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Dass im Radio gespielt: CALM RADIO - BRAHMS - Sampler
Brahms, Anatol Ugorski - Brahms Complete Edition - Disc 21 - Piano Sonata No.3 In F Minor, Op.5 - 1. Allegro Maestoso
1t. 7s. 36min. vor
Brahms, Anne-Sophie Mutter - Brahms Complete Edition - Disc 8 - Violin Concerto In D, Op.77 - 3. Allegro Giocoso, Ma Non Troppo Vivace - Poco Pi Presto
1t. 11s. 52min. vor
Brahms, Tams Vsry - Brahms Complete Edition - Disc 12 - Piano Trio No.2 In C, Op.87 - 4. Finale (Allegro Giocoso)
1t. 13s. 30min. vor
Brahms, Wilhelm Kempff - Brahms Complete Edition - Disc 24 - 4 Piano Pieces, Op.119 - 2. Intermezzo In E Minor
1t. 15s. 9min. vor
Wilhelm Kempff - Brahms Complete Edition - Disc 26 - 2 Rhapsodies, Op. 79, No. 2 In G Minor, Op. 79 / 2
1t. 16s. 49min. vor
Johannes Brahms (Composer), Herbert Von Karajan (Conductor), Berlin Philharmonic Orchestra (Orchestra) - Brahms: The Complete Symphonies / Karajan, Berlin Po - Disc 1 - Symphony No.3 In F, Op.90 - 2. Andante
Alma Mahler’s reputation as a serial, trophy-hunting adultress, alluring and then casting off one artistic giant after another, may be ineradicable but only partly justified. Certainly, in addition to her three husbands – the composer Gustav Mahler, the architect Walter Gropius and the writer Franz Werfel – she enjoyed the favours of a number of talented men.
But too few commentators have tried to see things from Alma’s point of view, rather than portray her as an opportunistic social climber, neglectful of her wifely duties to a series of distinguished creative artists.
Some of Alma’s character traits, combined with a penchant for anti-Semitic remarks (despite her various Jewish husbands and acquaintances), make her a complex, perplexing figure maybe hard to love yet worthy of our attention.
But quite apart from the fact that Alma was a highly intelligent, accomplished pianist and singer, and a composer of even greater potential, any attempt to understand her has to take into account the social and psychological circumstances of her upbringing.
The role of Gustav Mahler
Early admirers included the artist Gustav Klimt and the composer and conductor Alexander Zemlinsky, with whom Alma had composition lessons from 1900. Zemlinsky unsurprisingly fell in love with his attractive 21-year-old pupil and Alma was sufficiently enamoured to consider marrying him.
But then Mahler spun into her orbit and after suffering agonies of indecision, she cast her lot with him. By the terms of an extraordinary pre-nuptial agreement, on which Mahler insisted and to which Alma consented with extreme reluctance, she gave up composing. Mahler feared that a wife who spent her time being creative would not give him the undivided attention he required.
Why did Alma agree to Mahler’s ban on her own creativity? And why – her detractors ask – if she was so serious about composition, did she not return to it after Mahler’s death in 1911? Alma, after all, was to live another 53 years – she died as an American citizen in New York in 1964. In short, she was keen to marry and Mahler’s talent made him worthy of her attention. She felt that marriage would give her empty life a meaning and that it would be a noble act.
Mahler had warned her of the likely deprivation involved and she was determined to prove herself strong enough to withstand it. As for not returning to composition, she felt that her status as Mahler’s widow required her to move on. She surely realised that the lack of a rigorous conservatoire education would lay her open to ridicule.
Scepticism about Alma, verging on outright hostility, has long been the default position of Mahler commentators. The eminent Mahlerian Henry-Louis de La Grange, author of a monumental four-volume biography of the composer, was first off the mark in a magazine article written in 1969 while the biography was still maturating. Here he presented Alma as an ambitious, calculating and unreliable witness.
By the final volume of his biography, published in 1984, De La Grange’s struggle to understand Alma had not advanced far beyond the suggestion that as an alcoholic with a ‘near-pathological craving’ for ‘admiration and devotion’ she was too self-centred to minister adequately to a creative genius.
Alma’s stormiest affair was with the artist Oskar Kokoschka, who was able to come to terms with the inevitable break-up only by creating a life-size doll in the form of her, which he claimed to have taken to the opera. It is assumed that Alma destroyed most of her letters to Mahler, Kokoschka and Franz Werfel, no doubt for fear that they would tarnish her image to posterity. The diaries that have survived, on the other hand, are painfully candid and honest.
She also published two volumes of memoirs – the English versions were entitled Gustav Mahler: Memories and Letters (1946) followed by And the Bridge is Love (1959) – which, for all their inaccuracies and prevarications, are hardly an exercise in self-glorification. But even that is held against Alma by De La Grange, who accuses her of such ‘boundless narcissism’ that she could not bring herself to destroy the actual documents. Clearly she couldn’t win.
Alma’s autobiographies do provide a kind of truth as seen by her, coloured by personal experience; nor does she shrink from observations that reveal her feelings all too frankly. And indeed, De La Grange does admit that she left behind countless documents that actually contradict her published accounts.
Of recent biographies of Alma, the most comprehensively researched is that of Oliver Hilmes. His painstaking trawl of archives, plus court and medical records, brings valuable information to light about Alma, her family circle and acquaintances that requires sensitive interpretation. That such an interpretation is lacking in Hilmes’s own biography is presaged by the title of the English edition: Malevolent Muse: the Life of Alma Mahler. (The German original, Witwe im Wahn – the sense of which is ‘delusional widow’ – is little better.)
Almost unbelievably, Hilmes resorts to Sigmund Freud’s long discredited, misogynistic theories of female hysteria to explain Alma’s behaviour.
Bee Wilson: Alma Mahler, her men, music and anti-semitism
A more empathetic interpretation would start from the observation that Alma had a troubled, unhappy childhood: her beloved father Emil Schindler died when she was 12 and when her mother remarried, she felt marginalised in the household. What is abundantly evident from her diaries is that her wish to be at the centre of attention stemmed from a basic insecurity, even an inferiority complex.
Her compulsive flirtation arose from a desperate desire to be wanted: an inner need for self-respect. And the series of more or less disastrous affairs into which she threw herself can be seen as attempts to deal with unconscious sexual conflict by attracting and humiliating a series of lovers.
We should remember, too, that the diaries that survive are those of a young woman barely out of her teens. Mature and ahead of her time she may have been in many ways, but she was still suffering the pangs of love, the emotional turmoil and the lack of certainty about her place in the world that any girl of her age would recognise. Alma was acutely aware that it was virtually impossible for a woman of her era, however accomplished and intelligent, to fulfil herself or fully realise her creative potential. (‘Oh! If only I had been born a boy!’ she laments.)
Marriage was the only viable option and Alma determined that being the wife of the prestigious director of the Vienna Court Opera was the most promising path to self-fulfilment, even if it meant sacrificing the one thing that meant most to her. For all the frustrations of being married to an egotistical genius, she decided that a certain measure of satisfaction could be derived from facilitating the successful careers of such outstanding men as Mahler and Werfel.
A more informed appreciation of Alma’s accomplishments should take account of her compositional output, not least her song Einsamer Gang, written when she was barely out of her teens and only recently rediscovered by the authors of this article. It is clear that for Alma musical composition provided a hugely important creative outlet.
Her diaries reveal that she composed prolifically: some 46 songs are mentioned by name and a further 27 without titles, though there may well have been others. She also wrote piano music (including an unfinished sonata) and chamber music (including a violin sonata and a fragmentary piano trio). Only 14 songs were published in her lifetime, and two further ones were edited by Susan Filler for the Hildegard Publishing Company in 2000. All the others were lost in World War II, so Einsamer Gang is only the 17th surviving song of a considerably greater output.
In 1900 Alma’s stepfather, the artist Carl Moll, decided to prepare a private publication of three of Alma’s songs – Leise weht ein erstes Blühn, Meine Nächte and Einsamer Gang – for her 21st birthday. Moll’s friend Koloman Moser, another of the leading lights of the Viennese Secession, was to design the publication.n
The songs were not published at that time after all, though they did reach the stage of printer’s proofs, which Alma showed to Zemlinsky shortly before she began composition lessons with him. (She had already studied with the blind composer Josef Labor from 1894 or ’95 and indeed continued with him for a short time even after beginning with Zemlinsky.)
While researching for the programme The Art of Love: Alma Mahler’s Life and Music, featuring music by Alma and Gustav Mahler, Zemlinsky, Wagner and Webern, we became curious as to the fate of those proofs and of Alma’s autograph manuscripts. We finally tracked them down among the Mahler-Werfel Papers in the Kislak Center for Special Collections, Rare Books and Manuscripts at the University of Pennsylvania, which acquired them as one of two lots auctioned at Sotheby’s in the early 1990s.
Einsamer Gang exemplifies Alma’s customary sensitivity to the texts she set, and poignantly expresses the loneliness she felt in a world apparently indifferent to her needs. Her setting speaks more eloquently than any diary entry of the troubled spirit of this much misunderstood woman.
The score is made up of melodies inspired by the sounds of a power plant: pumps, reactors and turbines. Her research involved capturing field recordings in the decommissioned nuclear plant in Lithuania where the series was filmed, many of which made it into the final soundscape.
Hildur Guõnadóttir has also written scores for various Danish films, as well as on the 2018 film Mary Magdalene, which she worked on with Jóhann Jóhansson, the last film that he worked on before he died and which was released posthumously. Guõnadóttir will be composing the score for the upcoming Joker film, based on the comic character of the same name and starring Joaquin Phoenix. She initially trained classically as a cellist, going on to record with several Scandinavian bands before releasing a solo album in 2006. She is also a singer and choral music arranger as well as a film composer.
Hildur Guõnadóttir is up against the composers from Escape At Dannemora, Good Omens,True Detectiveand When They See Us for the Emmy Award.
The winners of the 2019 Emmy Awards will be announced on Sunday 22 September.
The very first First Night was back in 1895, at London’s Queen’s Hall. It was certainly a generous programme, with conductor Henry Wood limiting himself to pieces by a mere 22 different composers. Liszt, Bizet, Chopin, Wagner and Saint-Saëns are among the names still familiar, Cyrill Kistler, Joseph Gungl and Tito Mattei rather less so.
15 soloists joined The New Queen’s Hall Orchestra; the audience was large and enthusiastic. ‘If the succeeding concerts… are as brilliantly successful as the first of the series,’ wrote The Guardian’s reviewer, ‘No one interested in the venture, either financially or artistically, will have reason to complain.’
Three years after the BBC had taken over the running of the Proms, the organisation introduced its new ensemble to the great festival – for the first time, the First Night was performed by the BBC Symphony Orchestra, taking over from the Henry Wood Symphony Orchestra.
For its debut outing, the BBC SO treated the Queen’s Hall audience to a lengthy programme of favourites by Stanford, Mendelssohn, Richard Strauss, Charpentier, Rossini, Tchaikovsky, Parry, Dvorák, plus the Proms premieres of Raymond Huntington Woodman’s An Open Secret and Henry Clough-Leighter My lover, he comes on a skee. A new era had began.
To celebrate the centenary of the Proms, this First Night truly was one to remember as Sir Andrew Davis conducted Mahler’s massive Symphony of a Thousand. The stage was fit to bursting, with members of a trio of cathedral choirs, the BBC Symphony Orchestra and Chorus, the Philharmonia Chorus and the City of Birmingham Symphony Chorus. As you can imagine, they really raised the roof!
In the summer of 2012, we commissioned Mark-Anthony Turnage to write us a fanfare to celebrate BBC Music Magazine’s 20th anniversary. Canon Fever is riot of multi-layered brass and percussion with ‘Happy Birthday’ cunningly hidden within its textures. And, of course, we were delighted when the BBC Proms decided to kickstart that year’s season with the piece’s world premiere performance, the BBC Symphony Orchestra’s brass section deserving a medal for their virtuosity – and enthusiasm!
What made this Prom particularly poignant was the impromptu rendition of the French national anthem to open the concert. Sakari Oramo led the BBC Symphony Orchestra in the anthem as a tribute to the victims of the Bastille Day attack, that had taken place the day before. The stage was lit in red, white and blue and the audience took to their feet. It was an incredibly moving gesture of solidarity for everyone there, and it is an evening the audience will struggle to forget.
Companion, distraction, muse, subject and even audience – dogs have played many roles in the great composers’ lives. Writing music can be a slow and solitary business, and many composers have found that a patient hound can make the ideal companion. And when better to mull over a tricky thematic development or a complicated modulation than while out walking one’s four-legged friend?
Important compositions have been inspired by, dedicated to, written for, and in one case significantly delayed by, a dog. Some, such as
Dogs and music rehearsals are rarely a good combination, as Ethel Smyth discovered to her horror. The English composer spent the late 1880s studying music in Leipzig, where she lived with Marco, her unruly half-breed St Bernard whom, in 1887, she took along to a rehearsal of the Brahms Piano Quintet in the presence of the composer himself.
Everything was going well until Marco suddenly came bounding into the room and knocked over the cellist’s music stand. A potentially awkward moment, but luck was on Smyth’s side: Brahms, also a dog lover, was more than pleased to see Marco….
8. Hahn & Zadig
Reynaldo Hahn, the very master of French song, was once bought a dog by his lover Marcel Proust. The author named the dog Zadig, after the eponymous philosopher from Voltaire’s novel. Ever the jealous type, however, Proust then took to writing long letters to Zadig, explaining how he would be so much more happy if he himself were a dog. Quite barking, some might say.
Elgar loved dogs but his wife Alice couldn’t stand them. Before they met, the English composer owned a spaniel called Marco, but their 30-year marriage, while happy for both parties, was dogless – though Elgar did of course enjoy the occasional walk with his friend George Robertson’s dog Dan, so charmingly portrayed in No. XI of the Enigma Variations.
After Alice’s death in 1920, Elgar spent the rest of his life with two canine companions, another spaniel called Marco and a Cairn Terrier named Mina. The latest communications technology allowed Elgar to keep in contact with his dogs, even when on work trips to London.
On his 70th birthday, the composer conducted a live broadcast concert, which he concluded with a short speech over the airwaves. In it, he said goodnight to Mina, who got very excited hearing her master on the radio. On another occasion, Elgar was dining at Brooks’s Club on Pall Mall, and was called away for an urgent telephone call.
‘They are on the line now, Sir Edward,’ the waiter informed him. When he reached the telephone, fellow diners overheard loud barking coming down the line and Elgar saying in a firm voice ‘Don’t bite the cushions’.
In April 1947, a reporter from the Moscow News visited the Shostakovich home to conduct an interview about the composer’s family life. He and Shostakovich sat in the lounge and could hear the composer’s wife and children packing bags in the next room. Then a large, and obviously unhappy, dog wandered in, barking and whining.
‘Tomka’s upset because the children are going away to the rest home’, Shostakovich explained, before adding in a more serious tone, ‘you know, I have a theory that dogs lead such short lives because they take everything so much to heart.’
As a child in rural Missouri, Louis Hardin had a dog called Lindy who, he said, ‘used to howl at the moon more than any dog I know of’. Strange behaviour perhaps, but not as strange as Hardin’s own habits in later life. He took to hanging around New York’s 54th Street, dressed as a Viking and composing music under the pen name ‘Moondog’, a tribute to his former pet.
12. Henze & James
The composer Hans Werner Henze is a great lover of all things English. In the 1990s, he owned a dog called James. Despite being German himself, and despite the fact that both he and James lived in Italy, he always talked to the dog in English.
When it comes to expressing affection for one’s pets in music, George Crumb has few peers. In Mundus Canis (A Dog’s World), a 1998 suite for guitar and percussion, the American gives a series of musical portraits of the dogs his family has owned. In the last movement we meet Yoda, ‘a fluffy-white animal of mixed parentage and mercurial temperament’.
The music scurries along with the tempo indication prestissimo possible, then suddenly stops and the guiro player (a role Crumb often takes himself in performance) points his stick at the audience and says in a stern voice ‘Bad dog!’ Quite rightly, Yoda himself appears on the cover of Bad Dog! A Portrait of Crumb, released on DVD last year.
Crumb’s compatriot and contemporary John Adams doesn’t much like dog shows. He often ends up at them though, because his wife exhibits Pointers. In a blog entry, Adams writes that he has just driven their dog Eloise to a show, where he was relieved to entrust her to his wife:
‘I’m grateful to hand over Eloise because I’m outta baggies, and I am deathly afraid she’s going to do another poop in front of hundreds of professional dog people.’ How lovely.
15. Laurie Anderson & Lollabell
And finally, let’s not forget the experimental US composer Laurie Anderson. In June 2010, Anderson and her husband, the rock star Lou Reed, staged a concert on the steps of Sydney Opera House exclusively for dogs (watch below). In line with the tastes of their target audience, the music was performed at very high pitch. Although the composers themselves had difficulty hearing it, they were able to take expert advice from Lollabelle, Anderson’s Rat Terrier.
Mravinsky gave world premieres of seven of Shostakovich’s symphonies: 5, 6, 8 (which was dedicated to him) 9, 10, 11 and 12. Though the composer’s favourite interpreter for many years, his refusal to conduct Symphony No. 13 ‘Babi Yar’ caused a permanent rift.
When Mravinsky refused to conduct the Symphony No. 13, Kirill Kondrashin stepped in, though his recording has the sanitised text that Yevtushenko was forced to rewrite. Kondrashin’s performances of Shostakovich were famously harrowing, although all his Soviet recordings were withdrawn when he defected to the West in 1975.
Shostakovich admired Barshai, originally violist of the Borodin Quartet. On hearing his conducting of the ‘Eroica’ Symphony he is reported to have said, ‘We haven’t heard Beethoven like that since Klemperer.’ Barshai conducted the premiere of Symphony No. 14 in 1969. He founded the Moscow Chamber Orchestra, and made the famous arrangement of Shostakovich’s String Quartet No. 8 for string orchestra.
Bernstein was a passionate advocate for Shostakovich’s music at a time when he was deeply unfashionable among the Western avant-garde. He approached the music as a great Mahlerian, creating indelible interpretations which breathe a very different air than those of his Russian contemporaries. No. 7 with the Chicago Symphony contains perhaps the most shattering slow movement committed to disc.
Rozhdestvensky conducted many works of the composer, perhaps most memorably the Western premiere of the Symphony No. 4 at the 1962 Edinburgh Festival. He edited volume 2 of the collected works, including Symphonies 3 & 4. He brings a hypnotic focus to the phantasmagorical Fourth in this recording from 1984 of the soon-to-be-dismantled USSR Ministry of Culture Symphony Orchestra.
The finale to Vaughan Williams’s life returns at times to the pastoral, but in darker, dramatic moments, reflects the trauma of his wartime experiences.
Composed: 1956-7 Premiere: 2 April, 1958, Royal Festival Hall, London, Royal Philharmonic Orchestra/Malcolm Sargent
Vaughan Williams was 83 when he began the Ninth, which shows the composer to have been still at the height of his powers. He was also working on the cantata Epithalamion, he later wrote the Ten Blake Songs and began a three-act opera, Thomas the Rhymer. In another 1957 work, Variations for Brass Band, he was much taken with the flugelhorn, which he included in the score of the symphony together with three saxophones. He described it as a ‘beautiful and neglected instrument not usually allowed in the select circles of the orchestra, and banished to the brass band, where it is allowed to indulge in the bad habit of vibrato to its heart’s content. While in the orchestra it will be obliged to sit up and play straight’. The saxophones and flugelhorn impart a special dark tone-colour to the score.
Another contributory factor, as it had been in the Eighth Symphony, was Bach'sSt Matthew Passion, which he conducted every year at the Leith Hill Music Festival in Dorking. The principal subject of the first movement, first heard on trombones and tuba, occurred to him after playing some of the organ part of the opening of the Passion.
Another important starting point for the Ninth was the idea of a symphony about Salisbury and Hardy’s Wessex, particularly the association with Tess of the D’Urbervilles and her arrest at Stonehenge for murdering her seducer. Although this programme was abandoned, it did not disappear entirely.
The second movement in particular is the Stonehenge scene. But Vaughan Williams moved away from a literal depiction of Hardy’s idea of the gods killing Tess for sport to a wider consideration of sacrifice generally. His experiences in WWI seemed again to be haunting him. He had seen another world war since then, and the near-hopelessness of the human condition must have troubled such a sensitive artist, whose humanity is the focal point of his work.
Vaughan Williams was not a believer in a religious sense, but he believed in the human spirit. The mood of the Ninth Symphony is ambiguous and enigmatic. It is on an ample scale, it looks back and it looks forward. One of its themes is derived from an early and abandoned tone poem and it also occurs as the ‘limitless heaving breast’ of A Sea Symphony. Clearly it had some special significance for him. The work contains wistful pastoral episodes, but there is savagery too, and a darkness that has been interpreted as pessimism.
It seems more likely that Vaughan Williams feared the worst for mankind but hoped against hope for the best. He loved Arnold’s poem Thyrsis and could easily have prefaced this finale with the words: ‘The light we sought is shining still’ – dimly, perhaps. When the Ninth was first performed, many failed to recognise it as one of his deepest and finest works. After 50 years, that has changed.
Reception and Death
On August 25, 1958, during the night before he was to attend Sir Adrian Boult’s recording sessions of the Ninth, Ralph Vaughan Williams died suddenly and peacefully from a coronary thrombosis. His ashes were interred in Westminster Abbey near to Purcell and Stanford.
Symphony No. 9, dedicated to the Royal Philharmonic Society and arguably the hardest of the symphonies, was first played through on 21 March, 1958, after which Vaughan Williams cut and revised the finale. Asked for his reaction to the cool critical reception, he replied: ‘I don’t think they can quite forgive me for still being able to do it at my age.’
Recommended Recording: Leopold Stokowski & His Symphony Orchestra Cala CACD 0539
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This week’s free download is the first movement, Grave, from Beethoven’s Piano Sonata No. 8 ‘Pathétique’, performed by Jonathan Biss. It was recorded on JB Recordings and was the Instrumental Choice in the June issue of BBC Music Magazine.
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One of the UK's most prolific and prominent composers, Sir James MacMillan's creative voice spans all genres. Though, perhaps, most keenly associated with choral works, his vast writing output also includes chamber works and symphonies.
His fifth symphony will be premiered at the Edinburgh International Festival in August, where his life and music will be celebrated during a week of events to mark his 60th birthday (16 July).
Don't forget to tune into Radio 3 throughout the week (15-19 July) as James is 'Composer of the Week'.
If you'd like to discover some of his music, why not have a listen to our playlist below? And look out for two new books: A Scot's Song by the man himself (Birlinn 978-1-780-27617-5, £7.99) and The Music of James MacMillan by Philip A. Cooke (Boydell Press 978-1-783-27370-6, £30).
Verdi et al. Messa per Rossini: 11. Agnus Dei (Veronica Simeoni, Orchestra del Teatro alla Scala di Milano/Riccardo Chailly)
Ethel Smyth Violin Sonata in A minor: IV. Finale. Allegro vivace (Tasmin Little, John Lenehan)
Berlioz Harold en Italie: 3. Sérénade d’un montagnard des Abbruzes à sa maîtresse (Tabea Zimmermann, Les Siècles/François-Xavier Roth)
Xenakis Pléïades: IV. Mélanges (DeciBells, Domenico Melchiorre)
Schubert Symphony No. 3: IV. Presto vivace (City of Birmingham Symphony Orchestra/Edward Gardner)
Vivaldi Il Giustino, Act II: Scene 1. Sento in seno ch’in pioggia di lagrime (Anastasio) (Accademia Bizantina, Ottavio Dantone, Silke Gäng)
Gulda Concerto for Cello, Wind Orchestra and Band: I. Overture (Edgar Moreau, Raphaël Merlin, Les Forces Majeures)
Roxanna Panufnik Magnificat & Nunc Dimittis: I. Magnificat (Richard Johnson, Exultate Singers/David Ogden)
Tchaikovsky Symphony No. 4: IV. Finale (London Symphony Orchestra/Gianandrea Noseda)
Weber Piano Sonata No. 2: III. Menuetto capriccioso. Presto assai (Paul Lewis)
Francis Lai Love Story – Theme (Arr. Campbell) (Jess Gillam, BBC Concert Orchestra/Ben Dawson)
Berlioz Harold in Italy: II. Marche de pèlerins chantant la prière du soir (Tabea Zimmermann, Les Siècles/François-Xavier Roth)
Arthur Lourié A Phoenix Park Nocturne (Vladimir Feltsman)
Ramin Djawadi The Rains of Castamere (Arr. Lawson) (VOCES8)
Philip Glass Etude No. 2 (Jeremy Denk)
Tallis Suscipe quaeso Domine (prima pars) (The Gentlemen of HM Chapel Royal, Hampton Court Palace/Carl Jackson)
Debussy Livre I: II. Pour les tierces (Roger Muraro)
Rachmaninov Prelude in G minor, Op. 23 No. 5 (Live at Philharmonie, Berlin) (Yuja Wang)
Stravinsky The Firebird: Tableau II, XIX: Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifies. Allegresse génerale (Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
Amy Beach Violin Sonata in A minor, Op. 34: II. Scherzo. Molto vivace (Tasmin Little, John Lenehan)
Hauscha Dew and Spiderwebs (Hauschka)
Frank Horvat The Thailand HRDs: No. 5, Boonsom Nimnoi (Mivos Quartet)
Trad. Deep River (Arr. Coleridge-Taylor, Kanneh-Mason) (Sheku Kanneh-Mason, Isata Kanneh-Mason, Braimah Kanneh-Mason)
Mendelssohn Lieder ohne Worte, Op. 19: No. 6 in G minor (Andante sostenuto) ‘Venetian Gondola Song’ (Jan Lisiecki)
Wim Henderickx Nostalgia (Boho Strings)
Mozart Così fan tutte, Act 1: Aria ‘Come scoglio’ (Héloise Mas, Alexander Sprague, Nazan Fikret, Francesco Vultaggio, European Opera Centre, Biagio Pizzuti, Royal Liverpool Philharmonic Orchestra/Laurent Pillot)
Philip Glass Melodies for Saxophone (arr. for trumpet): No. 3 (Craig Morris)
Giovanni Paisiello Partimento in F minor (Nicoleta Paraschievescu)
Ramin Djawadi The Rains of Castamere (VOCES8)
Triumphal Parade (Scottish National Jazz Orchestra/Tommy Smith)
Josquin Des Prez Miserere mei, Deus, IJ. 50: I. Miserere mei, Deus (Cappella Amsterdam/Daniel Reuss)
Dowland Come, Heavy Sleep (Grace Davidson, David Miller)
Schumann Humoreske Op. 20: II. Hastig (William Youn)
RO Morris Love Came Down at Christmas (arr. Stephen Cleobury) (Stephen Cleobury, Henry Websdale, Choir of King's College, Cambridge)
Tchaikovsky The Seasons Op. 37a: XII. December. Christmas (Barry Douglas)
Berlioz Roméo et Juliette: Pt. 3, Finale - Oath of Reconciliation (San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas)
Elgar Chanson de nuit (Hallé Orchestra/Mark Elder)
James Burton Tomorrow Shalle Be My Dancing Day (Jack Hawkins, Michael Bell, James Adams, Joseph Wicks, Choir of St John's College, Cambridge)
Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Orchestra & Chorus/Oliver Knussen)
Richard Strauss Horn Concerto No. 1: III. Rondo. Allegro (Live) (William Caballero, Pittsburgh Symphony Orchestra/Manfred Honeck)
Derek Bermel Murmurations: I. Gathering at Gretna Green (ROCO)
Frank Martin Ballade for Flute & Piano (Bridget Bolliger, Andrew West)
Debussy Violin Sonata in G minor: III. Finale. Très animé (Isabelle Faust, Alexander Melnikov)
Anonymous Now May We Singen (ORA Singers/Suzi Didby)
Rachmaninov Prelude in G minor Op. 23 No. 5 (Live at Philharmonie, Berlin/2018) (Yuja Wang)
James Newton Howard Violin Concerto: II. Andante semplice (James Ehnes, Detroit Symphony Orchestra/Cristian Măcelaru)
Sally Beamish In the Stillness (Sonoro/Neil Ferris)
Parry Suite moderne (arr. J Dibble for Orchestra): III. Romanza. Lento (BBC National Orchestra of Wales/Rumon Gamba)
Jonathan Dove A Brief History of Creation: X. Whales Return to the Sea (Hallé Children's Choir, Hallé Orchestra/Mark Elder)
Purcell King Arthur, Act 1: 'Come if You Dare' (Robert Buckland, Vox Luminis/Lionel Meunier)
Rachmaninov Piano Concerto No. 4 (Live at Kimmel Center, Philadelphia) (Daniil Trifonov, The Philadelphia Orchestra/Yannick Nézet-Séguin)
Fagerlund Höstsonaten, Act 1: charlotte Andergast! Vilken konstnär! (Krista Kujala, Mari Sares, Jere Martikainen, Jarmo Ojala, Finnish National Opera Chorus, Finnish National Opera Orchestra/John Storgards
Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Chorus, BBC Symphony Orchestra/Oliver Knussen)
Zemlinsky Albumblatt (Erinnerung aus Wien) (William Youn)
Schreker The Birthday of the Infanta: Suite I. Reigen (Berlin Radio Symphony Orchestra/JoAnn Falletta)
Mozart Violin Concerto No. 1 K.207: III. Presto (Nikolaj Znaider, London Symphony Orchestra)
Tchaikovsky The Seasons, Op. 37a, TH 135: XII. December. Christmas (Barry Douglas)
Holst In the Bleak Midwinter (Sheku Kanneh-Mason, Isata Kanneh-Mason)
Glazunov The Seasons ‘L’été: No. 9, Scène de l’été (Zagreb Philharmonic Orchestra/Dmitri Kitayenko
JS Bach Prelude & Fugue BVW 855a: Prelude No. 10 in B minor (Vikingur Ólafsson)
Magnus Lindberg Tempus fugit Pt. 1 (Finnish Radio Symphony Orchestra/Hannu Lintu)
Gurney Since I Believe in God the Father Almighty (Tenebrae/Nigel Short)
Tchaikovsky The Nutcracker Act 1: No. 6 Clara and the Nutcracker (Los Angeles Philharmonic/Gustavo Dudamel)
Ravel Ma mère l’Oye Suite, M. 60: V. Le jardin féerique (Prague Philharmonia/Emmanuel Villaume)
Eric Whitacre Deep Field: Earth Choir (Eric Whitacre Singers, Virtual Choir 5, Royal Philharmonic Orchestra/Eric Whitacre)
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Brahms, Anatol Ugorski - Piano Sonata No.1 In C, Op.1 - 4. Finale (Allegro Con Fuoco)
Brahms, ?jrg Demus, Tams Vsry - Sonata For Clarinet And Piano No.1 In F Minor, Op.120 No.1 - 4. Vivace
Johannes Brahms (Composer), Herbert Von Karajan (Conductor), Berlin Philharmonic Orchestra (Orchestra) - Symphony No.4 In E Minor, Op.98 - 3. Allegro Giocoso - Poco Meno Presto - Tempo I
Brahms, Tams Vsry - Horn Trio In E Flat, Op.40 - 4. Finale (Allegro Con Brio)
Brahms, Tams Vsry - Brahms Complete Edition - Disc 13 - Piano Trio No.3 In C Minor, Op.101 - 1. Allegro Energico
Brahms, ?jrg Demus, Tams Vsry - Clarinet Trio In A Minor, Op.114 - 1. Allegro
Dirk Herten - Brahms: Klavierstucke, Opus 119: Rhapsodie
Brahms, Tams Vsry - Clarinet Trio In A Minor, Op.114 - 2. Adagio
Brahms (Composer), Borodin Quartet (Performer) - Brahms : String Quartet No.1 In C Minor Op.51 No.1 : Iv Allegro
Dirk Herten - Johannes Brahms: Opus 76, 79, 116, 117, 118, 119 - Brahms: Fantasien, Opus 116: Intermezzo
Brahms, Tams Vsry - Trio In E Flat, Op.40 - 2. Scherzo (Allegro)
Brahms, Anatol Ugorski - Brahms Complete Edition - Disc 20 - Piano Sonata No.2 In F Sharp Minor, Op.2 - 2. Andante Con Espressione
Brahms, Tams Vsry - Piano Trio No.2 In C, Op.87 - 3. Scherzo (Presto)
Brahms, Tams Vsry - Piano Trio No.3 In C Minor, Op.101 - 4. Allegro Molto
Brahms, Mstislav Rostropovich - Sonata For Cello And Piano No.2 In F, Op.99 - 2. Adagio Affettuoso
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Brahms, Wilhelm Kempff - Brahms Complete Edition - Disc 21 - 4 Ballades, Op.10 - 4. Andante Con Moto - Pi Lento - Tempo I
Brahms, Wilhelm Kempff - Fantasias (7 Piano Pieces), Op.116 - 4. Intermezzo In E Major
Brahms, Lasalle Quartet - String Quartet No.1 In C Minor, Op.51 No.1 - 4. Allegro
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