New World), Op.95
|
|
| Dvoràk |
| |
|
Adagio-Allegro
molto |
| |
|
Largo |
| |
|
Scherzo |
| |
|
Allegro
con fuoco |
| |
| Played
@: |
on
line |
|
Antonin |
String
Quartet No.12 in F 'American', Op.96
|
|
| Dvoràk |
| |
|
Allegro
ma non troppo |
| |
|
Lento |
| |
|
Molto vivace |
| |
|
Vivace
ma non troppo |
| |
| Played
@: |
on
line |
|
Christian |
'Phoenix
Rising'
Soundtrack Suite No.1 (11:24)
|
|
| Boesche |
| Played
@: |
on
line |
|
Christian |
Fantasia
in Bm
Pseudo-Classical, Orchestral - (5:37)
|
|
| Boesche |
|
|
