Astor Piazzolla ~ Complete music for flute and guitar

The seductive sound and renewed interest in the Tango has brought the music of the Argentinian composer, Astor Piazzolla, into the world of the popular classics. His large catalogue of works is unique in using the Tango as the basis for all of his compositions, though he developed the art to the point where it is difficult to detect the dance in his complex and strictly classical music.This CD contains some of the most beautiful pieces written for guitar and flute. It is not the most recognized work of Piazzolla, yet no one can deny a pure mastery and delightful cadenzas in solo pieces.

tracks

Cinco Piezas for guitar
01 Campero (4:05)
02 Romántico (4:16)
03 Acentuado (3:22)
04 Tristón (4:53)
05 Compadre (2:54)

Tango Études for flute & piano 
06 Étude Nº 1 (3:33)
07 Étude Nº 2 (7:21)
08 Étude Nº 3 (3:34)
09 Étude Nº 4 (4:29)
10 Étude Nº 5 (2:11)
11 Étude Nº 6 (4:32)

L'Histoire du tango, for flute & guitar 
12 Bordel 1900 (3:51)
13 Café 1930 (6:47)
14 Night Club 1960 (5:54)
15 Concert d'aujourd'hui (5:13)

Campero 

Vaughan Williams ~ The Lark Ascending

tracks

1. The Lark Ascending (14:58)

2. Five Variants of "Dives and Lazarus" (11:31)

The Wasps ~ Aristophanic Suite

3. Overture - The Wasps - Aristophanic Suite (10:11)

4. Entr'acte - The Wasps - Aristophanic Suite (2:50)

5. March Past of the Kitchen Utensils - The Wasps - Aristophanic Suite (3:24)

6. Ent'acte - The Wasps - Aristophanic Suite (4:09)

7. Ballet and Final Tableau - The Wasps - Aristophanic Suite (6:12)

John Bayless ~ Bach Meets the Beatles (Variatons in Style of Bach)

John Bayless improvises favorite melodies of The Beatles in the style of J. S. Bach in a sensuous manner. The playing is musical, the improvisations are excellent, and the instrument is superior. Mr. Bayless captures the innate musicianship of the Beatles compositions while bringing them to life in a Baroque treatment.

tracks

01. Imagine-Sinfonia (3:23)

02. All You Need Is Love (4:02)

03. Hey Jude (2:49)

04. Because (4:10)

05. Let It Be (4:17)

06. The Long And Winding Road (4:48)

07. Penny Lane (3:26)

08. Yesterday (2:29)

09. Michelle (3:55)

10. Nowhere Man (3:48)

11. And I Love Her (3:04)

12. Golden Slumbers/You Never Give Me Your Money (4:12)

13. Something (3:30)

14. Here, There, And Everywhere (3:53)

15. Imagine-Aria (1:53)

Herbert Von Karajan & Berlin Philharmonic Orchestra ~ Famous Ballets

In the 19th century, the Paris Opera imposed that a ballet be included in all lyric dramas performed on its stage. There were no exceptions to this rule and even Verdi was obliged to accept it. Gounod, in turn, followed suit when Faust was produced in 1859. Though the action of the opera suffered from this cut, the ballet, taken out of context and followed by the famous Waltz, then expres­sed its full savor and charm - it was a small work of art within a major one.

La Gaite Parisienne is a medley of themes by Jacques Offenbach (1819-1880), written and orchestrated by Manuel Rosenthal for the cho­reographer Leonide Massine in 1938. Included are the major successes excerpted from the witty Franco-German composer's operettas -La Vie Parisienne, of course, and Orpheus in the Underworld, La Belle Helene, La P6richole, not to forget The Tales of Hoffman, in which Barcarole happily closes this cycle. Coppelia, which was the first performed on May 25, 1870, enthused Paris Opera season-ticket holders and constitutes, along with Sylvia by the same Leo Delibes, one of the most long-lasting successes in the repertory of ballet music.

When Tchaikovsky discovered Le'o Delibes' ballets  he expressed his admiration, going so far as to say that he liked them better than Wagner's operas! It is to be noted that the author of The Sleeping Beauty was referring specifically to French tradition for the choice of his subject (Perrault's Fairy Tales), whereas he turned to Russia for the intrigues of his operas. The Sleeping Beauty was performed in Saint-Petersburg, before the Tsar, on January 13, 1890.

Even though Chopin did not compose a single ballet, dance pervades his works for piano. These inspired the choreographer Michel Fokine to write a ballet. Les Sylphides was first performed by Diaghilev's Russian Ballets at the Theatre du ChStelet on June 6, 1909. We owe the orchestration in this album to the contemporary English composer Roy Douglas. Music lovers, beware - this ballet is not to be confused with its homonym La Sylphide (1832) by the French composer Jean Scheitzhoeffer. Bol&ro, by Maurice Ravel, is built on a dual theme of sixteen measures played repeatedly for sixteen minutes until the last modulation breaks the charm. The "variation" comes solely from awesome orchestration, to which all the instruments contribute, in a compelling crescendo  on an insistent rhythm beaten on the . side drum. The work was performed at the Paris Opera on November 22, 1928 by Ida Rubinstein's Ballets.

tracks 1   

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Richard Wagner ~ The Compact "Ring"

Anyone that might be intimidated by the 4 operas that make up Wagner's Ring might find this on CD a great introduction to the Ring. It is 77 minutes of magic taken from all of the four operas: Das Rheingold, Die Walkure, Siegfried, and Gotterdammerung. Headliner singers like Jessye Norman, Christa Ludwig, Kathleen Battle and James Morris turn in performances that we are lucky to have on record. Perhaps the most important aspect of Wagner's Ring is the orchestra itself. Because of that, something must be said of James Levine and his Metropolitan Orchestra. From his orchestra, James Levine creates an environment in each scene that truly depicts what is happening. Though the music itself if just played strictly as written works well, when it's brought out intelligently and with emotion as Levine does, the Ring becomes something magical and the thought of gods, dragons, magical rings, etc. becomes believeable for the time that you're listening to it.
Perhaps the most involved, complex and definitely the longest of operas, the Ring is an achievement of a lifetime. It is something that should continue to live on through each generation. Here is a great summary to the monumental work.

tracks

01. Das Rheingold: "Lugt, Schwestern! Die Weckerin lacht in den Grund" [ Ekkehard Wlaschiha] (6:41)

02. Das Rheingold: "Zur Burg führt die Brücke" [Morris,Ludwig,Jerusalem] (9:41)

03. Die Walküre: "Der Männer Sippe saß hier im Saal" [Jessye Norman] (4:39)

04. Die Walküre: Walkürenritt (5:49)

05. Die Walküre: "Der Augen leuchtendes Paar" [James Morris] (14:31)

06. Siegfried: "Aber, wie sah meine Mutter wohl aus?" [Reiner Goldberg] (8:31)

07. Siegfried: "Nun sing! Ich lausche dem Gesang" [Goldberg,Kathleen Battle] (4:20)

08. Siegfried: "Heil dir, Sonne! Heil dir, Licht!" [Hildegard Behrens] (7:10)

09. Götterdämmerung: Trauermarsch (8:02)

10. Götterdämmerung: "Fliegt heim, ihr Raben!" [Behrens, Matti Salminen] (7:53)

Die Walküre: "Der Männer Sippe saß hier im Saal" [Jessye Norman]

Étienne Nicolas Méhul ~ The complete Symphonies

Released to mark the bicentenary of the French Revolution, this is the only set of Mehul's complete symphonies on CD. In his day, Mehul was France's most famous composer —his many operas placed him alongside Beethoven and Cherubini. Typical of music in Napoleon's times, the symphonies are characterised by brilliance and virtuosity, qualities brought out by the partnership between Michel Swierczewski and the Orchestra of the Gulbenkian Foundation. Although forgotten by the Parisian establishment they are important in the development of the symphony before Berlioz.

Etienne - Nicolas Mehul (1763-1817) 
The Revolution of 1789 took away some things and gave France others. It put a stop to regular concert societies (though not to symphonic events), but it engendered the Paris Conservatoire, which opened in 1795. This Conservatoire provided the musical base from which M6hul began his regeneration of the French symphony.  In his own day, Mehul was France's most famous native composer, and was especially valued in Germany. His many successful operas placed him in the forefront of the music of his time, alongside Beethoven and Cherubini: Euphrosine, Stratonice, Ariodant, Une Folie, Joseph. When Ariodant was staged so splendidly in Berlin in 1816, the great critic E.T.A. Hoffmann analysed it out of homage to its learned and versatile' composer, concluding: 'Serious, dignified, harmonically rich, and thoughtfully fashioned, (it) Should not (be allowed) to disappear from the stage'. And yet, (one thinks of Berlioz!) Mehul had enemies within the French camp who were only too ready to discourage his new symphonies. Whereas No.l in G minor was later conducted by Mendelssohn (1838,1846), by Reinecke, and August Manns and Sterndale Bennett in England, the Parisian Establishment view was that only Mehul's operas should be remembered.
The scores of Symphonies Nos. 3 and 4 became lost, their orchestral parts only being discovered (by the present writer) in 1979. Nevertheless, M6huTs four complete mature symphonies form a definite group, created between about 1808 and 1810.

tracks1  tracks2

01. Overture - La Chasse du Jeune Henri (10:35)

02. Symphony no. 1 in G minor - I. Allegro (7:43)

03. Symphony no. 1 in G minor - II. Andante (8:15)

04. Symphony no. 1 in G minor - III. Menuet: Allegro moderato (3:19)

05. Symphony no. 1 in G minor - IV. Final: Allegro agitato (6:40)

06. Symphony no. 2 in D major - I. Adagio - Allegro (8:49)

07. Symphony no. 2 in D major - II. Andante (6:55)

08. Symphony no. 2 in D major - III. Menuet: Allegro (3:56)

09. Symphony no. 2 in D major - IV. Final: Allegro vivace (7:52)

10. Overture - Le Tresor Suppose (4:28)

11. Symphony No 3 - I Allegro. Ferme et Modere (9:30)

12. II Andante (7:50)

13. III Final - Allegro (6:20)

14. Symphony No 4 - I Adagio - Allegro (9:33)

15. II Andante (6:20)

16. III Menuet - Allegro (3:26)

17. IV Final - Allegro (6:24)

Domenic & Allesandro Scarlatti ~ Die Klassik Sammlung

tracks

Alessandro Scarlatti

01. Konzert in a-Moll für Altflöte, Streicher und Basso Continuo - Allegro (2:23)

02. Konzert in a-Moll für Altflöte, Streicher und Basso Continuo - Largo (1:28)

03. Konzert in a-Moll für Altflöte, Streicher und Basso Continuo - Fugue (2:50)

04. Konzert in a-Moll für Altflöte, Streicher und Basso Continuo - Piano (1:54)

05. Konzert in a-Moll für Altflöte, Streicher und Basso Continuo - Allegro (2:16)

Domenico Scarlatti

06. Cembalosonate L366 in d-Moll (1:59)

07. Cembalosonate L349 in G-Dur (3:30)

08. Cembalosonate L383 in f-Moll (6:11)

09. Cembalosonate L396 in B-Dur (4:12)

10. Cembalosonate L103 in G-Dur (6:02)

11. Cembalosonate L478 in G-Dur (2:12)

12. Cembalosonate L413 in d-Moll (4:03)

13. Cembalosonate L104 in C-Dur (2:13)

14. Cembalosonate L352 in c-Moll (3:27)

15. Cembalosonate L387 in G-Dur (2:49)

16. Cembalosonate L210 in E-Dur (5:52)

17. Cembalosonate L118 in f-Moll (8:45)

18. Cembalosonate L391 in A-Dur (2:47)

Cembalosonate L366 in d-Moll 

Cembalosonate L349 in G-Dur

Carl Philip Emanuel Bach ~ Baroque Masterpieces

tracks1. Double Concerto for Harpsichord, Piano and Orchestra, in E flat Major - Allegro di molto (8:27)
2. Larghetto (6:49)
3. Presto (4:43)
4. Sonata for flute and Basso Continuo, in D Major - Andante (2:57)
5. Allegro (3:02)
6. Minuet (3:40)
7. Wurtemburg Sonata No. 1 in A minor - Moderato - Andante - Allegro assai (15:00)
8. Wurtemberg Sonata No. 6 in B minor - Moderato - Adagio non molto - Allegro (15:58)

Heitor Villa-Lobos ~ String Quartets - Vol.1 (No 1, 6, 17)

Hector Villa-Lobos produced a "profusion of music in abundance" - to coin a possible non-sequitur. Although not generally thought of as a composer of symphonies or string quartets, the fact remains that there are 12 symphonies and 17 string quartets. And they are all of them major works of primary importance. Now that the 20th century is behind us and a more thoughtful evaluation of the entire period can be undertaken, quite a number of composers will doubtless float to the top. Villa-Lobos most certainly is one of these. The Villa-Lobos set are as varied as is the rest of his enormous output. But the consistency of the set is one of its most remarkable characteristics. Villa-Lobos, being a string player, exploits every device known to the string player's craft. To cite but one example, having been both a 'Cellist and a guitar player, there are whole sections in these quartets where the ensemble is made to sound like an enormous guitar, complete with left and right pizzicati, fingered and unfingered, too. These are virtuoso pieces, intellectually sharp, dramatic, sentimental, humorous and vigorous in turn. In short, a major addition to the quartet literature.

tracks

01. String Quartet No.06 I Poco animato (7:00)

02. String Quartet No.06 II Allegretto (4:37)

03. String Quartet No.06 III Andante quasi adagio (6:42)

04. String Quartet No.06 IV Allegro vivace (6:31)

05. String Quartet No.01 I Cantilena (2:36)

06. String Quartet No.01 II Brincadeira (A Joke) (1:24)

07. String Quartet No.01 III Canto Lirico (4:56)

08. String Quartet No.01 IV Canconeta (2:01)

09. String Quartet No.01 V Melancolia (5:53)

10. String Quartet No.01 VI Saltando como um saci (Jumping Like a Jumping Bean) (3:02)

11. String Quartet No.17 I Allegro non troppo (5:24)

12. String Quartet No.17 II Lento (6:24)

13. String Quartet No.17 III Scherzo Allegro vivace (2:54)

14. String Quartet No.17 IV Allegro vivace (con fuoco) (5:14)

String Quartet No.06 I Poco animato

Antonio Vivaldi ~ Lute & Mandolin Concertos

Vivaldi's century would have assigned the lute to the Third Programme, the mandolin to the Light. But in truth there was more difference in the style of playing than basically in the instruments themselves: those complex and refined finger-movements for the lute, that Come back to Sorrento plectrum tremolo for the mandolin. Forswear the tremolo, as Vivaldi (and other serious composers) did, and the resources and tonequalities of the two instruments are not so very dissimilar.

They can also be very attractive, and at times on this record are so. Any limitation is often more in the simplicity of the writing, for Vivaldi seems to have had specific amateur soloists in mind rather than any disembodied ideal player. The G major Concerto, though, is for two mandolin soloists; and by division of labour these two are allowed to make more resourceful sounds. Expecially attractive is their slow movement, accompanied only by pizzicato violas, for the absence of harpsichord continuo is here a positive advantage— elsewhere there is from time to time substantial right-hand activity in this direction which in some degree obscures the similar-sounding solo line.

The lute pieces have very similar characteristics. Perhaps one trick is lost when the Trio is recorded with the same resonant ound accorded the orchestra ; the resulting contrast is minimal, the more especially as the indicated solo violinist at times gives strongly the impression of being a distinctly multiple personality. Even if the collective sounds, however, are not as varied as could be they are all interesting ones, and kept on the move by Vivaldi's skill. Well performed and recorded (in stereo—the mono I have not heard) this disc will, I am sure, have its devotees.

tracks

01. Chamber Concerto for Lute and 2 Violins in D major, RV 93 Allegro guisto (31:44)

02. Concerto for 2 Mandolins in G major, RV 532 Allegro (35:35)

03. Concerto for 2 Mandolins in G major, RV 532 Andante (28:57)

04. Concerto for 2 Mandolins in G major, RV 532 Allegro (33:25)

05. Concerto for 2 Flutes, 2 Salmo, 2 Mandolins, 2 Violins, 2 Guitars, Strings and Harpichord C-major Allegro molto (3:50)

06. Concerto for 2 Flutes, 2 Salmo, 2 Mandolins, 2 Violins, 2 Guitars, Strings and Harpichord C-major Andante molto (20:22)

07. Concerto for 2 Flutes, 2 Salmo, 2 Mandolins, 2 Violins, 2 Guitars, Strings and Harpichord C-major Allegro (26:59)

08. Chamber Concerto for Lute and 2 Violins in D major, RV 93 Largo (5:16)

09. Chamber Concerto for Lute and 2 Violins in D major, RV 93 Allegro (22:09)

10. Concerto for Viola d'Amore and Lute in D minor, RV 540 Allegro (48:47)

11. Concerto for Viola d'Amore and Lute in D minor, RV 540 Largo (4:36)

12. Concerto for Viola d'Amore and Lute in D minor, RV 540 Allegro (30:05)

13. Concerto for Mandolin in C major, RV 425 Allegro (23:57)

14. Concerto for Mandolin in C major, RV 425 Largo (27:05)

15. Concerto for Mandolin in C major, RV 425 Allegro (19:26)

Chamber Concerto for Lute and 2 Violins in D major, RV 93 Allegro guisto (31:44)

Concerto for 2 Mandolins in G major, RV 532 Allegro (35:35)

Franz Lehár ~ The Merry Widow

This recording stands out for its lush background and dramatic detail. Evey moment is filled with revelers, picknickers, Grisettes etc. Gardiner is in excellent form in this recording, with the orchestra kept in fresh and exciting tone. The soloists are very well-coached in German, and the spoken passages are filled with great emotion. Cheryl Studer is in fine voice, and manages to shade with pianissimo well, even though she is a little breathy, and raw at times. Her vocal acting is superb, and this recording should go down as one of the best performances of this (and maybe any) soprano in terms of characterization. Bo Skovhus is ok in the role of Danilo, but his high notes wobble too much. His saving grace is his acting as well, especially in Act III when he and Hannah declare their love for each other. The rest of the cast is top notch, with wonderful tenderness given to the vocal line when it is called for.

tracks

01. Act I Introduction - Verehrteste Damen und Herren (2:52)

02. Act I Ball Music - Camille, ich muss mit Ihnen sprechen! (0:44)

03. Act I Duet - So kommen Sie! 's ist niemand hier! (4:05)

04. Act I Dialog - Nun, Njegus, haben Sie meine Botschaft überbracht? (0:36)

05. Act I Entrance Song And Ensemble - Achtung, meine Herren, die Glawari kommt! (3:19)

06. Act I Ball Music - Camille! Ja? (0:34)

07. Act I Danilo's Entrance Song - Also, Njegus, hier bin ich, und wo ist das Vaterland? (2:13)

08. Act I Dialog - Ich habe schon die vierte Nacht nicht geschlafen! (1:29)

09. Act I Dialog And Duet - Ein trautes Zimmerlein (2:26)

10. Act I Dialog And Finale I - Damenwahl! Hört man rufen rings im Saal! (10:05)

11. Act II Introduction, Dance And Song Of Vilja - Ich bitte, hier jetzt zu verweilen. Es lebt' eine Vi (9:30)

12. Act II Dialog - Gospodina, dieses vaterländische Fest könnte nicht vaterländischer sein. (0:49)

13. Act II Duet - Heia, Mädel, aufgeschaut (2:43)

14. Act II Dialog And March-Septet - Wir werden uns noch schlagen um die Witwe! Wie die Weiber... (3:06)

15. Act II Dialog, Flirtation And Dance-Duet - Mein tapferer Reitersmann! (5:17)

16. Act II Duet and Romance - Mein Freund! Vernunft! (6:33)

17. Act II Dialog - Ah, die Baronin und der Herr Rosillon (1:08)

18. Finale II - Ha! Ha! Wir fragen, was man von uns will! (11:34)

19. Act III Intermezzo - Also, also, also (0:35)

20. Act III Dance-Scene - Dance (0:53)

21. Act III Chanson - Graf Danilowitsch Ja, wir sind es, die Grisetten (3:01)

22. Act III Dialog - Exzellenz, Exzellenz, Graf, eine Expressdepesche! (1:04)

23. Act III Duet - Lippen schweigen (2:59)

24. Act III Dialog - Exzellenz! Exzellenz! Diesen Fächer hat man in Pavillon gefunden! (1:24)

25. Act III Closing Song - Ja, das Studium der Weiber ist schwer (0:36)

Les Swingle Singers ~ Jazz Sebastian Bach

The Swingle Singers' scat vocal jazz swing arrangements of Johann Sebastian Bach classics were among their most popular material, particularly in Europe (where they actually enjoyed some chart success in the U.K.). Accompanied by nothing more than double bass and drums, the octet distributed their vocal parts equally among two sopranos, two altos, two tenors, and two basses, favoring brisk tempos. Occasionally, indeed, they were so brisk they verged on hyperventilation, as on "Prelude No. 1 in C Major" and the version of "Fugue No. 5 in D Major" drawn from "The Well-Tempered Clavier, Book 1." They do slow things down once in a while on numbers like "Aria" (from the composer's "Orchestral Suite No. 3 in D Major") and parts of "Sinfonia," which tend to tilt the mood a little more toward the classical.

tracks

01. L'Art De La Fugue: Fugue En Re Mineur
02. Prelude Pour Choral D'Orgue No.1
03. Suite En Re Majeur: Aria
04. Clavecin Bien Tempere, Vol.2: Prelude In Fa Majeur
05. Suite Anglaise No.2: Bourree
06. Clavecin Bien Tempere, Vol.1: Fugue En Do Mineur
07. Clavecin Bien Tempere, Vol.1: Fugue En Re Majeur
08. Clavecin Bien Tempere, Vol.2: Prelude No.9
09. Partita No.2: Sinfonia
10. Clavecin Bien Tempere, Vol.2: Prelude En Do Majeur
11. Canon
12. Invention En Do Majeur
13. Clavecin Bien Tempere, Vol.2: Fugue En Re Majeur
14. Concerto A 2 Violons En Re Mineur, BWV 1043: 1er Mouvement: Vivace
15. Clavecin Bien Tempere, Vol.1: Prelude Et Fugue En Mi Mineur No.10
16. Cantate 'Herz Und Mund Und Tat Un Leben', BWV 147: Choral
17. Partita No.3 Pour Violon Seul, BWV 1006: Gavotte
18. Clavecin Bien Tempere, Vol.1: Prelude Et Fugue En Do Majeur, BWV 846
19. Prelude Et Fugue Pour Orgue: Fugue En Sol Majeur, BWV 541
20. Sonate No.3 Pour Violon Et Clavecin En Mi Majeur: Adagio, BWV 1016
21. Clavecin Bien Tempere, Vol.1 (No.3), BWV 848: Prelude Et Fugue En Do Diese Majeur
22. Choral D'Orgue 'Numkomm Der Heiden Heiland', BWV 659: Prelude
23. Clavecin Bien Tempere, Vol.1: Prelude Et Fugue En Si Bimol Majeur, BWV 866: Fugue No.21

Clavecin Bien Tempere, Vol.1: Fugue En Re Majeur

Clavecin Bien Tempere, Vol.2: Prelude No.9

Russian Sacred Music ~ Celestial Litanies

"We didn't know whether we were in heaven or on earth."

According to medieval Russian chronicles, this is how a Russian delegation visiting Byzantium in the 10th century described the mystical splendor of the music and pageantry of the Eastern Orthodox liturgy. After hearing the delegation's report, Kievan Grand Prince Vladimir (ruled 980-1015) decreed that the young Russian state would adopt Eastern Orthodoxy as its official religion. Almost immediately, church personnel from Greece and Byzantium arrived in Kiev to provide instruction in the writing and performance of music. The singing in the Orthodox liturgy was a form of monodic unison chant performed without accompaniment and usually by male choirs. Occasionally, for purposes of dramatic contrast, a drone was used, or the choir was divided into two antiphonal groups. Over time, the chant imported to Russia began to evolve independently. External political factors led to this divergence: the conquest of Russia by the Mongols in the 13th century and the fall of Byzantium to the Ottoman Empire in 1453. Both events served to isolate Russia almost completely from the outside world until the late 17th century. During this period, Russian Orthodox liturgical music flourished in the many monasteries, reaching a high level of professionalism and stylistic individuality. The form of chant that developed in Russia is known as znarnennv raspev—znamenny chant, from the Russian word znamenny. or "sign," referring to the primitive symbols used in notation.

As spiritual and political leaders of Muscovy, the Russian Tsars took a leading role in musical matters. Some of them, including the fanatically devout Ivan the Terrible (ruled 1533-1584), were accomplished performers and composers of liturgical music. This phase ended around 1700, when the aggressive policies of Westernization introduced by Tsar Peter I ("The Great," ruled 1596-1725) started to influence Russian religious and musical practice. Initially written down in complex "neume" notation, which could be deciphered only with great difficulty, Russian unison chant began to be transferred to western-style notation in the late 18th century. The anthology produced Dy the Moscow Synodal Typography in 1772 was particularly important. It served as the basis for the many western-style harmonizations produced by suc­ceeding generations of professionally trained "secular" composers, including Dmitri Bortnyansky, Piotr Tchaikovsky, Alexander Arkhangel'sky, Pavel Chesnokov, Sergei Rachmaninoff and others.

In their settings usually for mixed chorus, the serene, other-worldly beauty of Orthodox chant has found an even larger audience in the concert hall.

tracks

01. Ode Of The Nativity (1:17)
02. Christ Is Risen (1:09)
03. Kontakion (8:39)
04. Hymn To St.Euphrosyne (2:35)
05. Hymn For The Exaltation Of The Cross (2:29)
06. Stikhira(Sacred Song)To Basil The Great (2:56)
07. Greatness Of The Episcopate (4:10)
08. We Bow Before Your Cross (1:07)
09. Stikhira In Honor Of Peter,Leader Of Moscow And All The Russia (4:44)
10. O Holy Son (1:48)
11. O King Of Heaven (1:41)
12. Come,Sing,People Of God/Liturgy Of St.John Chrysostom,Op.41 (7:40)
13. O Come,Let Us Worship (4:42)
14. Hymn Of The Cherubim (8:59)
15. Concerto For Chorus:I Think Of The Dreadful Day/Liturgy Of St.John Chrysostom,Op.42 (7:40)
16. Grand Litany/Liturgy Of St.John Chrysostom,Op.31 (5:30)
17. Grand Litany Of Supplication (3:34)
18. Blessed Be The Name Of The Lord (0:38)
19. Glory Be To The Father (0:50)

Prokofiev ~ Skryabin

Both composers on this disc are children of the Russian revolution, the revolution in music, that is, that took place at the turn of the century in what was imperial Russia. Moscow, the ancient capital of the Tsars, and St. Petersburg, then barely 200 years in existence but very much the westward looking, modern city, both sported prestigious musical institutions. Critics nowadays argue about the conservatory in Moscow following the heritage of Tchaikovsky, of Brahms and the Classical tradition, versus the St. Petersburg Conservatory following in the steps of the Russian nationalists. Glinka, and his followers known as "The Mighty Five" (Balakirev, Borodin, Cui, Musorgsky, and Rimsky-Korsakov). Regardless of generalizations, both institutions must have been shaken to their cores with the influx of foreign musical developments. Wagner had long been played, but now came Mahler and Strauss, Debussy and Ravel, and Schoenberg. The professors must have wondered just what to teach the younger composers.

tracks

1. Prokofiev, Symphony 2 in D minor Op.40 Allegro ben articolato (12:08)

2. Prokofiev, Symphony 2 in D minor Op.40 Theme and Variations (22:49)

3.Skriabin, The Poem of Ecstersy Op.54 (15:41)

4. Skriabin, Wishes Op.24 (4:59)

Skriabin ~ Wishes

Lutz Kirchhof ~ Lute Music for Witches and Alchemists

The time the music on 'Lute Music for Witches and Alchemists' was written was one of mysticism and wonder. The era of alchemists and witches tapped into the dark recesses of human understanding, during a time before scientific inquiry and rationalism. The dances, preludes and fantasias on this recording were intended to appeal to this older sensibility more than a rational or analytical one.

Lutz Kirchhof plays lute, vihuela and theorbo on this eclectic program of music from the renaissance and baroque. Each section of the recording is comprised of music inspired by witches with powers to heal and alchemists who quested for hidden knowledge. Kirchhof's choice of repertoire is eclectic. He plays Anthony Holborne's "The Fairy Round" with a jaunty swagger that's irresistible. The "Tarantella" by Athanasius Kircher is equally colorful, it's a musical remedy against the venomous bite of the tarantula. Kirchhof also plays with melancholy eloquence on the gentle "Fantasia" by Luys de Milan. The lutenist also displays some exuberant flair in Nicolas Vallet's "Battaille." This is a fascinating recording that resurrects some treasures from the lute repertoire framed in a clever programming concept.
Includes fantasia(s) by Luis de Milan, Luis de Narváez. Soloist: Lutz Kirchhof.

tracks

01. Fairy Rownde for lute

02. Courante 1, for lute

03. Courante 2, for lute

04. Volte, for lute

05. Le secret des muses, lute book (2nd ed. of Secretum musarum): Battaille

06. Noctes Musicae, for lute: Chorea 1

07. Tarantella, for lute

08. Work(s): Unspecified Fantasia, for lute

09. Cancion del emperador, for vihuela

10. Baxa de contrapunto

11. Cancion in the 1st tone, after Nicolaus Gombert's Canzon, for lute

12. Diferencias (7) for guitar on 'Guárdame las vacas'

13. Muy Linda, for viol consort

14. Suite for lute in A minor

15. Suite for lute in A minor

16. Suite for lute in A minor

17. Suite for lute in A minor

18. Suite for lute in A minor

19. Suite for lute in D minor

20. Suite for lute in D minor

21. Suite for lute in D minor

22. Suite for lute in D minor

23. Suite for lute in D minor

24. Atalanta Fugiens, for 3 voices & lute: Fuga X

25. Sonata for lute in C minor

26. Sonata for lute in C minor

27. Sonata for lute in C minor

28. Galanterie piesse, for lute in F minor (Moscow MS), Smith 452

29. Work(s): Unspecified Presto in B flat major (Smith 454)

30. Variations on 'Nun sich der Tag geendet hat', for lute

Béla Bartók ~ Concerto for Orchestra / Music For Strings, Percussion and Celeste

Arriving in the United States in October 1940, Bartok was a broken man. The leukemia that was to kill him in 1945 had taken hold and he was physically weak, spiritually demoralised and in financial dire straits. His one hope was that he could return to his homeland before his death, but this became impossible with the escalation of the War. Fritz Reiner and the violinist Josef Szigeti came up with a plan to cheer up their old mentor. They gave him a substantial gift of money, disguised as a commission for a new work to be premiered by the Boston Symphony Orchestra.

The effect on Bartok was immediate; his health improved, and with his new-found vigour, he wrote one of the greatest works of the twentieth century - the Concerto for Orchestra. It premiered in December 1944, and while he wrote several other works that were left unfinished, the Concerto for Orchestra was his dying testament.

The Concerto for Orchestra gets its name from the fact that Bartok uses different groups of instruments as solo elements, similar to the Baroque concept of the concerto grosso. In all other respects, however, it is a symphony, and Bartok's largest orchestral work. It brings together everything that is Bartok - his love of orchestral colour, his abrassive rhythms interspersed with beautiful melodies, and above all, his use of Hungarian folk motifs within a formal framework.

The first, third and fifth movements are symphonic explorations of simple musical themes, while the second and fourth movements are interludes. The fourth movement is a rather savage attack on Shostakovich's Seventh Symphony. That symphony, known as the “Leningrad” included a bombastic, crescendo march, and was incredibly popular. Bartok regarded it as vulgar trash, and could not understand why it was so popular when his own music largely ignored. In his version, the sudden entry of a banal march tune is quickly suppressed by a beautiful tranquil Hungarian melody.

Bartók’s Music for Strings, Percussion and Celeste is one of his most well known pieces along with the Concerto for Orchestra and the 6 string quartets. It was commissioned to celebrate the 10th anniversary of the Basel Chamber Orchestra and premiered 21 January 1937.In the score Bartók stipulates that the strings are divided antiphonally.
Although the piece was written 15 years before Gyorgy Ligeti’s Romanian Concerto, it sounds quite modern in comparison. Bartók fled Hungary for the United States in 1930 and was free to compose as he wished. Also, Bartók was a much older man, so his compositional style had already matured. It is well known that folk music was Bartók’s great love. He and Zoltan Kodaly were responsible for an enormous folk music collection project and co-founded the academic discipline of ethnomusicology. As you might expect, elements of folk music are omnipresent in Bartók’s work, whether it be rhythm, melody, tonality or form.

Bartók was writing while Schonberg was developing his system of atonal serialism. Rather than being a reactionary, Bartók wanted to show Schonberg that “one can use all 12 tones and still remain tonal“. He did this by writing pieces that were polytonal. Playing in more than one key simultaneously is a feature of some Eastern European folk music.
A slow fugue is the basis for the first movement. Rather than use a melodic subject like Bach, Bartók uses a chromatic motive centring on the pitch A. He further rejects the formal key structure traditionally associated with fugue by writing the score without any key signature at all. The idiom is much closer to his later string quartets than his violin rhapsodies or early piano works.
Bartók stipulates in the score that the strings be arranged antiphonally, which results in a stereo sound experience. The opening of the second movement uses this to full effect with fragments of the tune being tossed back and forth across the orchestra. This technique was exploited to the extreme by American radio orchestras in the early 1950s when stereo speakers were a new invention. Often referred to as Bartók’s night music, the third movement is punctuated by imaginative use of percussion. It opens with a solo xylophone and goes on to feature tympani glissandi, an effect created by adjusting the tuning pedal after the drum head is struck.
Tympani and pizzicato strings get the final movement off to a lively start. Folk rhythms and melodies are interspersed with episodes of the first movement fugue, most notably near the end, where what appears to be a final frenzied climax is interrupted by the languid return of the fugue.

tracks
1. Concerto for Orchestra - Introduzione: Andante non troppo - Allegro Vivace (10:52)
2. Giuoco delle coppie - Allegretto scherzando (6:58)
3. Elegia - Andante non troppo (8:22)
4. Intermezzo interrotto - Allegretto (4:27)
5. Finale - Presto (10:04)

6. Music for Strings, Percussion and Celesta - Andante tranquillo (10:36)
7. Allegro (7:33)
8. Adagio (7:33)
9. Allegro molto (7:47)

The Glory of the Italian Madrigal [The Amaryllis Consort]

One of the great charms of a collection of madrigals is the enormous variety of moods and musical forms. Pieces ranging from the simplest composition to the most intricate polyphonic structure, from the lightest pas­toral whimsy to the darkest and most tortured expression of spiritual self-analysis, may be found together. Though its popularity spread rapidly throughout Europe in the latter part of the 16th century, the madrigal is an Italian invention. Although the origin of the word "madrigal" is by no means conclusively established, there is good reason to link it with the Italian matricale, implying a work written in the mother tongue, the language of the everyday world, as opposed to Latin, the language of the Church.

The Italian madrigal flowered during the second half of the 16th and the first quarter of the 17th centuries as a continually evolving synthesis of three separate kinds of vocal composition. The first is the frottola, a type of tune with accompaniment. The second element was the more modern Franco-Flemish style of imitative polyphony, which was introduced into Northern Italy during the course of the 16th century by a host of Flemish composers employed to enrich the culture and reputation of the courts. Third is the chanson, a French import, which combined simply harmonized tunes with extravagant texts and effects—imitations of farmyard noises or the clashing of swords.

These disparate elements are cemented together by the Italian text. The madrigal in Italy is fundamentally an expression of poetic concepts. Treatment of the text is heavily influenced by the rhythmic patterns of courtly dance, a pastime important to well bred Italians of the age, and with this in mind we have included in this collection some dances for the harp by Negri and Mainerio, as well as one example, So ben, mi, c'ha bon tempo, which exists both in played and sung versions. The performance here reproduces the original dance form. The harp is an Italian double harp of the period.

Perhaps the most notable trademark of the Italian madrigalists is their extraordinarily inventive textural expression. The most extreme example is to be found among the works of Gesualdo, whose use of dissonance and irrational chord progression reaches a peak in pieces such as Moro, lasso, al mio duolo, and whose original harmonic imagination was a source of wonder even to Stravinsky. Listen also to the strange progressions at the end of Marenzio's Cruda Amarilli, to the chromatic beginning and alternating major/minor tonalities in Caimo's Piangete valli, and to the rich variety of styles in Mon­teverdi's three offerings: Lasciatemi morire, with its plangent tragic harmonies; Quel augellin che canta, a flutter of runs; and Zefiro torna, lurching between cheerful opti­mism and blackest depression. Nothing could be simpler or more charming than Gabrieli's Due rose fresche, more uncom-plicatedly cheerful than Gastoldi's Viver lieto voglio, or more down to earth than Lasso's bawdy Matona mia cara. The infinite variety of Italian madrigals offers something for any mood and every occasion.

tracks

01. Lasso: Matona mia cara (2:11)

02. Lasso: S'io esca vivo (3:31)

03. Andrew Lawrence-King - Negri: Torneo amoroso (harp solo) (2:19)

04. Marenzio: Già torna a rallegrar l'aria e la terra (2:02)

05. Marenzio: Cruda Amarilli (4:19)

06. Andrew Lawrence-King - Negri: Leggiardra marina (harp solo) (4:12)

07. Arcadelt: Il biano e dolce cigno (2:14)

08. Monte: Leggiadre ninfe (3:00)

09. Caimo: Piangete valli (2:54)

10. Gastoldi: Viver lieto voglio (2:58)

11. Gabrieli A.: Due rose fresche (3:12)

12. Andrew Lawrence-King - Negri: Alta Mendozza (harp solo) (1:59)

13. Gesualdo: Moro, lasso, al mio duolo (3:53)

14. Gesualdo: Luci serene e chiare (3:30)

15. Mainerio: Ballo furlano (2:58)

16. Wert: Vezzosi augelli (2:17)

17. Monteverdi: Lasciatemi morire: Lamento d'Arianna (2:14)

18. Monteverdi: Quel augellin che canta (1:52)

19. Monteverdi: Zefiro torna (3:29)

20. Vecchi: So ben, mi, c'ha bon tempo (2:49)

Gesualdo: Moro, lasso, al mio duolo

Monteverdi: Lasciatemi morire: Lamento d'Arianna

J.S. Bach ~ Mass in B minor

Gardiner bases his forces on the famous memorandum which Bach handed to the Leipzig town council in 1730 outlining the vocal and instrumental requirements for performances of his church music. This results in a larger ripieno group. Gardiner also includes a harpsichord as well as an organ, the simultaneous playing of which, in Wolff's words, was 'a practice that can probably be assumed to be normative in the great majority of Bach's church music'. Gardiner uses women's voices for the soprano solo and ripieno lines and also a male alto soloist and male alto ripieno singers.
This is a fine achievement. Here the many strong points of his direction - a vital rhythmic understanding, a clear and positive sense of purpose, and a naturally affective response to Bach's music, combine in forming a concept of the work which not only explores its eneffable mysteries but also savours the magnificence of its architecture. The solo vocal line-up is a strong one and there are few weak moments; most of the soloists sing in the ripieno group as well, though Patrizia Kwella and Lynne Dawson appear to be exceptions to the rule. Nancy Argenta's 'Laudamus te', in which she is lightly partnered by Elizabeth Wilcock's sensitive violin playing is very fine and the singing of Mary Nichols who provides an expressive and well-balanced partnership with Patrizia Kwella in the 'Et in unum Dominum' deserves special mention.
Michael Chance gives a beautifully controlled account of the 'Agnus Dei' and there are assured contributions elsewhere from Wynford Evans and Stephen Varcoe.
The crowning achievement of Gardiner's recording lies in the vitality, accuracy and homogeneity of the ripieno singing it is in no sense intended to underplay the considerable virtues of the soloists and the orchestra; but this, after all, is first a vocal work and foremost a choral one. The ripieno singing at its very best - as it is for example, in the 'Et resurrexit' - is thrilling and gives a fervent imprint to the entire work. There is a spontaneity about this singing to which few listeners could remain indifferent.
Gardiner's choruses are immediately striking and handled with such skill and rigorous discipline that repeated hearing in no sense diminishes their impact.

tracks

01 Kyrie Eleison (9:28)

02 Christe Eleison (4:52)

03 Kyrie Eleison (3:32)

04 Gloria in excelsis Deo (1:43)

05 Et in terra pax (4:04)

06 Laudamus te (3:53)

07 Gratias agimus tibi (3:02)

08 Domine Deus (5:17)

09 Qui tolis peccata mundi (3:19)

10 Qui sedes ad dexteram (4:23)

11 Quoniam tu solus sanctus (4:23)

12 Cum sancto spiritu (3:47)

13 Credo in unum Deum (1:55)

14 Patrem omnipotentem (1:52)

15 Et in unum Dominum (4:10)

16 Et incarnatus est (3:25)

17 Crucifixus (3:09)

18 Et resurrexit (3:49)

19 Et in Spiritum Sanctum (5:30)

20 Confiteor unum baptisma (2:31)

21 Et expecto resurrectionem (3:34)

22 Sanctus (5:26)

23 Osanna (2:35)

24 Benedictus (4:48)

25 Osanna (2:36)

26 Agnus Dei (5:46)

27 Dona nobis pacem (3:19)

J.S. Bach ~ Johannes Passionen

John Eliot Gardiner, the Monteverdi Choir, and the English Baroque Soloists come to Bach's St. John Passion after their ambitious traversal of all the church cantatas, so they are immersed in the subtleties of the composer's expressive sensibilities and musical styles. Their performance of the St. John Passion is emotionally explosive and often darkly dramatic; the opening chorus, for instance, is roiling and tumultuous, almost chaotic, a wrenching opening to the passion narrative. As dark as the tone is, it is never murky; this is the darkness of obsidian whose blackness is revealed when light glints off its sharply defined surfaces. The performances of the soloists match the brilliance, finesse, and clarity of the chorus and orchestra. As the Narrator, tenor Mark Padmore sings with urgency and acute sensitivity to the text; he comes across as an engrossing storyteller. His voice has an exemplary purity and he is equally impressive in the lyrical tenor arias. Bass Hanno Müller-Brachmann is a warmly sympathetic Jesus, and bass Peter Harvey is a forceful Pilate. The remaining soloists, all of whom are excellent, have relatively small parts in the passion, but soprano Joann Lunn and Bernarda Fink are standouts. The recording offers clean and exceptionally well-defined sound. Gardiner's version should be especially attractive to listeners looking for a polishedperformance that emphasizes the emotionally charged atmosphere of the score.

tracks
cd1
01. Betrayal and Arrest - Herr, unser Herrscher (9:15)
02. Jesus ging mit seinen Jüngern (2:14)
03. O große Lieb, o Lieb ohn' alle Maße (0:47)
04. Auf daß das Wort erfüllet würde (1:01)
05. Dein Will gescheh, Herr Gott, zugleich (0:50)
06. Die Schar aber und der Oberhauptmann (0:45)
07. Von den Stricken meiner Sünden (4:45)
08. Denial - Simon Petrus aber folgete Jesu nach (0:15)
09. Ich folge dir gleichfalls mit freudigen (3:24)
10. Derselbige Jünger war dem Hohenpriester (2:46)
11. Wer hat dich so geschlagen (1:30)
12. Und Hannas sandte ihn gebunden zu dem Ho (1:47)
13. Ach, mein Sinn, wo willt du endlich hin (2:24)
14. Petrus, der nicht denkt zurück (1:17)
15. Interrogation and Scourging - Christus, der uns selig macht (1:06)
16. Da führeten sie Jesum von Kaiphas (3:55)
17. Ach großer König, groß zu allen Zeiten (1:24)
18. Dar sprach Pilatus zu ihm (1:51)
19. Betrachte, mein Seel (2:20)
20. Erwäge, wie sein blutgefåarbter Rücken (8:08)


cd2
01. Condemnation and Crucifixion - Und die Kriegsknechte flochten eine Kron (5:22)
02. Durch dein Gefängnis, Gottes Sohn (0:49)
03. Die Jüden aber schrieen und sprachen - L (3:54)
04. Eilt ihr angefochtnen Seelen - Wohin? (3:55)
05. Allda kreuzigten sie ihn - Schreibe nich (2:05)
06. In meines Herzens Grunde (0:54)
07. The Death of Jesus - Die Kriegsknechte aber - Lasset uns den (3:21)
08. Er nahm alles wohl in acht (1:02)
09. Und von Stund an nahm sie der Jünger zu (1:19)
10. Es ist vollbracht! (5:19)
11. Und neiget das Haupt und verschied (0:24)
12. Mein teurer Heiland, laß dich fragen - J (4:01)
13. Burial - Und siehe da, der Vorhang im Tempel zerr (0:25)
14. Mein Herz, indem die ganze Welt (0:56)
15. Zerfließe, mein Herze (6:57)
16. Die Jüden aber, dieweil es der Rüsttag w (2:01)
17. O hilf, Christe, Gottes Sohn (1:02)
18. Darnach bat Pilatum Joseph von Arimathia (2:10)
19. Ruht wohl, ihr heiligen Gebeine (6:48)
20. Ach Herr, laß dein lieb Engelein (1:45)

Ave Maria ~ Various

tracks
01. Andre Bernard, Jean-Louis Gil - Ave Maria (05:24)
02. Stefan Ganzer, Camerata Academica Salzberg - Andante, from Piano Concerto No 21 in C, K467 (06:50)
03. Maria Zadori, Budapest Philharmonic - Laudate Dominum, from Vesperae solennes de confessore, K339 (04:12)
04. Budapest Strings - Serenade, from Op 3 No 5 (04:40)
05. Warsaw Philarmonic Chamber Orchestra - Air on the G String (05:50)
06. Warsaw Philarmonic Chamber Orchestra - Largo, from "Xerxes" (06:18)
07. Budapest Strings - Serenade Leise Fliehen Meine Lieder D957 No 4 (03:20)
08. Budapest Strings - Ave Maria D 839 (04:49)
09. Budapest Strings - Träumerel, Op 15 No 7 (03:05)

Edvard Grieg ~ Peer Gynt (Incidental Music)

The incidental music Edvard Grieg composed for Henrik Ibsen's play Peer Gynt (1867) stands, along with his Holberg Suite and Piano Concerto, among his most universally popular orchestral works. By common consent, the music itself achieved far more for Ibsen's vast and bewildering dramatic poem than any mere stage performance alone could have done, and therein lies a problem. For as Ibsen's English biographer Michael Meyer writes, Grieg's music "turns the play into a jolly Hans Andersen fairy tale," one thing its author would certainly never have wished for. And the critic and playwright George Bernard Shaw, a fervent advocate of Ibsen's works, similarly concluded that in his music Grieg "could only catch a few superficial points in the play instead of getting to the very heart and brain of it." That may well be the case, but Grieg's Peer Gynt incidental music has nevertheless become a universal favorite, and it is not difficult to understand why.

Ibsen decided to adapt his verse drama for performance at the Christiana (Oslo) Theatre in 1874, recognizing that his sprawling five-act play would benefit greatly from the addition of a musical score.Grieg's music was first heard there in February 1876, but the initial production run was radically curtailed after fire destroyed the sets and costumes. The score, however, was enthusiastically received by the critics, and Grieg subsequently saw an opportunity to establish a separate identity for the music itself and drew from the more than two dozen numbers of the complete work two concert suites, Opp. 46 and 54. Conductors sometimes assemble ad hoc suites of their own as well.

The most popular numbers are "In the Hall of the Mountain King" (a textbook example of the dramatic potency of cumulative crescendo and accelerando, illustrating Grieg's fondness for Germanic orchestral effects), in which Peer Gynt bargains for his life after the assembled Trolls call for his blood, and the highly evocative "Morning Mood" with its lovely flute solo and expansive orchestral language -- the music depicts, incidentally, not a fresh Nordic sunrise, but rather a Saharan dawn in Act IV of Ibsen's drama! Other memorable moments include the fragile lyric utterances of "Solveig's Song," the beguiling "Anitra's Dance," the poignant "Death of Åse," "Peer Gynt's Homecoming: Stormy Evening at Sea," and his eventual "Shipwreck." As Anthony Burton writes, "the curtain falls as Peer's long and eventful journey finally comes to its end."

tracks

cd1

01. Prelude, Act I (Orchestra)

02. The Bridal Procession (Orchestra)

03. Folk Dance : Halling Dance (Solo Hardanger Violin)

04. Folk Dance : Springdar Dance (Solo Hardanger Violin)

05. Prelude Act II - Ingrid's Abduction And Lament (Orchestra)

06. Peer Gynt And The Mountain Girls (Orchestra And Chorus)

07. Peer Gynt And The Woman In Green (Orchestra)

08. By His Mount You Shall Judge Him (Orchestra)

09. In The Hall Of The Mountain King (Orchestra And Chorus)

10. Norwegian Dance No. 1 (Orchestra)

11. Norwegian Dance No. 2 (Orchestra)

12. Norwegian Dance No. 3 (Orchestra)

13. Dance Of The Moutain King's Daughter (Orchestra)

14. Peer Gynt Being Chased By Trolls (Orchestra And Chorus)

15. Scene With The Boyg (Orchestra And Chorus)

16. Prelude Act III - Deep In The Pine Forest (Orchestra)

17. Solveig's Song (Orchestra)

18. The Death Of Ase (Orchestra)

cd2

01. Prelude Act IV - Morning Mood (Orchestra)

02. The Thief And The Receiver (Baritone, Tenor And Orchestra)

03. Arabian Dance (Mezzo-Soprano, Chorus And Orchestra)

04. Anitra's Dance (Orchestra)

05. Peer Gynt's Serenade (Baritone And Orchestra)

06. Melodrama (Orchestra)

07. Solveig's Song (Soprano And Orchestra)

08. Prelude Act V - Peer Gynt's Homecoming (Orchestra)

09. Scene On The Upturned Boat (Orchestra)

10. Day Scene (Orchestra)

11. Solveig Singing In The Hut (Soprano Solo)

12. Night Scene (Chorus And Orchestra)

13. Churchgoers Singing On The Forest Path (Chorus Only)

14. Solveig's Lullaby (Soprano, Chorus And Orchestra)

Peer Gynt Being Chased By Trolls