Orchestral repertoire                                             
 
This page is under construction and never will be complete or finished: it is an eternal work in progress. It was begun in Dutch but will be continued in English.
The relicts of the Dutch beginning gradually will be replaced in English. You will find on this page:
1. a composers list A-Z in alphabetical and chronological order. Search the works of composers by clicking their name.
2. composers are grouped in nations&periods for making programs with a national theme.
As the availability of windplayers is often is a serious point of consideration when making programs compositions are listed in order of
3a. woodwind-brass instrumentation from 0000-0000 to 8575-10.771: ww-brass
3b. woodwind instrumentation from 0000 to 8575: ww
4. a list with a selection of compositions for solo+orchestra
5. a list with performance times also is under construction: times
Symbols and abbreviations.
3333-4231 indicates: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 tuba
3*3*3*3*- 44*31 indicates: 2 flutes+1 piccolo, 2 oboes+1 cor anglais, 2 clarinets+1 bass clarinet, 2 bassoons +1contrabassoon-2 cornets+2 trumpets
composers-A-Z   
composers-chronological order                                       
Adams, John Coolidge (1947*)
Albeniz, Isaac (1860-1909)
Albinoni, Tomaso (1671–1751)
Albrecht, Georg von (1891-1978)
Albrechtsberger, Johann Georg (1736-1809)
Alfano, Franco (1875-1954)
Andriessen, Hendrik (1892-1981)
Antheil, George (1900-1959)
Anrooij, Peter van (1879-1954)
Arensky, Anton Stepanovitch (1861-1906)
Arma, Paul (1905-1987)
Arne, Thomas (1710-1778)
Arriaga, Juan (1806-1826)
Arutiunian, Alexander (1920)
Bach, Carl Philipp Emanuel Bach (1714-1788)
Bach, Johann Christian (1735-1782)
Bach, J.S. (1685-1750)
Badings, Henk (1907-1995)
Balakirew, Milij (1837-1910)
Barber, Samuel (1910-1981)
Bárdos, Lajos (1899-1986)
Bartók, Béla (1881-1945)
Baur, Jürg (1918-2010),
Beethoven, Ludwig van (1770-1827)
Bellini, Vincenzo (1801-1835)  
Berg, Alban (1885-1935)
Berger, Theodor (1905-1992)
Berio, Luciano  (1925-2003)
Berkeley, Lennox (1903-1989)
Berlioz, Louis Hector (1803-1869)
Bernstein, Leonard (1918-1990)
Berwald, Franz (1796-1868)
Billings, William (1746-1800)
Birtwistle, Harrison (1934)
Bizet, Georges (1838-1875)
Blacher, Boris (1903-1975)
Bloch, Ernest (1880-1959)
Blumenfeld, Felix Mikhailovich (1863-1931)
Boccherini, Luigi (1743-1805)
Boieldieu, Francois-Adrien (1775-1834)
Boito, Arrigo (1842-1918)
Borodin, Aleksandr (1833-1887)
Bortniansky, Dmitry Stepanovich (1751-1825)
Bosmans, Henriëtte (1895-1952)
Boyce, William (1711-1779)
Brahms, Johannes (1833-1897)
Bretón, Tomás (1850-1923)
Bridge, Frank (1879-1941)
Britten, Benjamin (1913-1976)
Brotons i Soler, Salvador (1959)
Brouwer, Leo (1939)
Bruch, Max (1838-1920)
Bruckner, Anton (1824-1896)
Bull, Ole Bornemann (1810-1880)
Busoni, Ferruccio (1866-1924)
Butting, Max (1888-1976)
Buxtehude, Dietrich (1637-1707)
Cage, John Milton (1912-1992)
Canteloube, Joseph (1879-1957)
Caplet, André (1878-1925)
Carter, Elliott (1908)
Casella, Alfredo (1883-1947)
Castelnuovo-Tedesco, Mario (1895-1968)
Chabrier, Alexis Emmanuel (1841-1894)
Chávez, Carlos (1899-1978)
Chausson, Ernest (1855-1899)
Cherubini, Luigi (1760-1842)
Chopin, Frédéric (1810-1849)
Cimarosa, Domenico (1749-1801)
Clementi, Muzio (1752-1832)
Copland, Aaron (1900-1990)
Corelli, Arcangelo (1653-1713)
Corrette, Michel (1709-1793)
Couperin, Francois (1688-1733)
Crusell, Bernhard Henrik (1775-1838)
Cui, Cesar Antonovitch (1835-1918)
Dallapiccola, Luigi (1904-1975)
Davies, Peter Maxwell (1934)
Dawson, William Levi (1899-1990)
Debussy, Claude (1862-1918)
Delalande, Michel Richard (1657-1726)
Delibes, Léo (1836-1891)
Denisov, Edison Vasilievich (1929-1996)
Dessau, Paul (1894-1979
Diepenbrock, Alphons (1862-1921)
Dohnányi, Ernő/Ernst (1877-1960),
Donatoni, Franco (1927-2000)
Donizetti, Gaetano (1797-1848)
Dukas, Paul (1865-1935)
Duparc, Henri (1848-1933)
Dupré, Marcel (1886-1971)
Duruflé, Maurice (1902-1986)
Dutilleux, Henri (1916)
Dvořák, Antonín Leopold (1841-1904)
Einem, Gottfried von  (1918-1996)
Eissler, Hanns (1898-1962)
Egk, Werner (1901-1983)
Elgar, Edward (1857-1934)
Escher, Rudolf (1912-1980)
Farberman, Harold (1929)
Falla, Manuel de (1876-1946)
Farkas, Ferenc (1905-2000),
Fauré, Gabriel (1845-1924)
Fibich, Zdeněk (1850-1900)
Foerster, Josef Bohuslav (1859-1951)
Foss, Lukas (1922-2009)
Francaix, Jean (1912-1997)
Franck, César (1822-1890)
Frid, Géza (1904-1989)
Gabrieli, Giovanni (1557-1612)
Gade, Niels (1817-1890)
Galuppi, Baldassare (1706-1785)
Gerhard, Roberto (1896-1970)
Gershwin, George (1898-1937)
Gesualdo, Carlo (1566–1613)
Ghedini, Giorgio Federico (1892-1965)
Ginastera, Alberto (1916-1983)
Giuliani, Mauro (1781-1829)
Glazunov, Alexander (1865-1936)
Glass, Philip (1937)
Glière, Reinhold (1875-1956)
Glinka, Michail (1804-1857)
Gluck, Christoph Willibald (1714-1787)
Goldmark, Karl (1830-1915)
Górecki, Henryk Mikołaj (1933*)
Gottschalk, Louis Moreau (1829-1869)
Gounod, Charles Francois (1818-1893)
Granados, Enrique (1867-1916)
Greene, Maurice (1696-1755)
Gretchaninov, Alexander Tikhonovitch (1864-1956)
Grofé, Ferde (1892-1972)
Grieg, Edvard Hagerup (1843-1907)
Gubaidulina,Sofia (1931)
Gulda, Friedrich (1930-2000)
Haas, Pavel (1899-1944)
Hadley, Henry Kimball (1871-1937)
Halffter, Ernesto (1905-1989)
Händel, G.Fr. (1685-1759)
Hanson, Howard Harold (1896-1981)
Hartmann, Karl Amadeus (1905-1963)
Haydn, Joseph (1732-1809)
Henkemans, Hans (1913-1995)
Henze, Hans Werner (1926*)
Hindemith, Paul (1895-1963)
Holst, Gustav (1874-1934)
Honegger, Arthur (1892-1955)
Howells, Herbert (1892-1983)
Huber, Klaus (1924)
Hummel, Johann Nepomuk (1778-1837)
Ibert, Jacques (1890-1962)
d'Indy, Vincent (1851-1931)
Inghelbrecht, Désire- Emile (1880-1965)
Ippolitov-Ivanov, Mikhail Mikhailovitch (1859-1935)
Ives, Charles (1874-1954)
Janáček, Leoš (1854-1928)
Jarnach, Philipp (1892-1982)
Joachim, Joseph (1831-1907)
Jolivet, André (1905-1974)
Kabalevsky, Dmitri Borisovitch (1904-1987)
Kalinnikov, Vasily Sergeyevich (1866-1901)
Kalomiris, Manolis  (1883-1962)
Kancheli, Giya (1935)
Ketèlbey, Albert William (1875-1959)
Ketting, Otto (1935*)
Keuris, Tristan (1946-1996)
Khachaturian, Aram Ilyich (1903-1978)
Kodály, Zoltán (1882-1967)
Koechlin, Charles (1867-1951)
Kokkonen, Joonas (1921-1996)
Koprowski, Peter Paul (1947*)
Korngold, Erich Wolfgang (1897-1957)
Krása, Hans (1899-1944)
Kreisler, Friedrich 'Fritz' (1875-1962)
Kurtág, György (1926)
Lalo, Édouard (1823-1892)
Lambert, Constant (1905-1951)
Langlais, Jean (1907-1991)
Lecuona, Ernesto (1895-1963)
Leoncavallo, Ruggiero (1858-1919)
Liadov, Anatoli (1855-1914)
Liebermann, Rolf  (1910-1999)
Ligeti, György Sándor (1923-2006)
Liszt, Franz (1811-1886)
Lully, Jean-Baptiste (1632-1687)
Lutoslawski, Witold (1913-1994)
Maderna, Bruno (1920-1973)
Mahler, Gustav (1860-1911)
Malipiero, Gian Francesco (1882-1973)
Marschner, Heinrich (1795-1861)
Martin, Frank (1890-1974)
Martinu, Bohuslav (1890-1959)
Martucci, Giuseppe (1856-1909)
Mascagni, Pietro (1863-1945)
McPhee, Colin (1900-1964)
Mendelssohn-Bartholdy, Felix (1809-1847)
Menotti, Gian Carlo (1911-2007)
Messiaen, Olivier (1908-1992)
Miaskovsky, Nikolai (1881-1950)
Milhaud, Darius (1892-1974)
Mompou, Frederico (1893-1987)
Monnikendam, Marius (1896-1977)
Monteverdi, Claudio (1567-1643)
Monti, Vittorio (1868–1922)
Morricone, Ennio (1928)
Mossolov, Alexander (1900-1973)
Moszkowski, Moritz (Maurice) (1854-1925)
Mozart, Leopold (1719-1787)
Mozart, Wolfgang Amadeus (1756-1791)
Mussorgsky, Modest Petrovitsj (1839-1881)
Nabokov, Nicolas Dmitrievich (1903-1978)
Nielsen, Carl (1865-1931)
Nono, Luigi (1924-1990)
Novák, Jan (1921-1984)
Novák, Vítězslav (1870-1949)
Orff, Carl (1895–1982)
Ohana , Maurice (1913-1992)
Orthel, Léon (1905-1985)
Otterloo, Willem van (1907-1978)
Paderewski, Ignacy Jan (1860-1941)
Paganini, Niccolò (1782–1840)
Pärt, Arvo (1935)
Pedrell, Felipe (1841-1922)
Penderecki, Krzysztof (1933)
Perosi, Don Lorenzo (1872-1956)
Pepusch, John Christopher (1667-1752)
Pergolesi, Giovanni Battista (1710-1736)
Perosi, Don Lorenzo (1872-1956)
Petrassi, Goffredo (1904-2003)
Pfitzner, Hans Erich (1869-1949)
Piazzolla, Astor (1921-1992)
Piccinni, Niccolò (1728–1800)
Pilati, Mario (1903-1938)
Pijper, Willem (1894-1947)
Piston, Walter (1894-1976)
Pizzetti (1880-1968)
Ponchielli, Amilcare (1834-1886)
Poulenc, Francis (1899-1963)
Prokofiev, Sergej (1891-1953)
Ponce, Manuel María (1882-1948)
Puccini, Giacomo (1858-1924)
Purcell, Henry (1659-1695)
Rachmaninov, Sergej (1873-1943)
Rameau, Jean-Philippe (1683-1764)
Rautavaara, Einojuhani (1928)
Ravel, Maurice (1875-1937)
Rebikov, Vladimir Ivanovich (1866-1920)
Reger, Max (1873-1916)
Reicha, Anton (1770-1836)
Reinecke, Carl (1824-1910)
Respighi, Ottorino (1879-1936)
Reznicek, Emil von (1860-1945)
Rimski-Korsakov, Nikolaj Andrejevitsj (1844-1908)
Rodrigo, Joaquin (1901-1999)
Roger-Ducasse, Jean Jules Amable (1873-1954)
Röntgen, Julius Engelbert (1855-1932)
Rossini, Giacchino (1792-1868)
Rota, Nino (1911-1979)
Rott, Hans (1858-1884)
Roussel, Albert (1869-1937)
Rózsa, Miklós (1907-1995)
Rubinstein, Anton (1829-1894)
Saint-Saëns, Charles Camille (1835-1921)
Salviucci, Giovanni (1907-1937)
Sanz, Gaspar (1640–1710)
Sarasate, Pablo de (1844-1904)
Satie, Eric (1866-1925)
Scarlatti, Alessandro (1660-1725)
Scarlatti, Domenico (1685-1757)
Schat, Peter  (1935-2003)
Schmidt, Franz (1874-1939)
Schnittke, Alfred (1934-1998)
Schoenberg, Arnold (1874-1951)
Schreker, Franz (1878-1934)
Schubert, Franz Peter (1797-1828)
Schulhoff, Ervin (1894-1942)
Schuman, William (1910-1992)
Schumann, Robert (1810-1856)
Scriabin, Alexander (1872-1915)
Seiber, Mátyás György (1905-1960)
Serly, Tibor (1901-1978)
Sgambati, Giovanni (1841-1914)
Shchedrin, Rodion (1932)
Shostakovich, Dmitri (1906-1975)
Sibelius, Jean (1865-1957)
Sinding, Christian August (1856-1941)
Skalkottas, Nikos (1904-1949)
Smetana, Bedrich (1824-1884)
Smit, Leo (1900-1943?)
Soler, Antonio (1729-1783)
Stanford, Charles (1852-1924)
Stokowski, Leopold Anthony (1882-1977)
Strauss I, Johann (1804-1849)
Strauss II, Johann (1825-1899)
Strauss, Richard (1864-1949)
Stravinsky, Igor Fjodorovitsj (1882-1971)
Suk, Josef (1874-1935)
Surinach, Carlos (1915-1997)
Svendsen, Johan Severin (1840-1911)
Szymanowski, Karol (1882-1937)
Tailleferre, Germaine (1892-1983)
Takemitsu, Toru  (1930-1996)
Tan Dun (1957)
Taneyev, Sergei Ivanovich  (1856-1915)
Tansman, Alexander (1897-1986)
Tartini, Giuseppe (1692–1770)
Tchaikovsky, Pjotr Iljitsj (1840-1893)
Tcherepnin, Alexander Nikolayevich (1899-1977)
Telemann, Georg Philipp (1681-1767)
Tishchenko, Boris Ivanovich (1939-2010)
Tippett, Michael (1905-1998)
Tomasi, Henri (1901-1971)
Tommasini, Vincenso (1878-1950)
Turina, Joaquín (1882-1949)
Ullmann, Viktor (1898–1944)
Ustvolskaya, Galina (1919-2006)
Varèse, Edgard (1883-1965)
Vaughan Williams, Ralph (1872-1958)
Verdi, Giuseppe (1813-1901)
Vermeulen, Matthijs (1888-1967)
Vierne , Louis (1870-1937)
Villa-Lobos, Heitor (1887-1959)
Vivaldi, Antonio (1678-1741)
Vivier, Claude (1948-1983)
Vlad, Roman (1919*)
Vogel, Wladimir (1896-1984)
Voříšek, Jan Václav Hugo (1791-1825)
Wagenaar, Johan (1862-1941)
Wagenseil, Georg Christoph (1715-1777)
Wagner, Richard (1813-1883)
Walton, William (1902-1983)
Weber, Carl Maria von (1786-1826)
Webern, Anton (1883-1945)
Weill, Kurt-(Am) (1900-1950)
Weill-Germ (1900-1950)
Weinberg, Moysey Samuilovitch (1919-1996)
Weiner, Leo (1885-1960)
Wellesz, Egon Joseph (1885-1974)
Widor, Charles (1844-1937)
Wieniawski, Henryk (1835-1880)
Williams, John Towner (1932)
Wolf-Ferrari, Ermanno (1876–1948)
Yun, Isang (1917-1995)
Zemlinsky, Alexander von (1871-1942)
Gesualdo, Carlo (1566–1613)
Monteverdi, Claudio (1567-1643)
Gabrieli, Giovanni (1557-1612)
Lully, Jean-Baptiste (1632-1687)
Buxtehude, Dietrich (1637-1707)
Sanz, Gaspar (1640–1710)
Corelli, Arcangelo (1653-1713)
Delalande, Michel Richard (1657-1726)
Purcell, Henry (1659-1695)
Scarlatti, Alessandro (1660-1725)
Pepusch, John Christopher (1667-1752)
Albinoni, Tomaso (1671–1751)
Vivaldi, Antonio (1678-1741)
Telemann, Georg Philipp (1681-1767)
Rameau, Jean-Philippe (1683-1764)
Bach, J.S. (1685-1750)
Händel, G.Fr. (1685-1759)
Scarlatti, Domenico (1685-1757)
Couperin, Francois (1688-1733)
Tartini, Giuseppe (1692–1770)
Greene, Maurice (1696-1755)
Galuppi, Baldassare (1706-1785)
Corrette, Michel (1709-1793)
Arne, Thomas (1710-1778)
Pergolesi, Giovanni Battista (1710-1736)
Boyce, William (1711-1779)
Gluck, Christoph Willibald (1714-1787)
Bach, Carl Philipp Emanuel Bach (1714-1788)
Wagenseil, Georg Christoph (1715-1777)
Mozart, Leopold (1719-1787)
Piccinni, Niccolò (1728–1800)
Soler, Antonio (1729-1783)
Haydn, Joseph (1732-1809)
Bach, Johann Christian (1735-1782)
Albrechtsberger, Johann Georg (1736-1809)
Boccherini, Luigi (1743-1805)
Billings, William (1746-1800)
Cimarosa, Domenico (1749-1801)
Bortniansky, Dmitry Stepanovich (1751-1825)
Clementi, Muzio (1752-1832);
Mozart, Wolfgang Amadeus (1756-1791)
Cherubini, Luigi (1760-1842)
Beethoven, Ludwig van (1770-1827)
Reicha, Anton (1770-1836)
Crusell, Bernhard Henrik (1775-1838)
Boieldieu, Francois-Adrien (1775-1834)
Hummel, Johann Nepomuk (1778-1837)
Giuliani, Mauro (1781-1829)
Paganini, Niccolò (1782–1840)
Weber, Carl Maria von (1786-1826)
Voříšek, Jan Václav Hugo (1791-1825)
Rossini, Giacchino (1792-1868)
Marschner, Heinrich (1795-1861)
Berwald, Franz (1796-1868)
Donizetti, Gaetano (1797-1848)
Schubert, Franz Peter (1797-1828)
Bellini, Vincenzo (1801-1835)  
Berlioz, Louis Hector (1803-1869)
Glinka, Michail (1804-1857)
Strauss I, Johann (1804-1849)
Arriaga, Juan (1806-1826)
Mendelssohn-Bartholdy, Felix (1809-1847)
Schumann, Robert (1810-1856)
Bull, Ole Bornemann (1810-1880)
Chopin, Frédéric (1810-1849)
Liszt, Franz (1811-1886)
Wagner, Richard (1813-1883)
Verdi, Giuseppe (1813-1901)
Gade, Niels (1817-1890)
Gounod, Charles Francois (1818-1893)
Franck, César (1822-1890)
Lalo, Édouard (1823-1892)
Bruckner, Anton (1824-1896)
Smetana, Bedrich (1824-1884)
Reinecke, Carl (1824-1910)
Strauss II, Johann (1825-1899)
Rubinstein, Anton (1829-1894)
Gottschalk, Louis Moreau (1829-1869)
Goldmark, Karl (1830-1915)
Joachim, Joseph (1831-1907)
Brahms, Johannes (1833-1897)
Borodin, Aleksandr (1833-1887)
Ponchielli, Amilcare (1834-1886)
Saint-Saëns, Charles Camille (1835-1921)
Wieniawski, Henryk (1835-1880)
Cui, Cesar Antonovitch (1835-1918)
Delibes, Léo (1836-1891)
Balakirew, Milij (1837-1910)
Bizet, Georges (1838-1875)
Bruch, Max (1838-1920)
Moessorgski, Modest Petrovitsj (1839-1881)
Tsjaikovski, Pjotr Iljitsj (1840-1893)
Svendsen, Johan Severin (1840-1911)
Dvořák, Antonín Leopold (1841-1904)
Chabrier, Alexis Emmanuel (1841-1894)
Pedrell, Felipe (1841-1922)
Sgambati, Giovanni (1841-1914)
Boito, Arrigo (1842-1918)
Grieg, Edvard Hagerup (1843-1907)
Rimski-Korsakov, Nikolaj Andrejevitsj (1844-1908)
Sarasate, Pablo de (1844-1904)
Widor, Charles (1844-1937)
Fauré, Gabriel (1845-1924)
Duparc, Henri (1848-1933)
Fibich, Zdeněk (1850-1900)
Bretón, Tomás (1850-1923)
d'Indy, Vincent (1851-1931)
Stanford, Charles (1852-1924)
Janáček, Leoš (1854-1928)
Moszkowski, Moritz (Maurice) (1854-1925)
Liadov, Anatoli Konstantinovitsj (1855-1914)
Chausson, Ernest (1855-1899)
Röntgen, Julius Engelbert (1855-1932)
Sinding, Christian August (1856-1941)
Taneyev, Sergei Ivanovich  (1856-1915)
Martucci, Giuseppe (1856-1909)
Elgar, Edward (1857-1934)
Puccini, Giacomo (1858-1924)
Leoncavallo, Ruggiero (1858-1919)
Rott, Hans (1858 - 1884)
Foerster, Josef Bohuslav (1859-1951)
Ippolitov-Ivanov, Mikhail Mikhailovitch (1859-1935)
Mahler, Gustav (1860-1911)
Reznicek, Emil von (1860-1945)
Albeniz, Isaac (1860-1909)
Paderewski, Ignacy Jan (1860-1941)
Arensky, Anton Stepanovitch (1861-1906)
Debussy, Claude (1862-1918)
Wagenaar, Johan (1862-1941)
Diepenbrock, Alphons (1862-1921)
Mascagni, Pietro (1863-1945)
Blumenfeld, Felix Mikhailovich (1863-1931)
Strauss, Richard (1864-1949)
Gretchaninov, Alexander Tikhonovitch (1864-1956)
Dukas, Paul (1865-1935)
Nielsen, Carl (1865-1931)
Sibelius, Jean (1865-1957)
Glazoenov, Alexander (1865-1936)
Satie, Eric (1866-1925)
Kalinnikov, Vasily Sergeyevich (1866-1901)
Rebikov, Vladimir Ivanovich (1866-1920)
Busoni, Ferruccio (1866-1924)
Granados, Enrique (1867-1916)
Monti, Vittorio (1868–1922)
Pfitzner, Hans Erich (1869-1949)
Roussel, Albert (1869-1937)
Vierne , Louis (1870-1937)
Novák, Vítězslav (1870-1949)
Zemlinsky, Alexander von (1871-1942)
Hadley, Henry Kimball (1871-1937)
Vaughan Williams, Ralph (1872-1958)
Scriabin, Alexander (1872-1915)
Perosi, Don Lorenzo (1872-1956)
Rachmaninov, Sergej (1873-1943)
Reger, Max (1873-1916)
Roger-Ducasse, Jean Jules Amable (1873-1954)
Holst, Gustav (1874-1934)
Ives, Charles (1874-1954)
Schoenberg, Arnold (1874-1951)
Schmidt, Franz (1874-1939)
Suk, Josef (1874-1935)
Ravel, Maurice (1875-1937)
Kreisler, Friedrich 'Fritz' (1875-1962)
Alfano, Franco (1875-1954)
Glière, Reinhold (1875-1956)
Ketèlbey, Albert William (1875-1959)
Falla, Manuel de (1876-1946)
Wolf-Ferrari, Ermanno (1876–1948)
Dohnányi, Ernő/Ernst (1877-1960),
Schreker, Franz (1878-1934)
Caplet, André (1878-1925)
Tommasini, Vincenso (1878-1950)
Respighi, Ottorino (1879-1936)
Anrooij, Peter van (1879-1954)
Canteloube, Joseph (1879-1957)
Bridge, Frank (1879-1941)
ldebrando Pizzetti (1880-1968)
Bloch, Ernest (1880-1959)
Inghelbrecht, Désire- Emile (1880-1965)
Bartók, Béla (1881-1945)
Miaskovsky, Nikolai (1881-1950)
Stravinsky, Igor Fjodorovitsj (1882-1971)
Kodály, Zoltán (1882-1967)
Koechlin, Charles (1867-1951)
Szymanowski, Karol (1882-1937)
Malipiero, Gian Francesco (1882-1973)
Ponce, Manuel María (1882-1948)
Turina, Joaquín (1882-1949)
Stokowski, Leopold Anthony (1882-1977)
Webern, Anton (1883-1945)
Varèse, Edgard (1883-1965)
Casella, Alfredo (1883-1947)
Kalomiris, Manolis  (1883-1962)
Berg, Alban (1885-1935)
Weiner, Leo (1885-1960)
Wellesz, Egon Joseph (1885-1974)
Dupré, Marcel (1886-1971)
Villa-Lobos, Heitor (1887-1959)
Butting, Max (1888-1976)
Vermeulen, Matthijs (1888-1967)
Martin, Frank (1890-1974)
Ibert, Jacques (1890-1962)
Martinu, Bohuslav (1890-1959)
Prokofiev, Sergej (1891-1953)
Albrecht, Georg von (1891-1978)
Milhaud, Darius (1892-1974)
Honegger, Arthur (1892-1955)
Tailleferre, Germaine (1892-1983)
Ghedini, Giorgio Federico (1892-1965)
Grofé, Ferde (1892-1972)
Howells, Herbert (1892-1983)
Andriessen, Hendrik (1892-1981)
Jarnach, Philipp (1892-1982)
Mompou, Frederico (1893-1987)
Pijper, Willem (1894-1947)
Dessau, Paul (1894-1979
Schulhoff, Ervin (1894-1942)
Piston, Walter (1894-1976)
Hindemith, Paul (1895-1963)
Orff, Carl (1895–1982)
Castelnuovo-Tedesco, Mario (1895-1968)
Bosmans, Henriëtte (1895-1952)
Lecuona, Ernesto (1895-1963)
Gerhard, Roberto (1896-1970)
Vogel, Wladimir (1896-1984)
Monnikendam, Marius (1896-1977)
Hanson, Howard Harold (1896-1981)
Tansman, Alexander (1897-1986)
Korngold, Erich Wolfgang (1897-1957)
Gershwin, George (1898-1937)
Eissler, Hanns (1898-1962)
Ullmann, Viktor (1898–1944)
Poulenc, Francis (1899-1963)
Chávez, Carlos (1899-1978)
Tcherepnin, Alexander Nikolayevich (1899-1977)
Haas, Pavel (1899-1944)
Krása, Hans (1899-1944)
Bárdos, Lajos (1899-1986)
Dawson, William Levi (1899-1990)
Copland, Aaron (1900-1990)
McPhee, Colin (1900-1964)
Weill, Kurt-(Am) (1900-1950)
Weill-Germ (1900-1950)
Antheil, George (1900-1959)
Smit, Leo (1900-1943?)
Mossolov, Alexander (1900-1973)
Rodrigo, Joaquin (1901-1999)
Tomasi, Henri (1901-1971)
Serly, Tibor (1901-1978)
Egk, Werner (1901-1983)
Walton, William (1902-1983)
Duruflé, Maurice (1902-1986)
Khachaturian, Aram Ilyich (1903-1978)
Blacher, Boris (1903-1975)
Pilati, Mario (1903-1938)
Berkeley, Lennox (1903-1989)
Nabokov, Nicolas Dmitrievich (1903-1978)
Kabalevsky, Dmitri Borisovitch (1904-1987)
Dallapiccola, Luigi (1904-1975)
Petrassi, Goffredo (1904-2003)
Frid, Géza (1904-1989)
Skalkottas, Nikos (1904-1949)
Lambert, Constant (1905-1951)
Orthel, Léon (1905-1985)
Tippett, Michael (1905-1998)
Lambert, Constant (1905-1951)
Hartmann, Karl Amadeus (1905-1963)
Arma, Paul (1905-1987)
Farkas, Ferenc (1905-2000)
Jolivet, André (1905-1974)
Halffter, Ernesto (1905-1989)
Berger, Theodor (1905-1992)
Seiber, Mátyás György (1905-1960)
Sjostakovitsj, Dmitri (1906-1975)
Otterloo, Willem van (1907-1978)
Badings, Henk (1907-1995)
Langlais, Jean (1907-1991)
Rózsa, Miklós (1907-1995)
Salviucci, Giovanni (1907-1937)
Messiaen, Olivier (1908-1992)
Carter, Elliott (1908)
Barber, Samuel (1910-1981)
Schuman, William (1910-1992)
Liebermann, Rolf  (1910-1999)
Rota, Nino (1911-1979)
Menotti, Gian Carlo (1911-2007)
Francaix, Jean (1912-1997)
Escher, Rudolf (1912-1980)
Cage, John Milton (1912-1992)
Britten, Benjamin (1913-1976)
Lutoslawski, Witold (1913-1994)
Ohana , Maurice (1913-1992)
Henkemans, Hans (1913-1995)
Surinach, Carlos (1915-1997)
Ginastera, Alberto (1916-1983)
Dutilleux, Henri (1916)
Yun, Isang (1917-1995)
Bernstein, Leonard (1918-1990)
Baur, Jürg (1918-2010)
Einem, Gottfried von  (1918-1996)
Vlad, Roman (1919*)
Weinberg, Moysey Samuilovitch (1919-1996)
Ustvolskaya, Galina (1919-2006)
Maderna, Bruno (1920-1973)
Arutiunian, Alexander (1920)
Kokkonen, Joonas (1921-1996)
Piazzolla, Astor (1921-1992)
Novák, Jan (1921-1984)
Foss, Lukas (1922-2009)
Ligeti, György Sándor (1923-2006)
Nono, Luigi (1924-1990)
Huber, Klaus (1924)
Berio, Luciano (1925-2003)
Kurtág, György (1926)
Donatoni, Franco (1927-2000)
Henze, Hans Werner (1926*)
Rautavaara, Einojuhani (1928)
Morricone, Ennio (1928)
Farberman, Harold (1929)
Denisov, Edison Vasilievich (1929-1996)
Takemitsu, Toru  (1930-1996)
Gulda, Friedrich (1930-2000)
Gubaidulina,Sofia (1931)
Williams, John Towner (1932)
Shchedrin, Rodion (1932)
Górecki, Henryk Mikołaj (1933*)
Penderecki, Krzysztof (1933)
Schnittke, Alfred (1934-1998)
Davies, Peter Maxwell (1934)
Birtwistle, Harrison (1934)
Pärt, Arvo (1935)
Kancheli, Giya (1935)
Schat, Peter  (1935-2003)
Ketting, Otto (1935*)
Glass, Philip (1937)
Brouwer, Leo (1939)
Tishchenko, Boris Ivanovich (1939-2010)
Keuris, Tristan (1946-1996)
Adams, John Coolidge (1947*)
Koprowski, Peter Paul (1947*)
Vivier, Claude (1948-1983)
Tan Dun (1957)
Brotons i Soler, Salvador (1959)
 
nations&periods    top page
nations&periods      top page
Argentina
Asia-20
Austria-20
Belgium-19-20
Brazil
Canada
China
Cuba
Czecho-Slovakia-19&20
Denmark
England-17&18
England-19
England-20
Estonia
Finland
France-17&18
France-19
France-19&20
Germany-17-18
Germany-Austria-19
German-Viennese late/post-romantic-20
Germany-20
Greece
Hungary-19&20
Italy-17
Italy-18
Italy-19
Italy-20
Iceland
Japan
Latin-America
Mexico
Netherlands-19-20
Norway
Poland-19
Poland-20
Portugal
Rumania
Russia-19
Russia&Sovjet-Union-20
Scandinavia-19&20
Spain-18&19
Spain-20
U.S.A.-20
Viennese classical / early romantic
Sweden
Switserland-20
 
ww-brass
  
total
9.5.33.9-16.16.6.6 Berlioz, Grande symphonie funèbre et triomphale op.15 (1840) (32'), original windband version.
56
8888-6661 Surinach, 51
8676-8.10.8.3 Varèse, Amériques (original 1921 banda included);
50
8575-10.771
Schoenberg, Gurre-Lieder;
50
4444-20.662
Strauss, R., Alpensymphonie (banda included)
49
8676-8653 Varèse, Amériques (original 1921 banda excluded);
46
6565-8871  ww
Mahler, Symphony 8 in E flat major 1905 (90’)
44
10.4.10.4-6532 Messiaen, Éclairs sur l'Au-Delà pour très grand orchestre (1991) (75');
41
5555-8652 Varèse, Amériques (1921, revised 1927) 22';
40
5565-8641
Mahler, Symphony 6 in a 1904 (80');
40
4454-10.841 Mahler, Symphony 2 in c (80’);
40
3354-8782
Strauss, R, Japanese Festival Music;
39
5555-8542 Varèse, Arcana for large orchestra (1925–1927) (17');
38
5555-8532
Strawinski, Le Sacre;
38
4455 4sax 8431
Strauss, R, Symphonia domestica
37
5555-8441
Strauss, R, Festliches Präludium;
37
6464-8432
Shostakovich, Symphony No.4 (60');
37
4242-4.14.4.3
Janáček, Sinfonietta 4242-4.12+2bastr.4.1+2ten.tu
36
4444-8431 Miaskovsky, Silence (Silentium, Molchaniye), symphonic poem after Edgar Allan Poe, Op. 9 (1910) (23')
35
4453-6661 Webern, Six Pieces op. 6 (12’) (1909 version)
35
4334-4881 Bartók, Duke Bluebeard's Castle op. 11 (1921) (60') (banda included)
 
4454-8451  ww
Schoenberg, Pelleas und Melisande
35
4444 2sax 8441 Villa-Lobos, Chôros no.12 (1929) (40');
35
4444-8533 
Bartók, Kossuth
34
4454-8441 Mahler, Symphony 3 in d (1896) (94’);
34
4444-8442 (banda 12.2.2)
Prokofiev, Seven, they are Seven op. 30 (1918, rev.1933) (7');
Strauss, R: Alpensymphonie(4* 3 hobo's en Heckelphone) (banda 12.2.2 excluded)
34
4444-8532
Strauss, R., Ein Heldenleben
34
3343-8661 Shostakovich, Symphony No.7 (1941) (75') 'Leningrad';
34
4444-8441 bar.horn Pijper, Symphony-2 (22');
33
5453-6442 Messiaen, Et exspecto resurrectionem mortuorum pour orchestre de bois, cuivres et percussions métalliques (1964) (35');
 
4444-8531
Skrjabin, Le Divin Poème; Poeme de l’Extase; Prométhée
33
4444-8441 Prokofiev, Scytian Suite, ‘Ala en Lolly’ op.20 (20’);
33
4464 3sax 4431 Vermeulen,
33
4564 2sax 4431 Vermeulen, Symphony-4 (28');
33
6463-4442 Janáček, Violin Concerto “Pilgrimage of the Soul” (Putování dušičky) (1928) (12')
32
4444.2sax 4631
 
Bartók, The Wooden Prince, Complete Ballet (1917) (45'); The Wooden Prince, Suite (30’); The Wooden Prince, Small Concertsuite (12’);
32
4444 3sax 4441 Schnittke, Symphony No. 1 (1972) (75');
32
4443-8441 Wagner, The Ring, an orchestral adventure (arranged by Henk de Vlieger, 1991) (68')
32
4433 2sax 8422
Keuris, Sinfonia (1974) (13')
 
4464-6341   ww
Schoenberg, Fünf Stücke für Orchester op.16
32
4464-4631
Vermeulen, Symphony-2
32
3354 3sax 4532 Prokofiev, Ivan the Terrible op. 116 - Music from the film op. 116 (1942-46) (56') arranged for AB-soli, chorus & orchestra
32
4343 2sax 3841 Villa-Lobos, Chôros nr. 11 for piano and orchestra (1941) (65');
32
4454-6441
Berg, Drei Orchesterstücke op.6 (19’);
Szymanowski,
32
4444-6442 Wagner,
32
5565-4331 Schmidt, Das Buch mit sieben Siegeln for SATB-soli, Chorus-SATB, Organ and Orchestra (1937) (110')
31
4443-7441 Mahler, Symphony 1 in D (50’);
 
4444-6432  ■ ww
Holst, The Planets;
Strauss, R, Zarathustra;
31
4444-6441
Ligeti, Atmosphères (1961) (9');
Ohana, Livre des Prodiges (29');
Schnittke, Symphony No. 3 (1981) (57');
31
4444 ten.sax 4441 bar.horn
Pijper, symphony-3 (17');
31
5453-6431 Messiaen, La ville d'en-haut pour piano et orchestre à vent et percussions (1987) (12') Piano-solo, no strings;
31
4353-6442
Keuris, Catena (no strings);
31
4353-8431 Schmidt, Symphony No. 2 in E flat major (1913) (56');
31
3344-8441 Dohnányi, Symphony no. 2 in E major op. 40 (1945, rev.197) (57')
30
5233 sax 4831 Ives, Symphony nr.4 (26');
30
3344-8341 Villa-Lobos
 
4453-6431
Schreker, Die Gezeichneten, Vorspiel&Vorspiel zu einem Drama;
30
5454-4431 Messiaen, Concert à quatre pour flûte, hautbois, violoncelle, piano et orchestre (1992) (27')
30
4454 a-sax 4431
 
Escher, Musique pour l'esprit en deuil op.6 (1943) (19');
Vermeulen, Symphony-7 (1965) (17') 'Dithyrambes pour les temps à venir'
30
4454-4441
Berg, Wozzeck: Drei Bruchstücke;
30
4444 2sax 4431 Vermeulen, Symphony-6 (24');
29
2243-6642 Berlioz, Grande symphonie funèbre et triomphale op.15 (1840) (32') Second version.
 
3234-6632
Berlioz, La Damnation de Faust op.24 (135’)
29
4344-6431
Debussy, Le Martyre de Saint Sebastien, Suite
29
4444-6331   ww
Rachmaninov, The Bells
29
4454-4341
Schoenberg, Variationen für Orchester;
29
4454-4431 Reznicek, Schlemihl (40');
29
4444-4441
Mahler-10;
Schnittke, Symphony No. 2 "St. Florian" (1979) (Missa invisibilis) für Kammerchor und Orchester (1979) (55');
29
4344 2sax 4431
Vermeulen, Symphony-3;
29
4444-sax-4431 Escher, Hymne du grand Meaulnes (1951) (15');
29
5454-4331 Mahler, Symphony 7 in e 1905 (80’); Symphony 9 in D 1910 (75’);
29
3333-8531 Copland, Symphony nr.1 (25');
29
3333-4931
Respighi,
29
3262-5632 Rimski-Korsakov, Trombone concerto in Bflat major (1878 ) (11’) Military Band no strings;
28
5444-4331
Schat, De hemel (45');
28
4343-6341
 
Tishchenko, Sinfonia Robusta in one movement op.46 (1970) (14');
Zemlinsky, Die Seejungfrau (The Little Mermaid), fantasy after Hans Christian Andersen (1903, Vienna 1905) (45');
28
4343 2sax 4431 Berio, Sinfonia (1969) (20’)
 
4344-4441
Bartók, Vier orkeststukken op.12;
28
4344-6331
Rimski-Korsakov, Mlada, Suite;
 
3334 a.sax 6431 Ibert, Le Chevalier errant (1934) (28');
28
3333 3sax 4441 Schnittke, Suite from the filmmusic for orchestra (Sikorski) 2 versions
28
4444-4431 ■  ww
 
 
Debussy, Jeux;
Dutilleux, Métaboles (1964) (16');
Varèse, Tuning Up for orchestra (5');
28
4444-4440
Petrassi, Concerto no.8;
27
4343-6331 Rimski-Korsakov, Night on Mount Triglav (25')
27
3343-6341 Tishchenko, Symphony No. 5 op.67 (1976) (50')
27
4343-4432 Adams, Naive and Sentimental Music (1997-98) (48');
27
4334-6331 Dohnányi, Symphony no. 1 in D minor op. 9 (1901) (58')
27
4334-4441 Bartók, Duke Bluebeard's Castle op. 11 (1921) (60') (banda brass 0440 excluded);
27
4334-4432
Adams, Harmonielehre For orchestra (40');
27
4444-4430  ww
Debussy, Gigue uit 3 Images;
27
4444-4331
 
 
Ligeti, Lontano (1967) (11');
Strauss, R, Eulenspiegel;
Strawinsky, Vuurvogel Complete ballet 1912; Vuurvogel Suite 1911/12;
 
4333-6431
Mahler, Symphony 5 in cis (70’);
27
3334-6332
Strauss, R., Don Quixotte
27
3444-4431 Hartmann, Symphony No. 1, Versuch eines Requiem for alto and orchestra (1950) (35')
27
4344-4431  
Ravel, Daphnis et Chloe:Suite1&2;
27
4443-4431 Adams, My Father Knew Charles Ives (2003) 28';
27
3333-8331
Bruckner-8,9 (zijn enige twee met tripel hout, bovendien hoorngroep 4+4);
27
3333 4sax  4331 Tishchenko, Symphony no. 1 op.20 (1961) (45') for Soprano and Orchestra
27
4333-a.sax-4441 Villa-Lobos, Descobrimento do Brasil, Suite no.3 (15');
26
4224-saxhn-4432 Berlioz, Te Deum (1849) (55') Tenor solo, 2 Mixed Choir: STB+STB, Children's Choir: SA;
26
4333-4441 Villa-Lobos, Descobrimento do Brasil, Suite no.4 (25'); Chôros nr. 9 W219 (1929) (30');
26
3343-4441 Schnittke, Symphony No. 6 (1992) (30');
26
4344-4331
Bartók, Suite nr.1 op.3 (36’);
26
3444-4331
Wagner, Parsifal (1882), Charfreitagszauber; Parsifal, Zum letzten Liebesmahle (6');
26
3333 3sax 4231 flugelhorn
Vaughan Williams-9
26
4353-4331
Mahler, Das Lied von der Erde (63’)
26
3344-4431 timp 3perc str Revueltas, Sensemaya (7');
26
4334-4431
 
26
3333 a.sax 4441 Schnittke, Concerto No. 4 for Violin and Orchestra (1984) (34')
26
4343 sax 4331 Bernstein, Symphony no.3 'Kaddish' (1963 rev.1977) (40'); Concerto for Orchestra (Jubilee Games) (1986,rev.1988) (30');
26
4343-4431
Copland, Symphony nr.3 (40’);
Messiaen, Chronochromie pour grand orchestre (1960) (24');
Respighi, Ballata delle Gnomidi (Dance of the Gnomes) (1920) (18')
26
4433-4431 Yun, Dimensionen für großes Orchester mit Orgel solo (1971) (17');
26
3333-6431 Glazunov, The Sea op.28 (20');
26
3333 3sax 4331 Gershwin, Porgy and Bess, A Symphonic Picture (arr.1942 Bennett, R.R.) (24')
25
3333-6331  ww
Rachmaninov, Dodeneiland;
25
3333 2sax 4331  
Jolivet, Symphonie no.3 (1964) (25');
Monnikendam, Arbeid (1931) (13');
25
4344-4231
Bartók, Scherzo voor piano en orkest; 
25
3334-4431
Franck, Psyché;
25
4333-4341 Janáček, The Excursions of Mr. Broucek (1920), Suite arr. Jaroslav Smolka (1997) (23');
25
3324-4531
Debussy, La mer;
25
3333-4531 Messiaen, Turangalîla-Symphonie pour piano, ondes Martenot solistes et orchestre (1946-1948), (80');
25
3333 sax-a 4431 Ketting,  Symphony Nr. 1 (1959) (18');
25
3343 sax 4331
Berg, Lulu: Suite; 
25
2242 4sax 4331 Gershwin, I Got Rhythm Variations (1934) (9')
25
3343-4431   ww
Adams, Slonimsky's Earbox;
Ohana, T’harân-Ngô (22');
Respighi, Feste Romane
25
5333-4331 Glazunov, Symphony No.8, Op.83 in E flat major (1905-1906) (40');
25
4334-4331 
Balakirew, Islamey; Debussy, Iberia; Ravel, Rapsodie Espagnole;
25
4344-4231 Bartók, Scherzo for piano and orchestra (29’);  
3443-4331 Messiaen, L'ascension quatre méditations symphoniques, pour orchestre (1934) (35')';
25
4343-4331 
 
 
Bernstein, Divertimento (1980) 14';
Gubaidulina, Under the sign of scorpio.Variations on six hexachords for bayan and large orchestra (2003) (27');
Janáček, Schluck und Jau (1928) (10');
Keuris, Symphonic Transformations (1987) (15');
Schoenberg, Fünf Stücke für Orchester (reduced scoring);
Shostakovich, Symphony No.8 (1943) (60');
Zemlinsky, Lyrische Symphonie op.18
25
3434-4331 Wagner, Parsifal, Prelude, Act I (13')
25
3344-4331
Poulenc, Les Animaux modèles, ballet (1941) (31');
25
 
3333-4441 
 
Ginastera, Popol Vuh (26');
Lutoslawski, Concert voor orkest;
Schnittke, Symphony no. 5 [=Concerto Grosso no. 4] (1988) (40'); Concerto Grosso no. 2, for violin, violoncello and orchestra (1981-82) (36'); Peer Gynt, complete ballet music(1988) (135'); Concerto No. 1 for Violoncello and Orchestra (1986) (38'); Concerto No. 2 for Violoncello and Orchestra (1990) (32');
Villa-Lobos, Danças características africanas (20');
24
 
 
4333-4331 
 
 
Bernstein, A Musical Toast (1980) (2'30);
Janacek, Dunaj (Danube) Symphony (1923–25) (22');
Janacek, operasuites From the House of the Dead (22'); Overture to the opera From the House of the Dead (1927) (6'); The Cunning Little Vixen; The Makropoulos Affair, Symphonic Suite (31');
Janacek, Glagolitic Mass (M'sa Glagolskaia) (1929) (45');
McPhee, Tabuh-tabuhan for 2 piano's and orchestra (1936) (17');
Martinu, The Frescoes of Piero della Francesco for large orchestra H. 352 (1955) (19');
Martinu, Symphony Nr. 5 (1946) H 310 (27');
24
4432-4331 Martinu, Symphony Nr. 4 (1945) H 305 (34')
24
4233-4431 Wagner, Ouvertüre in D major Rule Britannia (1837) (8');
24
3333-4332  
Liadov, From the Apocalypse;
24
3333-4431  ■ ww
 
 
 
Albéniz, Cataluña (Catalonia) (1899) (7');
Bartók, Twee Portretten op.10;
Berio, Ritirata notturna di Madrid;
Busoni, Turandot Suite Op. 41, for orchestra BV 248 (1905) (45');
Franck, Psyché;
Hadley, The Ocean Op. 99 (1921) (15')
Hartmann Symphony No.6 (1953) (27');
Ibert, Bostoniana (1955) (7'30);
Janáček, Sinfonietta (1926) (25') (reduced scoring arr. Keilberth Joseph);
Jolivet, Symphonie no.1 (1953) (25');
Mahler, Symphony 10 (1910) in F sharp minor, First movement: Adagio (22'); Das Klagende Lied (1880) “Urfassung” 3-delig. 1898 Revision: only mvts 2&3 (40’);
Tsjaikovski, Manfred; Sleeping Beauty Suite;
Vaughan Williams-2;  Yun, Exemplum in memoriam Kwangju für großes Orchester (1981) (22');
24
2224-4631  ■ 
Berlioz, Benvenuto Cellini Overture (1838) (10');
24
3243 a-sax 4331 Bernstein,
24
3333 sax 4331  ■ 
 
Britten, Sinfonia da Requiem;
MartinLes Quatres Éléments (1964) (25');
Moessorgski, De schilderijententoonstelling;
Petrassi, Concerto no.1;
Prokofiev, Romeo en Julia, Suite nr.1-3; Alexander Nevski;
Rachmaninov, Symphonic Danses op.45 (36’);
Vaughan Williams-6;
Villa-Lobos, Uirapuru (ballet), 1917 (18'); Descobrimento do Brasil, Suite no.1 (15'), Suite no.2 (15');
24
3333-4341
 
Granados, Goyescas, Intermezzo (3'34)
Villa-Lobos, Erosao (Origem do rio Amazonas) (15');
Villa-Lobos, Bachianas brasileiras no.7, W432 (1942)
25
3332 3sax 4331  ■ 
Gershwin, An American in Paris (1928) (16’)
24
3334-4331  ■ 
Adams, Lollapalooza (1995) (6');
Casella, Symphony no.1 op.5 (1906) in B minor (25');
Casella, Symphony no.2 in c minor op.12 (1909) (46')
Ibert, Bacchanale (1956) (9'16);
Messiaen, Poemes pour Mi (27');
Schoenberg, Violin Concerto op.36 (33’);
24
 
3343-4331  ■ 
 
 
 
 
Adams, Guide to Strange Places,
Bernstein, Slava! (1977) (4') A Political Overture for Orchestra;
Bernstein, Songfest (1977) (41') SMMTBarB-solo;
Keuris, Three Preludes (1994) (8'); Arcade; Movements; Concerto for Saxophone Quartet and Orchestra (1986) (23'); Ohana, Synaxis (23') pour 2 pianos et 4 percussions solistes et orchestre; Concerto pour piano et orchestre (22') (1980-81); Prokofiev-4,5,6; Wedding Suite from The Tale of the Stone Flower, Op. 126 (1951) 17';  Ural Rhapsody from The Tale of the Stone Flower, Op. 128 (1951) (9');
Shostakovich, Symphony No.6 (30'); Lady Macbeth of Mtzensk, Suite (14'); Lady Macbeth of Mtzensk, 5 Entr'acts (15'); Szymanowski, Violin Concerto no. 1 op.35 (1916) (23');
Vaughan Williams-1; Webern, Fünf Stüche für Orchester;
Wellesz, Symphony No. 7, op. 102 (1968), Contra torrentem (18');
24
3243 altsax 4331 Bernstein, On the Waterfront, Symphonic Suite (1955) (23');
24
2343-4431
Vermeulen-1;
24
3222 sax 4631  
Kodály, Harry Janos: Suite;
23
4332-4331
Rachmaninov, Spring Cantata
23
2343-4331

 

Bernstein, Dybbuk Variations for 2 solo voices and orchestra (1974) (50');
Bernstein, Dybbuk Variations: Suite no.1 for 2 solo voices and orchestra (30');
Bernstein, Dybbuk Variations: Suite no.2 for orchestra (20') no solo-voices;
23
3333-3431 Lutoslawski, Celloconcert (24’);
23
3333 sax 4231 Prokofiev, Egyptian Nights op.61, Symphonic Suite (1934)
23
3333-4331    ww
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Adams, El Dorado for orchestra; Doctor Atomic Symphony (2007) (24');
Badings, Divertimento (1949) (12');
Bartók, De Wonderbaarlijke Mandarijn; Concert voor orkest;
Berg, Wozzeck: Drei Bruchstücke red.sc.;
Bernstein, Candide - Suite for orchestra arr. Charlie Harmon(1998) (18');
Blacher, Orchestral Variations on a Theme by Paganini (1947) (16');
Bloch, Schelomo for cello and orchestra (1916) (20'); Suite for viola and orchestra (1919) (25');  
Brahms-Kwartet op.25 arr.Schoenberg;
Bridge, The Sea (20');
Britten, Gloriana Suite;
Busoni, Die Brautwahl Suite op.45 (1912) (35');
Carter, Holiday Overture (1944, rev. 1961) 10' ;
Casella, Sinfonia no. 3 op. 63 ('Symphonie no.3') (1940) (40');
Casella, Concerto per Orchestra, Op. 61 (1937) (28');
Copland, El Salon Mexico; Symphony for organ and orchestra (25');
Copland, Danzon Cubano arrangement for orchestra (1944) (7'12);
Copland, Jubilee Variation (1945) (1'27)
Debussy, Fantaisy for piano et orchestra (22');
Dohnányi, Ruralia Hungarica op. 32b (1924) (25');
Dukas, La Peri;
Gershwin, Cuban Overture (1932) (11');
Ghedini, Marinaresca e Baccanale (19');
Grofé, Grand Canyon Suite (1931) 36' ;
Hartmann, Symphony No.2 (1946) (17');
Hartmann, Symphony No.3 (1949);
Hartmann, Symphony No.7 (1958) (30');
Hartmann, Symphony No.8 (1962) (25');
Hindemith, Philharmonisches Konzert (1932) (22');
Hindemith, Symphony in E flat (1940) (33');
Honegger, Symphony no.3 "Liturgique" (1946) (30'); Symphony no.5 "Di tre re" (1951) (27'); Pacific 231 (7'), Rugby (8'); Ibert, La ballade de la gëôle de Reading (1920) (25');
Ibert, Trois pièces de ballet, extraites des « Rencontres », (9');
Ibert, Féerique (8'30);
Janáček, The Eternal Gospel (Věčné evangelium) (1914) (21') ST-solo mix ;
Janáček, 2 Symphonic Fragments (1923)  from the opera The Cunning Little Vixen arr. Willfort Manfred (1956) (18');
Jolivet, Cinq Danses rituelles (1940) (25');
Jolivet, Symphonie no.2 (1959) (26');
Kabalevsky, Symphony no.2 opus 19: Symphony No. 2 in C minor (1934) (25'); Symphony no.3 opus 22 Requiem op.22 (1935) (22'); Symphony no.4 opus 54 in c (1956) (40');
Keuris, Antologia (1991) (18');
Liszt, Mazeppa;
Lutoslawski, Symfonie-1&2;
Mahler, Todtenfeier (1888) (20');
Martinu, Symphony Nr. 1 (1942) H 289 (35'); Symphony Nr. 6 (1953) H 343 (25') (Symphonic Fantasies); The Rock, symphonic prelude for large orchestra H. 363 (1957) (13');
Messiaen, Les offrandes oubliées; Le Tombeau resplendissant pour orchestre (1931) (15');
Miaskovsky, Symphony no. 22 in B minor op. 54 'Symphony-Ballad' (1941) (39');
Mossolov, The Iron Foundry op.19 (1928) (3');
Pijper, Symphony-2 (22') arr. Karel Mengelberg);
Poulenc, Les Biches Suite;
Prokofiev-2,3; Chant symphonique (Symphonic Song) op. 57 (1933) 13' ; The Meeting of the Volga and the Don op. 130 (1951) (16'); The Duenna (Betrothal in a Monastery) op. 86,  Dance of the Masks from the opera (1940-41) (14'); Semyon Kotko op. 81 - Symphonic Suite from the opera op. 81a (1939) (37'); War and Peace op. 91 (1941-52) (30') Concert suite; Cinderella-Suites 1-3; The Gambler op. 24 - Four Portraits from the opera op. 49 (1915-17. rev.1927-28) 25'; Gypsy Fantasy from The Tale of the Stone Flower, Op. 127 (1951) 8' ; Liefde van de Drie Sinaasappels, Suite; The Meeting of the Volga and the Don op. 130 (1951) 16'; Ouverture Russe; Le Pas d'acier (The Steel Gallop) op. 41 - Symphonic Suite op. 41a (1925-26) 14'; Chout (The Buffoon) op. 21 - Suite op. 21a (1915,rev.1920) 37' ;
Rachmaninov-3; Symfonische Dansen; Three Russian Songs;
Ravel, La Valse;
Ravel, Menuet antique (1895/1929) (6');
Respighi, Pini di Roma;
Respighi, Vetrate di chiesa;
Saint-Saëns 'Organ'; Parysatis, Airs de Ballet (8');
Schoenberg, Pelleas und Melisande (reduced scoring), Theme and Variations;
Schreker, Der Geburtstag der Infantin; Spanisches Fest - Ballett für Orchester (1908,1924) (30');
Scriabin, Poeme de l’Extase op.54 (24') arr.Aeschbacher;
Shostakovich, Symphony No.10 (1953) (50');
Shostakovich, Symphony No.11 (60');
Shostakovich, Symphony No.12 (1961) (40');
Shostakovich, Symphony No.13 (1962) (56');
Shostakovich, Festivaloverture;
Shostakovich, Ballet suite no.4 (16') Four Waltzes (arranged by L. Atovmyan);
Shostakovich, Funeral-Triumphal Prelude for orchestra op.130 (1967) (3');
Schuman, American Festival Overture (9');
Strauss, R, Tod und Verklärung;
Strauss, R, Macbeth;
Stravinsky, Violin Concerto; Petrushka; Symphonies of Wind Instruments (Symphonies d'instruments à vent) (9');
Tishchenko, Requiem (1966) (60') ST-solo no choir;
Turina, Danzas Fantasticas op.22 (1919) (18');
Turina, Sinfonía del mar (1945-81)  (16');
Turina, Ritmos (16');
Turina, La Procesíon de Rocío op.9 (1912) (9')
Szymanowski, Symphony no.2 op.19 in B major (1910) (35'); Harnasie op.55 (1931) (55');
Vaughan Williams-7;
Wagner, Lohengrin, Prelude Act I (7'); Lohengrin, Prelude Act III (5'); Feierlicher Zug zum Munster (4');
Webern, Passacaglia op.1;
Wellesz, Symphony no. 6, op. 95 (1965)  (25');
Wellesz, Symphony no. 8, op. 110 (1970) (21');
Wellesz, Symphony no. 9, op. 111 (1971) (27');
Yun, Fanfare & Memorial für Orchester (1979) (13');
Yun, Konturen für großes Orchester (1989) (24');  
23
3224-4431  ww
 
Berlioz, Roméo et Juliette op.17 (1839) (100') ATB-solo, cor;
Berlioz, Marche Hongroise;
Chabrier, España (1883), Rapsody for orchestra (8'); Joyeuse marche (1888) (4');
Franck, Le chasseur maudit;
Verdi, Don Carlos, Ballo della Regina (17');
23
3224-4440 Verdi, Otello, Ballabili from Act III (6');
23
2224-4432   
Berlioz, Symphonie Fantastique;
23
3324-4331 Chabrier, Bourrée fantasque (1891) (6');
23
3234-4430   
Dukas, L'Apprenti Sorcier;
Berlioz, Menuet des Follets;
23
2224-4430    
Berlioz, Roman Carnival Overture (Le carnaval romain) (1843) (8'); Aufforderung zum Tanz (Weber/Berlioz)
23
3233-4431
Petrassi, Concerto no.7;
23
3332 2sax 4330
Petrassi, Partita
23
2232 3sax 4331 Gershwin, Rhapsodie in Blue (arr.Grofé,1942 version);
23
3343-3331 Dutilleux, L'arbre de Songes, concerto pour violon et orchestre (1983-1985) (25');
23
3242 sax 4331 ww
Bernstein, West Side Story, Symphonic Dances timp perc hp pno str (22');
23
3243-4231  
Bernstein, Candide Ouverture
23
3243-4331 Shostakovich, Six  Romances on  words by Japanese Poets op.21 (1932) (13') for tenor and orchestra 23
3033-6331 Ligeti, Apparitions (1958-59) (9');
23
2222-8331   
Bruckner-7; 
22
2224-4431    
Berlioz, Harold en Italie op.16 (1834) (47'); Le corsaire op.21 (1844) (7');
22
3333-4231  ww
 
 
 
Bosmans, Poeme for cello and orchestra (1923) (15');
Hindemith, Symphonische metamorphosen op thema's van Carl Maria von Weber;
Janáček, Amarus (1897, 1901/06) (28') STB-solo mix ;
Liadov, Baba Yaga for orchestra, Op. 56 (1905) (4');
Prokofiev, Overture (American) op. 42a (1926) 8' ;
Prokofiev, The Prodigal Son op.46; Suite op.46b.(18');
Prokofiev, On the Dnieper (Sur le Borysthene) op. 51 - Symphonic Suite op. 51a (1930) (23');
Schreker, Fantastische Ouverture;
22
3333-4330   
Debussy, La demoiselle élue L 62 The blessed damozel (La damoiselle élue) (1888) (21') SS-soli wom cor
Farberman, Concerto for Jazz Drummer and Symphony Orchestra (1986) (22')
Messiaen, Hymne (au Saint Sacrament) (1947) (14') ;
Sibelius, Tapiola op.112 (1926) (19’); The Oceanides op.73 (1914) (20');
Wellesz Vorfrühling, Poema sinfonico per grande Orchestra, Op. 12 (1911) (10');
22
3333-4321
Kabalevsky, Symphony no.1, opus 18: Symphony No. 1 in C sharp minor (1932) (21');
Villa-Lobos, Concerto for harpe and orchestra (1953) (28');
Yun, Muak. Tänzerische Fantasie für großes Orchester (1978) (17');
22
3333-3331 Takemitsu, Green (6');
22
3323-4331   
Debussy, Nocturnes;
Ibert, Escales (18');
Janáček, Taras Bulba;
Strauss, R, Don Juan;
22
4343-2330 Messiaen, Des Canyons aux étoiles pour piano solo, cor, xylorimba, glockenspiel et orchestre (1971) (103');
22
4332-4231 Ravel, Une barque sur l'ocean;
22
4333-4221 Henze, Telemanniana (12');
22
3343 a.sax 0431 HartmannSymphonic Hymns (1941/43) (19')
22
3243-4321 Pijper, symphony-1 (34');
22
3332-4331   
 
 
Barber, Toccata Festiva for organ and orchestra op.36 (14');
Copland, Rodeo, Four Dance Episodes;
Gershwin, Pianoconcert in F (31’); Rhapsody nr.2 (1932) (12’);
Khachaturian, Spartacus, Suites-1, 2, 3 (24', 20', 15');
Martinu, Symphony Nr. 2 (1943) H 295 (24');
Martinu, Symphony Nr. 3 (1944) H 299 (30');
Prokofjev-7,
Rachmaninov-2;
Respighi, Fontane di Roma;
Stravinsky, Divertimento uit Le Baiser de la Fee;
Tansman, Concerto no. 2 (1927) (25') for piano and orchestra;
Ustvolskaya, The Dream of Stepan Rasin (20');
Vaughan Williams-3;
Wellesz, Symphony No. 1 in C op. 62 (1945) (42');
Wellesz, Symphony No. 2 op. 65 (1948) (47') 'The English' ;
Wellesz, Symphony No. 4 op. 70 'Austriaca' (1953) (26')
22
3233-4331 
Shostakovich, Symphony No.5 (45');
Strawinski, Symphony in three movements 
Tan Dun, Death and Fire (1992) (27')
22
3233-3431 Messiaen, Chant des Déportés (Song of the Deported) pour choeur et orchestre (1945) (8')  mix cor;
22
2333-4331
 
 
 
Albéniz, Suite española, Op. 47 (1887) (45') arr. Rafael Frühbeck de Burgos
Schmidt, Symphony No. 2 in E flat major (1913) (56');
Sibelius, In memoriam op.59 (1910) (11');
Turina, El Castillo de Almodóvar (1933) (14')
22
3322-4431 
Stravinsky, Concerto for piano and wind instruments;
Tsjaikovski, Overture 1812;
Tsjaikovski, Capriccio Italien;
Tsjaikovski, Francesca di Rimini Fantasy;
Tsjaikovski, Zwanenmeersuite
22
2232-4441 Webern, Six Pieces op. 6 (12’) (1928 version)
22
3232-4431 
Liszt, Tasso, Lamento e Trionfo
22
2332-4431   ww
Franck, Symfonie in d;
22
3223-4431
Puccini, Le Villi, Parte Sinfonica, Act II, L'Abbandono for chorus and orchestra (5'40);
Wagner, Rienzi Overture
21
5222-3331 Gubaidulina, Viola concerto (1996) (34')
21
2232-4341 Villa-Lobos, Samba clássico (1950) (4');
21
4322-4231
Liszt, Von der Wiege bis zum Grabe; 
21
3333-4221  
Hindemith, Symphonia serena
21
3333-4230 Takemitsu, To the edge of dream (1983) (12'30) for guitar and orchestra
21
3333 sax 4301 Honegger, Nocturne, 1936 (8');
21
3333-4221 Ibert, Deux pièces de ballet, extraites des « Rencontres », (8');
21
2223-4332
Berlioz, Les Francs-Juges Overture
21
3322-4331 (ww3*3*22) 
Dukas, Symphonie in C;
Falla, The Three-Cornered Hat: Three Dances from Part II
Hartmann, Miserae (1934) Poème symphonique (20');
Kabalevsky, Piano Concerto no.2 op.23 in g (24');
Khachaturian, Concerto for Violin and Orchestra (34');
Liszt, Hungaria;
Respighi, La boutique fantasque (ballet&suite);
Respighi, Rossiniana, suite;
Roger-Ducasse, Petite Suite (1911) (6')
21
3223-4331
Bartók, Concerto for piano-2;
Schmidt, Symphony No. 1 in E major (1896/99) (40');
Shostakovich, The Counterplan, Three Orchestral Fragments (1932) (10');
21
2332-4331 Wellesz, Symphony No. 5, op. 75 (1956) (35');  
2233-4331 Honegger, Symphony no.1 (1930) (22');
21
3232-4331
Gershwin
Glazunov, Symphony No.4, Op.48 in E flat major (1893) (45');
Glazunov, Symphony No.5, Op.55 in B flat major (1895) (35');
Glazunov, Symphony No.6, Op.58 in C minor (1896) (37');
Glazunov, Raymonda Suite op.57a (40');
Glazunov, Raymonda Dances (23');
Glazunov, Raymonda Pizzicato and Pas Clasique (6');
Ives, Holiday(s) Symphony Movement IV, Thanksgiving (20') with chorus
Liszt, Ce qu’on entend sur la montagne;
Ponce, Chapultepec (14');
Schnittke, Symphony No. 0 (1957) (1957) (30');
21
3222 sax 4331   
Prokofjev, Luitant Kije Suite;
21
3222-4630 Beethoven, Wellington's Victory ("Battle Symphony") opus 91 (1813) (17')
21
3222-4431  ww
Wagner, Das Liebesverbot, Ouverture; Rienzi (1842), Ballet;
21
3323-4231
Ives, Three Places in New England;
21
3323-4321 Villa-Lobos,
21
3332-4321
Respighi, Impressioni brasiliane
21
3332-4231  ww
Falla, La Vida Breve (1905) (65') (complete opera);
Liszt, Dante Symphonie;
Strauss,
Tsjaikovski Notenkrakersuite;
21
2333-4231   
Dukas, Polyeucte;
Hindemith, Pittsburgh Symphony
21
2242-4331
Gershwin, I Got Rhythm Variations (1934) (9');
Glass, Concerto for Violin and Orchestra (1987) (30')
21
2224-4331 Berlioz, Waverley Overture op.1(2b?) (1827) (9')
21
3323-4330 Debussy, Triomphe de Bacchus (4') 21
3332-4330 
Orthel, Tweede Scherzo op.38;
Petrassi, Concerto no.5;
21
4343-4300  
Strawinski, Scherzo Fantastique;
20
4444-0040 Saint-Saëns, Requiem op.54 (36')
20
4322-4221 Gerhard, Pedrelliana (12')
20
4222-4231 Mascagni, Cavalleria Rusticana (50')
20
3342-6200  ■
Webern, Im Sommerwind;
20
3333-3230 
Schoenberg, Kammersinfonie nr.1 (orchestral version);
20
3332-2331 Satie, Parade (1919) (13');
20
3330-4331 Turina, Sinfonia Sevillana (23') 20
3222-4331    ww
 
 
 
 
 
 
Bartók, Mikrokosmos Suite (arr. Serly, Tibor) (1926-1937) (17');
Brahms, Akademische Festouverture;
Britten, Violin concerto;
Bruckner-4,5,
Carter, Pocahontas, Suite (20');
Copland, Billy the Kid-Suite; The Tender Land, Suite (19');
Dohnányi, American Rhapsody, Op. 47 (1953) (10');
Glass, The Canyon: A dramatic episode for orchestra (1988) (18');
Glazunov, Symphony No.3, Op.33  in D major (1890) (50');
Kodály, Concert voor orkest;
Liszt, Eine Faust Symphonie;
Rachmaninov-1;
Schuman, New England Triptych (1956) (15');
Sibelius, Karelia Suite; 
Shostakovich, Symphony No.1 (1924) (31'); Symphony No.2 (1927) (20'); Symphony No.3 (1930) (30'); ;
Tan Dun,Out of Peking Opera (Violin Concerto nr.1) (1987, rev.1994) (16');
Turina, Canto a Sevilla (40') S-solo;
Wagenaar, Cyrano de Bergerac op.23 (14');
Wagner, Die Meistersinger von Nurnberg, Prelude (10');
Widor, Symphony for organ and orchestra nr.3 op.69 (29');
20
2322-4430 Ippolitov-Ivanov, Caucasian Sketches op.10 (1894) (20');
20
2232 a-sax 4231 Britten, Our Hunting Fathers op. 8 for soprano (tenor) and orchestra (1936) (27');
20
2231 4sax 2330 Adams, Fearful Symmetries for orchestra (1988) (28') 20
2232-4331 Gershwin, Porgy and Bess, Concert Version SBar-solo, chorus-SATB and orchestra (arr.1956 Bennett, R.R.) (40')
20
2223-4331
Elgar, Enigma variations op.36 (28');
Skalkottas, 36 Greek Dances (110');
20
3322-4231
 
 
Borodin Polovetsian Dances;
Debussy, Rhapsody for saxophone and orchestra (10');
Dvořák, Carnival Overture op.92 (9');
Falla, Nights in the Gardens of Spain for piano and orchestra (1915) (25');
Ippolitov-Ivanov, Caucasian Sketches Series II op.42 (Iveria) (1896) (25');
Liszt, Orpheus,
Liszt, Prometheus,
Liszt, Two Episodes from Lenau’s Faust,
Liszt, Nr.8, Heroide Funebre, S. 102 (1849/54) (20')
Malipiero, Sinfonia dello Zodiaco (43');
Rimski-Korsakov, Scheherazade;
Tsjaikovski, Romeo en Julia; Suite2&3;
Rachmaninov, Piano Concerto no.4 op.40 (1926) (34'); Rhapsody on a Theme of Paganini op.43 (22');
Ravel, Sheherazade;
Tan Dun,
20
 
3222-4430 2saxhorns  
Saint-Saëns-1
 
20
3232-4231 
Balakirew-1,2; Thamar; King Lear Ouverure; En Boheme
20
3232-3331
 
Gubaidulina, Offertorium, Concert for violin and orchestra (1980/82/86) (40');
Janacek, Ballade of Blaník (Ballada blanická) (1920) (8')
20
 
3223-4231 ■  ww
 
 
Duparc, La vague et la cloche (1871);
Ives, Symphony nr.2 (35');
Martucci, Symphony No. 1 in D minor, Op. 75 (1895) (39');
Prokofjev, Concert for pno-1;
Sjostakovitsj, Overture on Russian and Kirgiz Folk Themes;
Stravinsky, Greeting Prelude (1');
Wagner, Faust Ouverture; Lohengrin, Hochzeitsmarch (Bridal Chorus) (5');
20
2332-4231
Dvořák, Amid Nature op.91 (13');
Janáček, Jealousy (Žárlivost), overture for Orchestra (1894) (7');
Schreker, Romantische Suite op.8 (1900) (35’);
20
2233-4330  
Pijper, Violin Concerto (1939) (17')
20
2233-4231   ww
Hindemith, Symfonie "Die Harmonie der Welt"
20
2243-4221  
Berg, Concerto for Violin;
20
2343-2231
 
Hindemith, Das Nusch-Nuschi op. 20 (1920) (60') 22 vocal soloists spr and silent roles.
Hindemith, Nusch-Nuschi-Tänze (1921) (8'); 
20
4333-4300  
Mahler-4      
20
2224-4231   
Franck, Les Djinns,
20
2222-4431  
 
Berlioz, Lélio, ou Le retour à la vie op.14b (53') TTB speaking voice cor;
Bizet, Patrie!,
Gounod, Ballet Music (20');
Verdi, I Vespri Siciliani Ballabili 'Le Quattro Stagioni' from act III (30'); Il Trovatore Ballabili from act III (27');
20
2222 sax 4430  
Bizet, L'Arlésienne Suite nr.1&2; 
20
6600-0611 Ustvolskaya, Symphony no. 2 “True and Eternal Bliss“ for orchestra and solo voice (1979) (20');
19
4433-4100 Messiaen, Un Sourire (1989) (10');
19
4222-4230  
Weber, Jubel Overture;
19
3222-4240 Boito, Sinfonia in d minor (16');
19
3222-2431 Puccini, Preludio Sinfonico in A major (Milan, 1882) (12')
19
3222-4231    ww
 
 
 
 
 
 
Anrooij, van, Piet Hein (10');
Balakirew, Russia; Ouverture sur un theme de marche Espagnole;
Gade, Ouverture "Hamlet" opus 37;
Brahms, Tragische Ouverture;
Britten, The Young person's guide to the orchestra;
Borodin-2; Ouverture Prins Igor;
Debussy, Marche ecossaise (6'30)
Dohnányi, Violin Concerto no. 2 in C minor, Op. 43 (1950) (31');
Glazunov, Symphony No.2, Op.16 n F sharp minor (43'); Symphony No. 7 "Pastorale" in F major opus 77 (1903) (34');
Glazunov
Grieg, Peer Gynt Suite nr.1&2;
Grieg, Lyric Suite op. 54 nos.1-4 (21')
Ippolitov-Ivanov, Turkish March op.55 (1926) (5');
Liadov, Intermezzo op.8 (3'); Polonaise op.49 (6');
Liszt, Les préludes, Hunnenschlacht; Le Triomphe funèbre du Tasse; Hamlet;
Moessorgski, Nacht op de Kale Berg; Khovantchina, Dance of the Persian Slaves; Khovantchina, Entr'acte; 
Puccini, Capriccio Sinfonico (Milan, 1883) (15'); Le Villi, Preludio (3'); Le Villi, Parte Sinfonica, Act II, Tregenda (4'); Rachmaninov, Cappriccio Bohemien op.12 (1894) (20');
Rimski-Korsakov, Capriccio Espagnol; Symfonie nr. 2 "Antar" - Symfonische suite; La grande Paque Russe;
Shostakovich, Symphony No.9 (1945) (24'); Symphony No.15 (1971) (46');
Smetana, Ma Vlast, w.o Die Moldau;
Stravinsky, Symphony in C;  
Stravinsky, Le Faun et la Bergere op.2 (9');
Tchaikovsky, Symphonies 1-6; Pianoconcert nr.3 in Es op.75; Suite nr. 3 in G opus 55; Wojewoda opus 78 - Symfonische ballade);
Wagner, Der Fliegende Holländer, Ouverture;
19
 
2322-4231  ww
 
Dvořák-9;
Ravel, Valses nobles et sentimentales;
Prokofiev, Cello Concertino in G minor op. 132 (1952) (Prokofiev-Kabalevsky) 21' ;
19
2232-4231 
Hindemith, vioolconcert
19
2232-4240 Verdi, Macbeth, Ballo from Act III (10')
19
2223-4231 
Britten, Four Sea Interludes op.33a;
Elgar, Concerto for violin and orchestra op.61 (50');
19
3222-4330  ww  ■
Kodály, Peacock Variations
19
2222-4430 
Berlioz, Les Troyens;
19
2232-4330 
Sibelius-6;
19
2223-4330 Rott, Symphony No. 1 in E major;
19
2222-4331   
 
 
 
Bernstein, Fancy Free (1944) Suite (26'); West Side Story, Overture (5');
Bruckner, Symphony nr.6 in A (65’); Te Deum in C (1883) (22');
Liszt, Festklänge, G. 101 (1856) (18');
Khachaturian, Ballade of the (about the) Motherland. For B-solo and orchestra (1961) (8');  
Martinu, Violin Concerto No. 2, H. 293 (1943) (28');
Nielsen, Symphony no. 5. 1922 (37’);
Schoenberg, A survivor from Warsaw;
Sibelius-1,2; Finlandia;
Szymanowski, Symfonie nr. 4 / Symphonie Concertante op.60 (1932) (23');
Tansman, Concerto for orchestra (20'); Concerto no.1 (1925) (19') for piano and orchestra;
Vaughan Williams-1 (reduced scoring);
Wellesz, Symphony No. 3, op. 68 (1951) (39')
19
2232 sax 3330
Pijper, Piano Concerto (1931) (20')
19
3232-4230  
Mahler, Lieder eines fahrenden Gesellen
19
3232-4221 Keuris, Concerto for alto saxophone and orchestra (1971) (10')
19
2332-4230  
Janáček, Lachische Dansen
19
3223-4230   
Beethoven -9;
Martucci, Symphony No. 2 in F major, Op. 81 (1904) (39');
Strauss, R. Aus Italien;
19
3322-4230   
Dvořák-1 
19
3322-4221 Malipiero, Symphony no.1 "In quattro tempi, come le quattro stagioni" (1933) (23')
19
3322-3231 Ippolitov-Ivanov, Turkish Fragments op.62 (14')
19
3333-2221 Ligeti, San Francisco Polyphony (1973-74);
19
3233-3221 Dutilleux, Tout un monde lointain... for cello and orchestra (26');
19
3332-3320 Adams, Century Rolls For Piano and Orchestra (1996) (30');
19
3342-4300 Keuris, Concerto for organ and orchestra (1993) (22');
18
2233-3221 Hindemith, Concerto for orchestra (Konzert für Orchester) op. 38 (1925) (13');
 
3333-4200 Copland, Symphony nr.2 (15’);
18
3222-4230 ww 
 
 
Albéniz, Piezas Caracteristicas (1888) (8')
Bartók, Rhapsody for piano and orchestra (17');
Bruckner-1,
Dvořák-2, Slavische Rhapsodie-1, Slavische Dansen;
Glazunov, Concerto for violin and orchestra op.82 (20');  
Lalo, Symphonie Espagnol for violin and orchestra op.21 (1874) (29');
Martinu, Piano Concerto No. 2, H. 237 (1934) (23'); Piano Concerto No. 4 "Incantations", H. 358 (1956) (19'); Piano Concerto No. 5 "Fantasia concertante" in B major, H. 366 (1958) (20');
Nielsen, Symphonie no.1 in g op.7 (1905) (34');
Saint-Saëns, Suite Algérienne op.60 (17'); Rapsodie d'Auvergne op.73 (10');
Schumann, Symphonic Studies (1864) (8') (orig. pno-work, arr. Tchaikovski);
Smetana, from Verkaufte Braut: Prodana Nevesta, Polka and furiant, 3 Dances;
18
2322-4230  
 
Bizet, Roma;
Duparc, La vie anterieure (5');
18
 
3223 1sax 3220 Villa-Lobos, Chôros nr. 10 W209 'Rasga o Coraçao' for chorus & orchestra (1926) (12');
18
3222 a.sax 2321 Jolivet, Piano Concerto (1950) (23'30);  
3222 alt-sax 2321 Jolivet, Concerto for Ondes Martenot and orchestra (1947) (21');
18
2223 alt-sax 4220
Kabalevsky, Cello Concerto no.2 op.77 (30');
18
2222 sax-a 4230 Honegger, Skating Rink, H. 40 (1922) (18') 18
3222-3321 Bartók, Concerto for viola (1945) (21');
18
2322-4221 Bartók, Concerto for violin-1 (21');
18
2223-4230 
Beethoven, Missa solemnis op.123 in D (80’) SATB-soli;
Brahms-1,3,4;
Glinka, Russlan and Ludmilla, Ouverture;
Wagner, Symphonie in C;
18
2232-4221
Keuris, Vioolconcert
18
2232-3231 Janáček, The Fiddler's Child (Šumařovo dítě) (1912) (12');
18
2241-3321 Gershwin, Catfish Row, A Suite from Porgy and Bess (1936) (26')
18
2222-4330  
 
Berlioz, Rob Roy Overture (1831) (12'); Beatrice et Benedict, Ouverture;
Bruckner-3;
Schumann,Ouv. Manfred op.115;
Sibelius-5,7;
Tan Dun, Today 1999 (60');
Zemlinsky, Sinfonietta, Op. 23 (1934) (22');
18
2121 2sax 3331 Shostakovich, Suite for jazz orchestra no.2 (25')
18
2222-4231  ww
 
 
 
 
 
 
Albéniz, Iberia (1906) arr. Surinach (46')
Albéniz, Rapsodia Española (Spanish rhapsody), for piano and orchestra (1887) (20')
Badings, Louisville-Symphony - Symphony no. 7 (1954) (25') ;
Bartók, Concerto for piano-3;
Berlioz, King Lear (Le roi Lear) opus 4 (1831) (14');
Bernstein, Facsimile- Choreographic Essay for Orchestra (1946) (21');
Bizet, Carmen, Suite II;
Blacher, Der Großinquisitor (The Grand Inquisitor) (1942) (65');
Brahms-2;
Britten, Soirées musicales, Matinées musicales, Piano concerto op. 13 (1938) (33');  Scottish ballad op. 26 for 2 pianos and orchestra (1941) (13');
Dallapiccola, Variazioni (1954) 14';
Dvořák-6,8, Dimitrij Overture (15'); Slavonic danses;
Elgar, Concerto for violoncello and orchestra op.85 (30');
Fauré, Pénélope, Prélude (6'30);
Gade, Symphony nr. 1 in c op. 5 'Paa Sjølunds fagre sletter'(1842) (32');
Glazunov, Poeme lyrique op.12 (11');
Glinka, Caprice Brilliant on 'La  Jota Aragonesa' ;
Hindemith, Mathis der Maler; Symphonische Tänze;
Ibert, Louisville Concert (12')
Ives, ymphony nr.1 (37');
Janáček, Jenufa-Rhapsody arr. Schönherr (25');
Kabalevsky, Piano Concerto no.1 op.9 in a (33');
Khachaturian, Masquerade Suite (15');
Lalo, Symphony in G minor (1886) (28');
Liszt, Die Ideale, À la Chapelle Sixtine;
Malipiero, Symphony no.7 "Delle canzoni" (1948) (20');
Mahler, Symphonisches Präludium (1876) (11')
Martinu, Piano Concerto No. 3, H. 316 (1948) (25'); Suite Concertante for Violin and Orchestra in D major, H. 276 I (1939), H. 276 II (1944) (22'40); Duo Concertante (Concerto No. 1) for Two Violins and Orchestra, H. 264 (1937 Nice) (17'); Concerto for Violin, Piano, and Orchestra, H. 342 (1953) (29'30); Concerto for Two Violins and Orchestra No. 2 in D major, H. 329 (1950) (19');
Moessorgski, Songs and dances of death;
Nielsen, Aladin suite(26');
Poulenc, Pianoconcert;
Prokofiev, Pianoconcerto-2; Divertimento op. 43 (1925-29) 15';
Rachmaninov, Symfonie in d; Concerto-2&3;
Schumann, Ouv. Julius Caesar;
Scriabin, Reverie op.24 (3');          
Sibelius?    
Stravinsky, Vuurvogel-Suites1919&1945; Circus-Polka (4');
Surinach, Sinfonietta Flamenca (Symphony No. 3) (1953) (12'); 
Surinach, Feria Magica Overture (6')
Szymanowski, Violin Concerto no. 1 op.35 (1916) (23') reduced scoring; Violin Concerto no. 2 op.61 (1933) (20');
Taneyev, John of Damascus ("A Russian Requiem") op.1 (1884) (24') cor SATB
Verdi, Ouvertures Oberto, Nabucco, Ernani, Un ballo in maschera Preludio Act I ; Giovanna d'Arco  Ouverture  
Wagner, Rienzi, Friedensmarsch (5');
18
4343-2200 Messiaen, Réveil des Oiseaux pour piano et orchestre (1953) (28') pno-solo;
17
0333-2321 Tishchenko, Cello Concerto No 1 (1963) (25') for solo cello, 17 wind instruments, percussion, and harmonium
17
2222-4230  ■  ww
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Beethoven, Leonore II&III, Overture The Consecration of the House (Die Weihe des Hauses) opus 124 (1822) (12');
Bizet, Carmen Suite I;
Bartók, Concerto for piano-1, Concerto for 2 pianos and percussion;
Borodin1,3; In the Steppes of Central Asia (7');
Bruckner-F,0,2;
Busoni, Turandot BV 273 (1917) (80');
Debussy, Printemps (17' )
Dohnányi, Violin Concerto no. 1 in D minor, Op. 27 (1915) (40');
Duparc, Testament (3'48);
Dvořák-3,4,5,7 Slavonic danses; Symfonische variaties; Slavische Rhapsodieën 2&3;
Fauré, Dolly Suite (arr. Rabaud) (17')
Glazunov, Symphony No.1, Op.5 in E major "Slavonian Symphony" (1881-1884) (35');
Glinka-1,3;  A life for the Tsar, Ouverture;
Goldmark, Rustic Wedding Symphony op. 26 (1875) (35'); Violin Concerto no. 1 in A minor op. 28 (33');
Grieg, Pianoconcert;
Janacek, Moravische Dansen;
Lalo, Concerto pour violoncelle (1876) in d (22');
Marschner, Hans Heiling op.80 (1833) Overture (8'28);
Martinu, Concerto for violoncello and orchestra no.1 H. 196 III (1955) (25') version-2;
Mendelssohn, Symphony no.2 in B flat major (from Lobgesang op.52) (1841) (37’);
Mendelssohn, Die Hochzeit des Camacho, Ruy Blas, overture
Monti, Czardas (1904) (4'30) for Violin and Orchestra;
Nielsen, Violin Concerto op.33 (34');
Otterloo, Fantasie Schubert / instr.van Otterloo;
Prokofjev, Pianoconcerto-3;
Rachmaninov,Concerto-1;
Rimski-Korsakov, May Night, Overture;
Rossini, Guillaume Tell; Semiramide (1823);
Rózsa, Three Hungarian Sketches, Op. 14 (1938) (19'); Violin Concerto, Op. 24 (1953–54) (28');
Saint-Saëns, pianoconcert-5;
Schmidt, Symphony No. 3 in A major (1928) (50');
Schubert, Ouverture in e-klein, D 648; Ouverture zu Rosamunde D.644 (10'); Fantasie instr.van Otterloo;
Schumann, 1,3,4; Ouv.Faust-Szenen;
Sibelius 3,4, vioolconcert,
Strauss I, Radetzky March op.228 (1848) (3');
Strauss II, Fledermaus, Die, Overture (1874) (9');
Strauss II, Der Zigeunerbaron (1885), Overture (8');
Tsjaikovski, Pianoconcert-1;
Wagner, Die Feen, Ouverture; Ouverture in C-groot Polonia (1836); 
Walton, Violaconcerto (23');
Weber, Euryanthe, Overture J.291 (8'); Der Freischütz; Oberon; Der Beherrscher der Geister, overture;
Zemlinsky, Symphony No. 1 in D minor (1892–93) (40').
17
2222-3231 
Arutiunian, Trumpet Concerto in A flat major (1950) (13'); Dvořák, Celloconcert op. 104;
17
2222-4320 
Bosmans, Concertino for piano and orchestra (1928) (14'); Yun, Fluktuationen für Orchester (1964) (13');
17
3222-2231 
Liszt, Totentanz
Wellesz, Violin concerto op. 84 (1961) (31');
17
3222-3311 Badings, Concerto for 2 pianos and orchestra (1964) (23');
 
2232-4211 Casella, Paganiniana op. 65, Divertimento for orchestra (1942) (19') 17
3223-2230  ww
Beethoven -5; Haydn, Die Schöpfung;
17
2223-2231 Hindemith, Concert for Organ and Orchestra (1962) (25');
17
2233-4120  
Berg, Sieben frühe Lieder
17
2233-3211  
Mahler, Fünf frühe Lieder, arr. Luciano Berio;
17
2222-4221 
 
Adams, The Chairman Dances;
Bartók, Two Portraits op.5 (12');
Bartók, Dance Suite (Táncszvit) (1923) (17');
Strawinski, Four Norwegian Moods;
Yun, Engel in Flammen. Memento für Orchester mit Epilog für Sopran solo, dreistimmigen Frauenchor und fünf Instrumente (1994) (16'+6');
Weill-Dui, Dreigroschenoper (1928), Suite (arr. M.Schönherr) (15'30);
17
2222-4131 
Vaughan Williams-4;
17
3333-4001  ■
Sjostakovitsj, Concerto nr.1 for violin and orch;
17
3332-4200 
Liadov, Kikimora;
17
2342-4200 Duparc, Au Pays où se fait la guerre;
17
3334-4000 
Debussy, Rondes de printemps;
16
4040-4040 
Górecki, Symfonie-3
16
4222-4200  ■  ww
Tsjaikovski, Suite1
16
3232-4200
Keuris, Violin Concerto nr. 2 (1995) (34');
Schnittke, Concerto No. 1 for Violin and Orchestra (1957, revised 1963) (40') 
16
2332-4200 Puccini, Intermezzo from Suor Angelica (6')
16
3223-4200  
Brahms,Variationen über ein Thema von Joseph Haydn op. 56a;
Keuris, Three Sonnets (1989) (17') for alto saxophone and orchestra
16
3322-4200 
Liadov, Eight Russian Folksongs;
Malipiero, Variazioni senza tema, per pianoforte e orchestra (1923) (15')
16
3322-0330
Bach, J.S., The Musical Offering (Musikalisches Opfer) BWV 1079 arr. Ghedini 'Offerta Musicale' (70')
16
2223-2230 
Mendelssohn-5;
Haydn, Die Jahreszeiten
16
2223-3211 Hindemith, Konzertmusik op. 48 for viola and chamber orchestra (1930) (20');
16
2223-4300  
Gluck, Ouverture Iphigenie en Aulide;
16
3222-2230   ww 
Liszt, Fantasy on Beethoven's Ruins of Athens, G. 122,
Schumann, Ouv. Die Braut von Messina, Konzertstück for4 Horns and Orch.op.86
16
3223-2301*
Mendelssohn, Meerestille und glückliche Fahrt, ouverture;
16
2232-4111
Mahler, Lob des hohen Verstandes
16
2232-2221 Ohana, Concerto pour violoncelle «in dark and blue» (18');
16
2222-4211 
Poulenc, Concert champêtre;
Walton, Façade, suite no.1;
16
2222-2231 Menotti, Triplo concerto a tre (1970) (20')
16
2222-3230 Busoni, Arlecchino BV 270 (1917) (65');
16   
2222-4220
 
Carter, The Minotaur, ballet&suite from the ballet (1947) (33'&25');
Einem, Piano Concerto No.1 op. 20 (1955) (22');
Einem, Violin Concerto op. 33 (1966) (33');
Martinu, Concertino for Piano and Orchestra, H. 269 (1938) (22');
Shostakovich, Music to the animated film The Silly Little Mouse for eight singers and small orchestra op. 56 (1939) (15'22) ;
16
2222-2222 
Weill, Symphony no.2 (1934) (28');
16
2222-alt.sax-2221 Jolivet, Concerto for percussion and orchestra (17');
16
3333-4000 
Mahler, Kindertotenlieder;
Otterloo, Symphonietta voor blazers;
Vainberg, Trumpet Concerto in B flat major, Opus 94 (1967) (22');
16
0000-6631 Schmidt, Solemn Fugue (Fuga solemnis) (1937) (20') org timp no strings.
15
4340-4000 Keuris, Double Concerto (1992) (21') for 2 Cellos and Orchestra
15
3332-4000 Fibich, Idyll (V Podvecer) op.39 (15')
15
2122-3230 Busoni, Rondo arlecchinesco for orchestra and tenor solo op.46 (1915) (10')
15
2222-3121 
Hindemith, Sinfonietta in E
15
2232-2220 
Hindemith, Das Marienleben, op.27
15
3222-2220  
Beethoven-6 
15
3222-4200 
Beethoven, Egmond Ouverture;
Brahms, Hongaarse dansen;
Busoni, Eine Lustspielouverture op.38 (8')
Debussy, Childrens Corner (arr. André Caplet);
Duparc, Le manoir de Rosemonde (3');
Malipiero, Cimarosiana, La (1921) (12'); Symphony no.5 "Concertante in eco" (1947) (18') for 2 pianos and orchestra;
Reger, Variations and Fugue on a theme by Mozart op.132 (35');
Reznicek, Donna Diana Overture (5');
Strauss, Burleske in D minor (1886) (22')
15
2223-4200 Beethoven, King Stephen (König Stephan) overture opus 117 (1811) (8')
15
2222-4201 
Prokofjev, vioolconcert-1;
15
2222-3310 Ibert, Suite Elisabethaine (20')
15
2222-4210 
Casella, La Giara, Suite op.41bis (18');
Glinka, Summer Night in Madrid;
Rossini 
15
2222-4030  ■ ww
Duparc, Phidylé (5'50);
Glinka, Sinfonia uber 2 Russische Themen;
Liszt, La nuit; 2222-4030;
15
2222-2230 
 
 
 
Albéniz, Concerto Fantastico (1887) (26')
Balakirew, Ouverure on the themes of three Russian Folk Songs;
Britten, Matinées musicales;
Chausson, Poème de l'amour et de la mer (20');
Mendelssohn, Trompeten Ouverture; Athalia Ouverture;
Mozart,Overture Die Zauberflöte;
Schubert, Symphonies 7,8,10=Berio, Rendering;  Overtures in D, D 12&26;
Mendelssohn,Trompeten Ouverture; Athalia Ouverture;
Saint-Saëns, pianoconcert-3,4; Vioolconcert-2,3;  Africa for piano and orchestra op.89 (11');
Salieri,  Variazioni Sulla 'Follia di Spagna' (26 Variations on "La Follia di Spagna") for orchestra (1815) (20');
Schumann-2, Ouverture, Scherzo und Finale;
Sibelius, Violin Concerto;  
Vaughan Williams, Symphonies 5, 8;
15
 
 
2222-2221 
 
 
Bartók, Five Hungarian Folksongs (11');
Bartók, Hungarian Sketches (1931) (10');
Bartók, Hungarian Peasant Songs (9');
Bartók, Transylvanian Dances (4')
Bernstein, 1600 Pennsylvania Avenue, Suite for Orchestra (1976) (18');
Boccherini, Scuola di Ballo, Sur des thèmes de Bocherini (arr.Françaix, ca.1933) (25');
Jolivet, Symphonie de danses (1940) (17');
Poulenc, Concert voor 2 piano's; Overture arr. Jean Françaix;
Prokofjev, Pianoconcerto-5;
Tan Dun, Paper Concerto for Paper Percussion (2003) (25')
15
2222 sax 2210 
Walton, Façade, suite no.2
15
1020-4431 Adams,  
2233-0221 Hartmann, Jüdische Chronik(35');
14
0500-0513 Ustvolskaya,  Symphony no. 3 “Jesus Messiah, Save Us“ (1983) (16') reciter;
14
2222-4200 
 
 
 
 
 
 
 
Beethoven, Fidelio Overture; Leonore I; The Ruins of Athens (Die Ruinen von Athen), overture from the incidental music opus 113 (1811) (5'); Zur Namensfeier (Feastday) Overture opus 115 (1815) (7');
Bizet, Symfonie nr.1 in C; Jeux d'enfants;
Brahms, Serenade-1; the 4 concertos;
Caplet, Epiphanie for violoncello and orchestra (20');
Dvořák, Legends, Op.59, B.122, (Czech: Legendy); Violin Concerto;  Concerto for violoncello in A, op. posth. (30');
Fauré, Shylock Suite;
Franck, Les Eolides; Variations symphoniques (15');
Ginastera, Estancia, op. 8 (Complete Ballet) (1941) (35'); Danzas de "Estancia" opus 8a (12');
Joachim, Violin Concerto no. 2 in D Minor "in the Hungarian Manner" op.11 (45');
Joachim, Violin Concerto No. 3 in G major (1875) (25');
Kodály, Tanze aus Galanta, Dansen uit Marosszek; Menuetto Serio;
Malipiero, Symphony no.10 "Atropo" (1966-1967) (12');
Martinu, Overture for orchestra H. 345 (1953) (8'); Rhapsody Concerto, for viola and orchestra, H. 337 (1952) (18'); Mendelssohn, Symphony no.3 in a minor op.56 ('Scottish') (1843) (38’);
Piston, Concerto for flute and orchestra;
Reger, Sinfonietta, op. 90 in A major (42'); Violin concerto Op. 101 in A major (57'); Piano concerto Op. 114 in F minor (48');
Rimski-Korsakov, Sinfonietta on Russian Themes op.31 (1887);
Saint-Saëns, Symphony in F major ('Urbs Roma') (1856) (43');
Saint-Saëns, Celloconcert-2;
Scarlatti, The Good-Humoured Ladies, Ballet (1916) (60') & Suite (12') arr. Tommasini;
Schmidt, Piano concerto no. 2 in E flat major (for left hand alone) (1934) (38');
Schubert, Symphony no.4 in c D417 (34’);
Szymanowski, Stabat Mater op.53 for SABar-solo voices, chorus and orchestra (1926) (20');
Tsjaikovski, Suite4; Violin concerto; Piano concerto-2;
Wagner, Overture in D minor 'Konzert-Ouvertüre Nr. 1' (1831);
14
 
 
 
2222-2220   ww
 
 
 
The 'classical double ww&2 horns,2 trumpets enriched with 2 trombones. (See also: 2222-2211 and 2222-2221)
Cage, The Seasons (15');  
Copland, Appalachian Spring;
Copland, From The Tender Land: Stomp Your Foot (3');
CoplandLetter from Home (1944 rev.1962) (6')
Ibert, Tropismes pour des amours imaginaires (25');
Jolivet, Concerto for violin and orchestra (1972) (33');
Kabalevsky, Piano Concerto no.3 op.50 in D (18');
Martinu, Concerto for String Quartet and Orchestra, H. 207 (18'30);
Milhaud, Saudados;
Milhaud, Scaramouche for saxophone and orchestra (8');
Prokofiev, The Ugly Duckling op.18 (1914) (12');
Smit, Leo, Symfonie; 
Villa-Lobos, Sinfonietta no.1 (1916) (15');
Weill-Germ, Der Silbersee, Suite (arr. K.Salomon) (1933) (23'); Quodlibet op. 9 (1923) (23');
14
2222-3300 Janacek, Suite for Orchestra (1891) (14');
14
3143-2100 Dallapiccola, Tartiniana (16')
14
3322-4000 Janacek, Na Soláni čarták (1911) (6') male choir;
14
3233-3000  
14
3302-3300  ■  ww Reger, Concerto in the Olden Style (Konzert im alten Stil) Op. 123 (21')
14
2323-2200  
Hindemith, Lustige Sinfonietta für kleines Orchester d-moll op. 4 (1916) (29');
14
3232-4000 
Keuris, Aria for Flute and Orchestra (1987) (8');
Liadov, The enchanted lake;
14
2233-4000 Shostakovich, From Jewish Folk Poetry. Song cycle for SAT orchestra op.79 (1948) (24')
14
3211-2221 Ponce, Violin Concerto (1943) (22');
14
1122-3221 Eissler, [Three Movements for] The Grapes of Wrath (1941/42) (12')
14
2332-2200 Duparc, Soupir Op. 2, nr. 1. (3'10)
14
2222-3210 Ullmann, Variationen, Phantasie und Doppelfuge über ein Klavierstück (op. 19/4) von A.Schönberg, op. 3b (1934) (13');
14
2222-2211  
Bartók, Rhapsody no.1 for violin and orchestra (11');
Bartók, Rhapsody no.2 for violin and orchestra (12');
Britten, Cello Symphony;
Poulenc, L'Histoire de Babar;
Walton, Façade, suite no.1;
14
2222 2sax 0211 Eissler, Suite for Orchestra No.1 op. 23 (1927/1930) (15’30)
14
2221-4030 Duparc, Extase (3'30)
14
2223-0221 Hartmann, Symphony No.5, Symphonie concertante (1950) (17')
14
2232-4100 Prokofiev, Autumn op. 8 (1910, rev.1915,1934) (7');
14
2232-2111 Shostakovich, Five Fragments op. 42 (1935) (9') for small orchestra
14
3222-2210 Shostakovich, Two Pieces by Scarlatti for wind orchestra op.17 (1928) (11') 14
0022-4330
Petrassi, Concerto for flute and orchestra;
14
2020-2332 Varèse, Déserts (1954) (24');
14
2123-1221 Hindemith, The long Christmas Dinner / Das lange Weihnachtsmahl, opera in 1 Act (60')
14
0220 3sax 0331 Antheil, Jazz Symphony / Jazz Symphonietta (1925) (12');
13
2222-2201*
 
Honegger, Celloconcerto (1934) (15');
Mendelssohn, A Midsummer Night's Dream Overture;
Prokofiev, Concerto in E minor op. 58 (35');
13
2222-4100  
Bernstein, Afterthought (1945) (4') for voice and orchestra;
Mahler, Blumine (6);
Shostakovich, Eight British and American Folksongs (1944) (16') B-solo
Turina, Poema en forma de canciones, Op. 19 (1918) (11') S-solo;
Wagner, Wesendonklieder (Mottl);
13
2222-2210 
 
Albéniz, Puerta de Tierra for Chamber Orchestra (4'45)
Carter, Symphony no.1 (25');
Cherubini, Ouvertures Lodoïska, L'Hôtellerie portugaise, Faniska Ouverture (1806) (8');
CoplandJohn Henry: A Railroad Ballad for Orchestra (1940, rev. 1952) (4')
Einem,
Glinka, Kamarinskaia;
Glinka, Prince Kholmsky, Ouverture; Prince Kholmsky, Suite (Glasunov; Rimski-Korsakov) (21'); Valse-Fantaisie;
Honegger, Concertino, pno-solo;
Martinu, Piano Concerto No. 1 in D, H. 149 (1925) (22');
Martinu, Duo Concertant for Two Violins and Orchestra H. 264 (1937) (16');
Mompou, Suburbis ('Suburbs') (arr.Rosenthal) (13');
Ohana, Anneau du Tamarit (21');
Rossini, Il Turco in Italia; La Cenerentola;
Schumann, Konzert-Allegro mit Introduktion;
Walton, Façade, suite no.2;
Weber, Ouverture Abu Hassan; Turandot, Overture and March; Overture Peter Schmoll; Silvana;
13
3222-2200   ww 
Saint-Saëns, Symphony no.2 op.55 in a (1859) (25');
Schumann, Ouv. Hermann und Dorothea op.136
13
3222-4000 
Debussy, Prélude a l’apres midi d’un faune;
Sjostakovitsj, Concerto nr.2 for piano;
13
2132-2300 Gubaidulina, In the Shadow of the Tree for koto, bass koto, zheng (all amplified) and orchestra (1998) (25')
13
2223-4000 Shostakovich, Yun, Harmonia für Bläser, Harfe und Schlagzeug (1974) (12');
13
2222-3200 
 
 
Albéniz España (Sounds of Spain) Op.165 arr. by Richard Müller-Lampertz (19')
Bartók, Suite nr.2 op.4 (34’);
Beethoven -3;
Busoni, Indian Fantasy (Indianische Fantasie) for piano and orchestra op.44 (30');
Fauré, Pelleas et Melisande;
Ligeti, Concert românesc (Rumanian Concerto);
Seiber, Renaissance Dance Suite (1959) (20');
Tishchenko, Harp Concerto (1977) (50') hp-solo S-solo;
13
2112-2221 Weill-Germ, Suite from the opera Rise and Fall of the City of Mahagonny (25');
13
2121-2230
Falla, Spanish Dance No.1 (4'); Spanish Dance No.2 (4');
Turina, Cantares (1928) (3') soprano; 2121-2230 timp perc hp str
13
2222-2111 Jolivet, Concerto for violoncello and orchestra nr.1 (1962) (24')
13
1222-2121 Schreker, Kleine Suite for chamber orchestra (1928) (20');
13
2322-2110  
Henze, Fünf Neapolitanische Lieder for solo voice and orchestra (17');
Ravel, Don Quichotte a Dulcinee;
Strauss, Divertimento op. 86 (1940-41) (40')
13
2322-3100 
Mahler, Das irdische Leben;
13
2232-2110  
Casella, Scarlattiana for piano and chamber orchestra (1926) (27');
Schnittke, Concerto No. 3 for Violin and Chamber Orchestra (1978) (28')
13
2322-2200
Debussy, La boite a joujoux;
Falla, Nights in the Gardens of Spain (chamber orchestra version) (25')
13
2342-0110 Messiaen, Sept Haïkaï esquisses japonaises pour piano et petit orchestre (1962 (19')  piano-solo, 8 violins;
13
3202-2220  
Hindemith, Klarinet concert
13
2211-4210 Shostakovich, Tahiti Trot op. 16 (1927) (4') 13
2202-2230  ■
Händel,  Saul;
13
0222-2230    ww
Händel, Messiah arr. Mozart;
13
0030-2440 Messiaen, Couleurs de la Cité céleste (1963) (16') piano-solo, no strings;
13
3030-0331
Tailleferre, Concerto for chorus, 2 pianos, 4 saxophones and orchestra;
13
0000-4441 Jolivet, anfares pour ''Britannicus'' (1946) (15'); 13
0202-4230 Stravinsky, Monumentum pro Gesualdo di Venosa  (8');
12
0000-4431 
Hindemith, Konzertmusik, op. 50;
Petrassi, Coro Dei Morti (1941) (17') str: 5db;
12
 
2222-2200   ww
 
 

 

 

 
 
 
 
 
 
 
 
 
 
Arriaga, Symphony in d 25';
Barber, Concerto for violin;
Beethoven, symphony no.1,2,7,8;
Beethoven, Fantasia in C minor for piano, chorus, and orchestra opus 80 (19') ("Choral Fantasy");
Beethoven, Mass op.86 in C.  
Britten, Suite on English Folk tunes "A time there was" op. 90 (1974) (14');
Canteloube, Chants d'Auvergne series no.4 (18');
Cherubini, Overtures;
Cimarosa, Il matrimonio segreto (1792) Overture (7');
Dallapiccola, Piccola Musica notturna (1954) (7');
Debussy, Petite Suite; Danse (arr. Ravel) (6'); Soiree dans Grenade (arr. Busser) (from Estampes) (5');
Delibes, Le roi s’amuse, six airs de danse (10'30);
Falla, The Three-Cornered Hat: Scenes and Dances from Part I;
Fauré, Masques et Bergamasques;
Ginastera, Concerto for harp and orchestra (22');
Gounod, Symphony no.1 in D major (1855) (29');
Haydn Symphonies no. 99, 100, 101, 103, 104;
Keuris, Symphony in D (1995) (26');
Koprowski, Concerto for accordeon (20');
Martinu, Concerto for Two Pianos and Orchestra, H. 292 (1943) (26');
Mendelssohn, Symphony no.1 in c op.11 (1824) (37’);
Mendelssohn, Symphony no.4 in A op.90 (28’) ('Italian') (1833);
Mendelssohn, Sinfonia nr.8 in D;
Mendelssohn, Overtures: De Hebriden, Die schöne Melusine, Heimkehr aus der Fremde, Paulus;
Mendelssohn, Concerten; Concerto in A flat major for 2 pianos and orchestra (1824);
Mozart symphonies no.31&35; Overtures;
Ohana, Trois Graphiques (21') concerto pour guitare et orchestre
Petrassi, Concerto no.2;
Poulenc, Sinfonietta; La Dame deMonte-Carlo (7');
Prokofiev, Symphony no.1 in D major op.25 ‘Classical' (1917) (15’);
Prokofiev, Violin Concerto-2;
Roussel, Petite Suite op.39 (11');
Saint-Saëns, Introduction et Rondo Capriccioso; Havanaise; Vioolconcert-1; Celloconcert-1; pianoconcert-2;
Saint-Saëns, Morceau de concert in G for harp and orchestra Op. 154 (1918) (16');
Schreker, Der Geburtstag der Infantin - A pantomime based on the story by Oscar Wilde original version (1908) (32'); Schubert, Symphony nr.2,3,6; Overture in C, op. 170, D 591 'In the Italian Style' (7');
Schubert, Overture in D, D 590  'In the Italian Style' (8'); Overture Die Zwillingsbruder, D. 647 (4');
Schumann viool, cello&pianoconcert; Fantasie; Konzertstück pno&orch;
Strauss, Hornconcerto no.1 op.11 in E flat (17'); Hornconcerto no.2 no.2 (25');
Svendsen, Violin Concerto, Op.6;
Tansman, Concertino (1945) (20') for guitar and orchestra;
Turina, Danzas Gitanas opus 55 (1931) (26'); Farruca (1929) (3') mezzo soprano
Voříšek, symphony in D; more;
Weber, Preciosa Ouverture;
Weiner, Serenade, Op. 3 in F minor (20')
12
2202-3300  ■
Händel, Deborah;
12
2202-2220 
Händel, Samson;
12
2220-2220 Strauss, Beethoven arr. Strauss Die Ruinen von Athen op. 113 (1811/1924) (60') S,2B; 2speaking roles; silent role, chorus; ballet 12
2202-4200  
Mozart, nr.32;
12
2222-2110
 
 
 
 
 
Gounod, Symphony no.2 in E flat (32');
Petrassi, Concerto no.3 / 'Recreation Concertante';
Prokofjev, Concerto Piano pno-lh;
Ravel, Concerto in G; 
Strauss, Le Bourgeois gentilhomme op. 60 (1917) (75'); Le Bourgeois gentilhomme, orchestral suite (1920) (35')
Strauss, Dance Suite after keyboard pieces by Couperin  for chamber orchestra (1923) (30')
12
2222-1111 Schnittke, Pianissimo (1968) (9');
12
2222-2020 Rodrigo, Concerto de Aranjuez for guitar and orchestra (21');
12
2222-0220 Honegger, Suite archaique (1952) (19')  
3122-4000 Liadov, Skorbnaya Pesn' (Threnody), Op. 67: Nenie, Op. 67 (3');
12
2122-3110
Hindemith, Der Schwanendreher
12
2121-1230 Varèse, Nocturnal for soprano, male chorus and orchestra,  (1961);
12
2121-2220 Milhaud, Carnaval d'Aix, Le, for piano and orchestra (15'30);
12
1221-2211 Gulda, Concerto for cello and windorchestra (1980) (30')
12
2222-4000 
Cherubini, Overtures;
Duparc, L'Invitation au voyage;
Novák, V, Serenade op.9 in F major (35'); Serenade op.36 (26');
Saint-Saëns, pianoconcert-1;
12
2222-3100 Takemitsu, Fantasma/Cantos II  for trombone and orchestra (1994) (18'40/11'?)
12
0242-4000
Keuris, Capriccio for 12 wind instruments and double-bass (1978) (9') 1db;
Mozart, Serenade no.10 for winds in B flat major, K. 361/370a (50) 'Gran Partita';
12
2220-4200  ww
Adams, Tromba lontana (1985) (4');
Mahler,Wo die Schönen Trompeten blasen
12
1130-2230 Bernstein, On the Town, Three Dance Episodes (9');
12
1030 2sax 0321 Eissler, Invention for Orchestra (1934) (5’);
11
1222-2200
 
Beethoven-4, concert-4, Violin Concerto in D major Opus 61 (1806) (42'); tripelconcert;  
Cherubini, Symphonie in D (1814) (30');
Malipiero,Gabrieliana;
Mendelssohn,  Concerto in E major for 2 pianos and orchestra op. posth. (1823);
Mozart  Ouverture Die Entführung;  Concert Nr.24 in c KV491;
Rossini, L'Italiana in Algeri;
Schubert1
11
3222-2000 
Brahms-Serenade in A;
Kodály, Nyar Este (Sommerabend) (18');
11
3231-1100 Dallapiccola,
11
2232-2200 Dvořák, Czech Suite op.39 (23')
11
2141-2100 Messiaen, Oiseaux exotiques pour piano et ensemble (1955-1956 (16') piano-solo, no strings;
11
3122-2100 Canteloube, Chants d'Auvergne series no.1 (10');
11
2222-2100  
 
 
 
Adams, Violin Concerto;
Debussy, Sarabande (arr. Ravel) (from pour le piano) (6');
Ibert, Concerto for flute, (20');
Keuris, Three Michelangelo Songs (1990) (16');
Martinu, Sinfonietta La Jolla in A for piano and chamber orchestra H. 328 (1950) (20');
Ohana, Sarabande pour clavecin et orchestre (8');
Prokofiev, Cello Concertino in G minor op. 132 (1952 ) Blok-version (21');
Poulenc, Aubade, concerto choreographique; Pastourelle (1927) from L'Éventail de Jeanne (2');
Ravel, Le Tombeau de Couperin; Tzigane (12') for violin and orchestra;
11
2222-3000
Bartók, Five Songs op.25 arr. Kodály (16');
Novák, V, Slovacka Suita op.32 (28');
11
3302-3000
Respighi, Toccata voor piano en orkest;
11
3130-4000 Busoni, Berceuse Elegiaque (Des Mannes Wiegenlied am Sarge seiner Mutter). Poesie for small orchestra. op.42 (1909) (10')
11
2302-1300 Bach, J.S. , Mass in B minor (Hohe Messe) BWV 232 (135')
11
2202-2300
Händel, Esther
11
0302-3300  
Händel, Royal Fireworks Music;
11
2122-2110    
Casella, Serenata for small orchestra op.46bis (1930) (21');
Weill, Symphony no.1 (1921) (20');
11
2122-2200 Respighi,  
2221-2220 Martinu, Concerto for violoncello and orchestra no.12 (20')
11
2221-2110 Gerhard, Allegrias, Suite from 'Flamenco' (13')
11
2111 a.sax 2210 Ibert, Golgotha, suite tirée du film (1935) (21');
11
2123-1110 Hindemith, Kammermusik no. 7 op.46 no.2 (Organconcerto) (17');
11
1121-2211 Kabalevsky, The Comedians op.26 (15');
11
2121-2210
Eissler, Two Studies for Orchestra (1930, 1939) (8’);
Poulenc, Overture arr. Milhaud;
11
1212-2210 Martinu, Serenade for chamber orchestra  H. 199 (1930) (12')
11
1122-2300
Wagner, Wesendonklieder (Stüber);
11
2120-1230 Varèse, Intégrales for 11 wind and percussion (1924–1925) (6'30);
11
0000-4331 Britten, Russian Funeral, brass and percussion ensemble (6')
10
2222-1100 Ibert, Concerto for Cello and 10 Wind Instruments (1925) (12'); Rachmaninov, Scherzo in D minor (1888) (5')
10
2222-2000   ww
 
 
 
 
 
 
Adams,
Bach, J.Chr., Symphony Op. 18 No.2 in B flat (12');
Britten, A Charm of Lullabies op. 41 M-solo and orchestra (1947) (12');
Brahms, Alt-Rhapsodie op.53 (13');
Falla, Siete Canciones Populares Espanolas (12');
Glazunov, Melodie et Serenade Espagnole for violoncello and orchestra op.20 (10');
Mahler, Wer hat dies Liedlein erdacht?;
Malipiero, Vivaldiana;
Mendelssohn, A Midsummer Night's Dream, Notturno (6'); A Midsummer Night's Dream, Intermezzo (4');
Piazzolla, Tangazo (14');
Piston, Concerto for piano and Orchestra; Sinfonietta;
Prokofiev, Overture on Hebrew Themes (1919) (8’);
Reger, Serenade, Op. 95 (42');  
Schubert, Ouverture in D-groot, D 556;
Sibelius, Six Humoresques for Violon and orchestra op.87 1-6 (1917/18) (23');
Shostakovich, Concerto for vc and orch nr.2;
Takemitsu, How slow the Wind (1991) (11');
Tsjaikovski, Rococo-variaties;
Ravel, Ma Mere l'Oye;
Roger-Ducasse, Suite (1917) (8') pour petit orchestre;
Vivier, Lonely Child (1980) (19') S-solo and chamber orchestra;
Wagner, Wesendonklieder (Henze);
10
2202-2200  
Cimarosa, Il maestro di cappella, Overture (2'20);
Haydn, 6 symphonies; Trumpet Concerto (14');
Jolivet, Les Amants magnifiques (1961) (12');
Mozart, nr.38;
Weber, Concerto for bassoon in F major, (1811, revised 1822) (18');
10
2202-0220 Bach, J.S., The Art of Fugue (arr. Martinotti)
10
2202-2110 Stravinsky, Pulcinella Suite (25'); for combinations see also: 2222-2110
10
0222-2200
Busoni, Divertimento for flute and orchestra op.52 in B flat (1921) (9');
Mozart, Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365 (1779) (23') (with optional 2 cl&2tr, timp);
10
2022-2200  
Weill, Ozeanflug
10
2220-2200 Henze, Symphony no.1 (1947) (17')
10
2131-1110 
Berio, Folksongs
10
1030 2sax 0211 Eissler, Kleine Sinfonie (Little Symphony) op. 29 (1931/32) (11’20);
10
0030 2sax 0311 Eissler, Suite for Orchestra No. 5 "Dans les rues" op. 34 (1933) (17’25); Suite for Orchestra No. 6 "Le grand jeu" op. 40 (1933/34) (14’);
10
1020 3sax 0220 Martinu, Jazz, A Movement for Orchestra H. 168 (1928)  (5')
10
2122-3000 
Berlioz, Les Nuits d’Eté; 
Villa-Lobos, Canções típicas brasileiras (Chansons typiques brésiliennes) (15');
10
1222-2100 Martinu, Concerto for Flute, Violin and Orchestra in G H. 252 (1936) (19')
10
2221-1110 Tishchenko, Symphony No. 3 op.36 (1966) (31') for Soprano, Baritone Chamber Orchestra
10
2122-2100
Canteloube, Chants d'Auvergne series no.2 (15'); 
Weill-, Concerto for Violin and wind orchestra op.12 (1924) (33');
10
2121-2110
Britten, A Midsummer Night's Dream op. 64 (1960) (144') Opera;
Ginastera, Variaciones concertantes (21');  
Petrassi, Ritratto di Don Chisciotte, suite dal balletto (1947) (19');
10
2121-0220 Weill-Dui, Der Silbersee (complete incidental music);
10
3121-2100 Dallapiccola, Piccolo Concerto per Muriel Couvreux (1939-'41) for piano and chamber orchestra (20') 10
2121-2200
Chabrier, Habanera (for piano1885, orchestrated by the composer, 1888) (4');
Falla, El Amor Brujo, Suite (19');
Szymanowski, Three songs of the fairy princessprinses (Piesni ksiezniczki z basni) op. 31 (7');
10
1221-2200 Rossini, Sinfonia di Bologna
10
2211-2110 Yun, Konzertante Figuren (1972) (20');
10
1121-2210
 
Antheil, Dreams (25');
Hindemith, Nobilissima Visione (1938) (50');
Puccini,  Inno a Roma (1919) (3'24');
Rossini, Le roi des gourmets, Suite sinfonica (19') (in 2 parti)
10
2111-2111 Yun, Bara (1960) (11'); 
10
4402-0000  
Bach, J.S. , Matthäus-Passion;
 
4222-0000 Tishchenko, Cello Concerto no. 1 (1963) (22') orchestrated by Dmitri Shostakovich (1969)
10
3322-0000 Malipiero, Abracadabra (1962) (18') for Baritone und Orchestra 10
0000-4321 ww
Petrassi, Concerto no.6;
10
1111-2220  Glass, Life: A Journey Through Time (2006) (60');
10
1030-0330 Antheil, Jazz Symphony / Jazz Symphonietta (1925, reorchestration (1955) (12');
10
1302-0220 Foss, Salomon Rossi Suite (1975) (8');
9
1222-2000 
Mozart, nr.40, 2nd version with clarinets;
Beethoven-4;
Hummel, Trumpet Concerto in E flat major (18')
9
1202-2200
 
 
 
 
Crusell, Clarinet Concerto op.5 in f (25');
Haydn, 8 symfonieën;
Mozart, nr.41; Nr.25 in C KV503; Nr.26 in D KV537; Nr.27 in Bes KV595;
Mozart,
Weber-1,2;
9
2202-2100  
Tailleferre, Concerto for piano and Orchestra;
9
1022-2200 
Mozart, nr.39, Concerto Nr.22;
9
0030 2sax 0211   
Eissler,
9
1030-1211 Varèse, Dance for Burgess for chamber ensemble (1949) (7');
9
1330-2000 Martinu, Concerto Grosso, for chamber orchestra, H. 263 (1937) (14');
9
1221-1110  
Martinu, Concertino in c for violoncello, brass, piano and battery H.143 (1924) (14') no strings; Webern, Ricercare uit Musicalisches Opfer;
9
1221-2100 Fauré, Theme and Variations Op. 73 for piano (1895), orch. Inghelbrecht (1955) (16');
9
1121-2110
 
CoplandOld American Songs set One med-solo (12');
Kabalevsky, Violin Concerto op.48 in C (16'); Cello Concerto no.1 op.49 in g (17');
Ohana, Chiffres de Clavecin (17');
Takemitsu, Tree Line (1988) (13') for chamberorchesta;
Yun, Kammersinfonie II "Den Opfern der Freiheit" (1989) (33');
9
2121-2100 
Casella, Divertimento per Fulvia, Op. 64 (1940) (14');
Casella, La Camera dei Disegni (1940) (14')  Ballet for children;
Honegger, Symfonie no.4 "Deliciae basilliensis";
9
2211-2100 Falla, El Retablo de Maese Pedro, Suite;
9
2122-2000  ww
Glazunov, Serenade nr.2 op.11 (5');
Ravel, Pavane pour une infante defunte (1899/orch.1910) (7');
9
2212-2000 Bartók, Suite op.14 arr. Dorati (9');  
2113-2000 Tishchenko, Concerto for Piano and Orchestra (1962) (22')
9
2122-1100 Canteloube, Chants d'Auvergne series no.3 (15');
9
2222-1000  ww
Shostakovich, Concerto nr.1 for violin and orch;
9
0222-2010 Nielsen, Flute Concerto (18');
9
0202-0230 Poulenc, Suite Française (1935) (no strings);
9
1111-2111 Ligeti, Melodien (1971) (15');
9
1111-2210? Gershwin, Rhapsodie in Blue (1924, 1926-version) (15');
9
1010-3220 Varèse, Hyperprism for 9 wind and 9 percussion (3:48);
8
3010-2110 
Tailleferre, Concertino for harp and orchestra;
8
0202-2200 
 
 
Händel, Semele;
Mozart, 34,36; Piano Concerto No. 13 in C major, K. 415/387b (1782/83) (25');
Schubert, Ouverture in Bes-groot, D 470;
8
2020-2200 Dvořák, Biblical Songs for solo voice and orchestra op.99 (31');
8
1201-2200  
Händel, Water Music;
Haydn, 3 symfonieën;
Haydn, Sinfonia concertante for violin, cello, oboe, bassoon and orchestra op.84 in Bflat Hob.I:105 (23')
8
1211-2100 Shostakovich, Chamber Symphony op. 83a (1949) (19') arr. Barshai;
8
1201-4000   
Haydn, 3 symfonieën;
8
1121-2100   
Ohana, Lanto por Ignacio Sánchez Mejias (1950) 39'  (+cor); Wagner, Siegfried-Idyll;
8
1122-2000
 
Martinu, Sonata da Camera for Violoncello and Chamber Orchestra H. 283 (1940) (26'30);
Svendsen, Romance for violin and orchestra op.26 in G (8');
8
1221-2000 Rossini, La scala di seta (1812) (7'); La cambiale di matrimonio (1810) (5'); Il Signor Bruschino (of Il figlio per azzardo) (1813) (5');
8
1212-2000 Dvořák, 5 Bagatelles arr. Russell-Davies (20')
8
1121-1110
CoplandOld American Songs set One med-solo (13'); 
Ligeti, Cello Concerto (1966) (16');
8
1111-2110
Halffter, Sinfonietta in D (35');
Martinu, Comedy on the bridge (1935), Little Suite (6');
Ohana, Concertino pour trompette et orchestre (15');
Prokofiev, Hamlet op. 77 (1938) (24');
Shostakovich,
8
2111-1110 Varèse, Offrandes for soprano and chamber orchestra (poems by Vicente Huidobro and José Juan Tablada) (1921) (10');
8
1111-1111 Schnittke, Concerto for Piano Four Hands and Chamber Orchestra (1988) (25')
8
1120-1111 Webern, Variations for orchestra op. 30 (1940) (8')
8
2201-0300  
Bach, J.S., Weihnachts-Oratorium BWV 248 Part I; Magnificat in D BWV 243 (33');
Händel, Judas Maccabaeus;
8
 
2202-2000  ■  ww
 
Bach, J.Chr., Symphony Op. 18 No.1;
Boieldieu, Concerto for harp and orchestra (22');
Lully, Le bourgeois gentilhomme (1670) Danses et Entrees;
Mozart, Piano Concerto-17,18,19
8
2021-2100 Martinu, Concerto for oboe and orchestra (14');
8
0020 2sax 0220 Novák, Capriccio for cello and orchestra (1958) (16');
8
2111 2sax 0010 Jolivet, Trumpet Concerto no.2 (1954) (13'30);  
2022-2000  ■  ww Bartók, Rumanian Folk Dances (7');
8
2221-1000  ■  ww Arriaga, Los Esclavos Felices, Overture 7' ;
8
3221-0000  
Debussy, Six épigraphes antiques (orch. Rudolf Escher)
8
0000-0440   ww
Gabrieli, canzona's;
Pärt, Arbos for brass and percussion (1977/1986) (2'25);
Varèse, Ecuatorial (11');
7
1202-0200 Martinu, Tre Ricercari for chamber orchestra H. 267 (1938) (14')
7
1200-2200 Mozart, Rondo for piano and orchestra in D major, K. 382 (1782) (10') 7
1202-2000  ■
 
 
Beethoven, Piano Concerto no. 2 in B-flat major opus 19 (1789/95) (24'); 2 Romances; Rondo for piano and orchestra in B flat major WoO 6  (1793) (10');
Boccherini, Symphony Op. 37 No. 3 in D minor; Symphony Op. 37 No. 4 in A major (17'); Symphony Op. 42 in D major Haydn, 12 symfonieën;
Mozart, nr.40, 1e versie zonder klarinetten; Piano Concerto No. 15 in B-flat major, K. 450 (1784) ((23');
Schubert nr.5
7
1212-1000 Martinu, Divertimento (Concertino) in G for left-hand piano and small orchestra, H. 173 (1928) (20')
7
1121-1100
Martinu, Concerto for violoncello and orchestra no.1 H. 196 I   (1930) (27') (version-1);
Wellesz, Divertimento, op. 107 (1969) (12')
7
1121-2000 Turina, Navidad (1916) (15'30) 7
1222-0000  ■
Hindemith, Hoornconcert 
7
0301-0300  
Bach, J.S., Suite nr.4 in D BWV 1069 (23’);
7
0201-2200  
Händel, Water Music, Suite in D (1717?);
Haydn, 6 symfonieën;
7
0111-0220 Martinu, Jazz Suite for small orchestra H. 172 (1928) (9');
7
0000-2320 Eissler, Die Maßnahme (The Measures Taken) op.20 (1930/1931) (60')
7
2200-0300 Bach, J.S., Magnificat in D BWV 243 (33'); Weihnachts-Oratorium (Christmas Oratorio) BWV 248 Part I;
7
2201-2000  ■  ww
Bach, J.Chr., Symphony Op. 18 No.3;  Op. 18 No.5 ; Op. 18 No.6; 
Haydn, ? symfonieën;
7
2202-1000
Delalande,
Martinu, Sinfonietta Giocosa for piano and chamber orchestra, H. 282 (1940) (32')
7
 
1022-2000  
 
Beethoven, Ah!Perfido for solo voice and orchestra op.65 (14'); Adelaide op. 46 (1796) (3') (arranged by Anonymous) for solo voice (S/T) and orchestra op.46;
   Mozart, Nr.23 in A KV488;
7
2021-2000  ww Schubert, Overture zu "Der Teufel als Hydraulicus", D 4 (4');
7
2111-1100 Canteloube, Chants d'Auvergne series no.5 (24');
7
1111-2010 Ives, Symphony nr.3 (17');
7
1111-2100 Jolivet, Concerto for harp (17');
7
1111-1200 Foss, Renaissance concerto for flute and orchestra  (20');
7
1111 altsax 0110 Milhaud, Carnaval de Londres, Les (30');
7
1111-1110
 
Blacher, Viola Concerto op. 48 (1954) (20');
Eissler, Five Pieces for Orchestra (1938) (14’50);
Schnittke, Concerto No. 2 for Violin and Chamber Orchestra (1966) (18');
Schreker, Kammersymphonie (1916) (25');
Surinach,
Takemitsu,
6
 
1111-1100 
 
Falla, El Corregidor y la Molinera (43’);
Ibert, Concertino da camera for saxophone (16');
Ohana, Tombeau de Claude Debussy 31';
Respighi, Trittico botticelliano (1927) (16');
Rodrigo, Soleriana (1953) (41');
Serly, Rhapsody on Folk Songs Harmonized by Béla Bartók for Viola and Orchestra (1948) (8');
Varèse, Octandre for seven wind instruments and double bass (1923) (7'30)
6
1111-0110 Busoni, Gesang vom Reigen der Geister op.47 (1915) (7');
6
1111-1010 Villa-Lobos, Guitar concerto (1951) (20');
6
1011-1110 Ibert, Divertissement (20')
6
1111-2000 Saint-Saëns, Romance for violin and orchestra op.48 (6'30)
6
0011-al-sax-1110 Ibert, Symphonie Marine (1931) (14');
6
0301-2000 
Bach, J.S., Brandenburg Concerto No. 1 in F major BWV 1046 for violino piccolo, three oboes, bassoon, two corni da caccia, strings and continuo (25')
6
0201-0300 Bach, J.S.,
6
0200-2200  
Mozart, No.30, Ouv. Il Re Pastore; Piano Concerto No. 3 in D major, K. 40 (1767) (12'); Concerto for 2 violins and orchestra in C K.190 (25');
6
0202-0200 Mozart, Concerto for 2 pianos and orchestra no.10 in E flat K.365 (23')
6
0202-2000 
Boccherini, Symphony Op. 37 No. 1 in C major (1786); Symphony Op. 41 in C minor (18'); Symphony Op. 45 in D major Boyce,
Busoni, Concertino for clarinet and orchestra op.48 (1918) (10');
Mozart,33; Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365 (1779) (23');
6
2002-2000
 
Mozart, Clarinet concerto in A K.622 (31');
Shostakovich, Six Poems of Marina Tsvetayevna op. 143a (1973) (23') for alto
6
0022-2000 Mozart, Horn concerto no.3 in E flat, K.447 (10')
6
2020-2000 Stravinsky, Two Songs by Paul Verlaine (5');
6
2202-0000  ww Lully, Psyché (1671) Overture;
6
2201-0100  ww
 
Hindemith, Suite französischer Tänze aus den von Pierre d'Attaignant gedruckten "Livres de Danceries" des Claude Gervaise und Estienne du Tertre;
6
2200-2000 Mozart, Piano Concerto No. 6 in B-flat major, K. 238 (1776) (25'); Concerto for violin and orchestra no.3 in G KV 216 (26'); Flute concerto no.1 in G K.313 (27')
6
1201-2000 ww
Haydn, 6 symphonies
6
0000-0330 Casella, Concerto Romano for organ, brass, timpani, and strings, Op. 43 (1926) (30') 6
1211-0100 Martinu, Toccata e Due Canzoni H. 311 ((1946) (27')
5
1111-1000  
 
 
Britten, Sinfonietta op. 1 (1932) (15'); Nocturne op. 60 (1958) (25') for tenor, seven obbligato instruments, and strings; Britten, The Beggar's Opera op. 43 (1948) (108'); The Rape of Lucretia op. 37 (1946, rev.1947) (107');
Dohnányi, Concertino for harp and chamber orchestra, Op. 45 (1952) (15');
Hindemith, Hérodiade;
Honegger, Pastorale d'été (6');
Mahler, Rheinlegendchen (3’);
Szymanowski, 5 Gesänge (Slopiewnie) op. 46b (1921) (10') für Sopran und Orchester;
5
1111-0100 CoplandThree Latin American Sketches (1972) (10')  
4000-0100 
Ives, The unanswered Question
5
3020-0000 
Berlioz, Ballet des Sylphes;
Couperin, Apotheose de Lully;
5
0000-2210  
Hindemith, Concert voor fluit, hobo, klarinet, fagot, harp en orkest
5
0201-2000 
 
Bach, J.Chr., Symphony Op. 18 No.4;
Bach, J.S., Weihnachts-Oratorium BWV 248 Part IV;
Boccherini, Symphony Op. 35 No. 3 in A major (11'); Symphony Op. 43 in D major;  
Händel, Water Music, Suite in F major HWV 348;
Haydn, 37 symphonies;
5
0201-0200 Boyce,
5
0021-2000 Bach, J.S., The Art of Fugue (arr. Lualdi) (17'30)
5
0200-0300  ■
Bach, J.S., Suite nr.3 in D BWV 1068 (24'); Weihnachts-Oratorium BWV 248 Part VI;
5
1211-0000 Shostakovich, Chamber Symphony op. 73 String Quartet No. 3 Arr: Barschai, R.(33');
5
2111-0000 Schreker, Valse lente (Weißer Tanz) for small orchestra (1908) (5');
5
2201-0000
Bach, J.S., Johannespassion BWV 245 (130'); Weihnachts-Oratorium BWV 248 Part II&III;
Boyce, Telemann, Wasser-Ouverture / 'Musica maritima' in C, TWV 55: C3 (1723) (24');
5
1202-0000
 
Bach, J.S., The Art of Fugue (arr. Collum, Herbert); The Art of Fugue (arr. Vuataz, R.);The Art of Fugue (arr. Pilney, K.H.); Lully, Le bourgeois gentilhomme (1670) Suite;
5
1110-0110 Ibert, Paris, (1930) (13'); 
5
1011-0110 Hartmann, Simplicius Simplicissismus, Suite (30');
5
1110-1100 Schnittke, Music for Piano and Chamber Orchestra (1964) (20');
5
1011-1100 Blacher, Piano Concerto No. 2 (in variable metres) (1952) (22')
5
1000-4000 Duparc, Chanson triste Op. 2, no 4. (1868, orch. 1912)
4
2002-0000 Janacek, Srbské kolo (Serbian Dance) (c.1899) (2') 
4
2200-0000
Berlioz, La fuite en Egypte Prelude Part II. (3')
4
2000-2000
 
 
Boccherini, Symphony Op. 12 No. 3 in C major (1771); Symphony Op. 12 No. 5 in B flat major; Symphony Op. 12 No. 6 in A major (1771); Symphony Op. 21 No. 1-6;
Mozart, Piano Concerto No. 4 in G major, K. 41 (1767) (13');
4
 
 
0200-2000 
 
 
 
 
 
 
 
Bach, J.Chr., Sinfonia op.3,1-6;
Bach, J.S., Weihnachts-Oratorium BWV 248 Part IV;
Boccherini, Symphony Op. 21 No. 1-6;
Boccherini, G 506: Symphony Op. 12 No. 4 in D minor detta 'La casa del diavolo';
Boccherini, Symphony Op. 35 No. 1 in D major (1782);
Boccherini, Symphony Op. 35 No. 2 in E flat major (1782);
Boccherini, Symphony Op. 35 No. 3 in A major (11');
Boccherini, Symphony Op. 35 No. 4 in F major;
Boccherini, Symphony Op. 35 No. 5 in E flat major; 
Boccherini, Symphony, en D major, for small orchestra;
Boccherini, Concerto No.1 for cello and orchestra in E flat major;
Boccherini, Concerto No. 5 for cello and orchestra in D major;
Boccherini, Concerto No. 10 for cello and orchestra in D major;
Boccherini, Concerto for cembalo and orchestra in E flat major;
Haydn, Cello Concerto No. 1 in C, Hob. VIIb/1 (1761-5) (25');
Haydn, Cello Concerto No. 2 in D, op.101 Hob. VIIb/2 (1783) (26');
Mozart, Symphony no.28 in C (15');
Mozart, Symphony no.29 (23');
Mozart, Piano Concerto No. 1 in F major, K. 37 (1767) (17');
Mozart, Piano Concerto No. 2 in B-flat major, K. 39 (1767) (14');
Mozart, Concerto for violin and orchestra no.1 in B flat KV 207 (20');
Mozart, Concerto for violin and orchestra no.2 in D KV 211 (23');
Mozart, Concerto for violin and orchestra no.4 in D KV 218 (26');
Mozart, Concerto for violin and orchestra no.5 in A KV 219 (30');
Mozart, Flute-harp concerto in C K.299 (27');
Mozart, Oboe concerto in C K.314 (13');
Mozart, Bassoon concerto in B flat K.191 (13');
Mozart, Horn concerto no.2 in E flat, K.417 (15');
Mozart, Horn concerto no.4 in E flat, K.417 (16');
Mozart, Sinfonia concertante in E flat major K. 364 (25');
Mozart, Concerto for 3 pianos and orchestra no.7 in F K.242 (25');
Salieri, Symphonie in D major "La Veneziana" (9');
Yun, Kammersinfonie I (1987) (24')
4
0202-0000
Händel, Concerti grossi op.3 nr.1, nr.6;
Mozart, Horn concerto no.1 in D, K.412 (12')
4
0002-2000 Nielsen, Clarinet Concerto (27');
4
0020-2000 Martinu, Sinfonia Concertante No. 2 in B-flat major (Violin, Cello, Oboe, Bassoon and Orchestra), H. 322 (1949) (18')
4
0020-0200 Krása, Overture for small orchestra (6') (1943)
4
1111-0000
Milhaud, Apothéose de Molière;
Ponce, Concierto del Sur ('Southern Concerto')  (23') Gui solo;
4
1110 sax-a 0000 Jolivet, Poèmes intimes (13'); 4
1110-1000 
Henkemans, Primavera (1944) (7');
4
0110-1100 Rodrigo, Concierto pastoral for flute and orchestra (25');
4
1011-0100 Hartmann, Simplicius Simplicissismus, Overture (10')
4
2110-0000 Mompou, Scenes d'Enfants (arr. Tansman) (8')
4
1201-0000 Händel, Water Music, Suite in G major (1736?);
4
1001-2000 Shostakovich, Six  Romances on Verses by English Poets op. 62a (1942) (14') for bass and orchestra 4
1100-1100 Falla, El Amor brujo (First Version) (1915) (34')
3
1100-0100 Bach, J.S., Brandenburg Concerto No. 2 in F major BWV 1047 for trumpet, oboe, recorder, violin, strings and continuo (21')
3
1011-0000 Copland, Appalachian Spring (1944), original score for 13 players pno str 4221;
3
0030-0000
Kodály
3
0201-0000  ■
Bach, J.S., Suite nr.1 in C major, BWV 1066 (28'); Weihnachts-Oratorium BWV 248 Part V; Boyce,
3
0000-3000 Villa-Lobos, Fantasy for saxophone and orchestra (1948) ( 14')
3
1000-0020  ww 
Ghedini, Concerto dell’albatro;
2
0200-0000 
 
Bach, J.S., Weihnachts-Oratorium BWV 248 Part V;
Händel, Concerto grosso op.3, nr.2, nr.4; nr.5, Concerto grosso in C Major "Alexander's Feast";
Martinu, Divertimento (Serenade No. 4) for chamber orchestra H. 215 (1932) (7'30) vl.-vla soli
2
2000-0000 
Boccherini, Concerto No. 3 for cello and orchestra in D major;
Gluck, Orfeo, Ballet des ombres heureuses;
2
0000-2000
Boccherini, G 500: Symphony in D major Concerto No. 2 for cello and orchestra in A major; Concerto No. 4 for cello and orchestra in C major; Concerto No. 8 for cello and orchestra in C major; Concerto No.9 for cello and orchestra in B flat major;
Britten, Sinfonietta op. 1 (1932) (15')
2
1001-0000 Martinu, Concerto for harpsichord and small orchestra, H. 246 (1935) (17'30)
1
1000-0000 
 
 
Bach, J.S., Suite nr.2 in B minor BWV 1067 (24');
Bach, J.S., Brandenburg Concerto No. 5 in D major BWV 1050 for harpsichord, violin, flute and strings (24');
Bach, J.S., Concerto in D Major BWV 1050a for harpsichord, violin, flute and strings (earlier version of BWV 1050);
Händel, Concerto grosso op.3, nr.3;
Mozart, 5 German Dances, K. 609 (7'45)
1
0100-0000
Händel, Concerto grosso op.3, nr.3;
1
0010-0000 Shostakovich, Three Romances on poems of Pushkin op. 46a for bass and chamber orchestra(1936) (6') 1
0000-0100  ■
Honegger, Symfonie no.2;
Shostakovich, Concerto nr.1 for piano
1
0000-1000  
Britten, Serenade, op. 31, for tenor, horn en string orchestra
0
0000-0000
 
Britten, Serenade, op. 31, for tenor, horn en string orchestra
Britten, Les Illuminations op.18 (21') high solo string orchestra    
Jolivet, Symphony for strings(1961) (23');
Jolivet, Cello Concerto No. 2 (1966) (22');
Jolivet, Concerto for flute and string orchestra (1949) (13');
Jolivet, Trumpet Concerto no.1 (1948) (9'30);
Shostakovich, Symphony No.14 (1969)
Turina, La Oracion del Torero op.34 (1926) (8') str
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13+
25
8575
 
 
 
 
 
 
 
 
 
 
 
 
 
8575-10.771
20
5555
 
 
 
 
 
 
 
 
 
 
 
 
 
5555-8532
16

 

 

 

4444

 

 

 

 
 
 
 
 
 
 
 
 
 
 
4444-4430
4444-4331
 
 
4444-4440
4444-4431
 
 
4444-4441
4444-6331
4444-6432
4444.2sax4631
4444-8531
4444-8532
4444-8442
4444-8533
4444-20.66
15
4344
 
 
 
 
 
 
 
 
 
 
 
 
4344-4431
 
15
3444
 
 
 
 
 
 
 
 
 
 
 
3444-4331
 
 
14
4343
 
 
 
 
 
 
 
4343-4300
 
 
 
4343-4331
 
 
14
4334
 
 
 
 
 
 
 
 
 
 
 
4334-4331
 
4334-4432
13
3334
 
 
 
 
3334-4000
 
 
 
 
 
 
3334-4331
 
 
13
3343
 
 
 
 
 
 
 
 
 
 
 
3343-4331
 
3343-4431
13
4333
 
 
 
 
 
 
 
4333-4300
 
 
 
4333-4331
 
 
13
3234
 
 
 
 
 
 
 
 
 
 
 
3234-4430
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
12
3333
 
 
 
 
3333-4000
3333-4001
 
 
3333-3230
3333-4221
3333-4231
3333-4330
3333-4331
3333-4431
3333-4332
3333 sax 4331
3333-6331
3333-4441
3333-4931
3333 2sax 4331
12
3342
 
 
 
 
 
 
 
 
3342-6200
 
 
 
 
 
12
3234
 
 
 
 
 
 
 
 
 
 
 
3234-4430
 
 
12
3243
 
 
 
 
 
 
 
 
 
 
3243-4231
 
 
 
12
4322
 
 
 
 
 
 
 
 
 
 
4322-4231
 
 
 
11
3332
 
 
 
 
 
 
3332-4200
 
 
 
3332-4330
3332-4231
3332-4321
3332-4331
 
 
3332 3sax 4331
 
11
3323
 
 
 
 
 
 
 
 
 
 
3323-4231
3323-4331
 
 
11
3233
 
 
 
 
 
 
 
 
 
 
 
3233-4331
 
 
11
2333
 
 
 
 
 
 
 
 
 
 
2333-4231
 
 
 
11
2243
 
 
 
 
 
 
 
 
 
2243-4221
 
 
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
10
2224
 
 
 
 
 
 
 
 
 
 
2224-4231
2224-4430
 
2224-4432
2224-4431
2224-4631
10
4222
 
 
 
 
 
 
4222-4200
 
 
4222-4230
 
 
 
 
10
4402
4402-0000
 
 
 
 
 
 
 
 
 
 
 
 
 
10
2233
 
 
 
 
 
 
 
2233-3211
2233-4120
 
 
2233-4231
2233-4330
 
 
 
10
2323
 
 
 
 
2323-2200
 
 
 
 
 
 
 
 
 
10
2332
 
 
 
 
 
 
 
 
 
2332-4230
 
 
2332-4431
 
10
3232
 
 
 
 
3232-4000
 
 
 
 
3232-4230
3232-4231
 
3232-4431
 
10
3223
 
 
 
 
 
 
3223-2301
3223-4200
 
 
3223-4230
3223-4231
 
 
 
10
3322
 
 
 
 
 
 
3322-4200
 
 
3322-4230
3322-4231
3322-4331
3322-4431
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
9
2223
 
 
 
 
 
 
 
2223-4300
2223-2230
 
2223-4230
 
2223-4331
 
 
9
2232
 
 
 
 
2232-2110
 
2232-2220
 
 
2232-4221
2232-4231
2232-4330
 
 
 
9
2322
 
 
 
 
2322-3100
2322-2110
 
 
 
 
2322-4230
2322-4231
 
 
 
9
 
3222
 
 
 
 
3222-2000
 
 
3222-2200
3222-4000
 
2222-3200
3222-4200
3222-2220
3222-2230
3222-2231
3222-4230
3222-4231
3222-4330
3222-4331
 
3222 sax 4331
3222-4430 2saxhorns
3222 sax 4631
8
4040
 
 
 
 
 
 
 
4040-4040
 
 
 
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
8
 
 
 
2222
 
 
 
2222-0000
 
 
 
2222-1000
 
 
 
2222-2000
 
 
 
2222-2100
 
 
 
2222-2200
2222-4000
2222-2110
 
 
2222-3200
2222-2210
2222-2201
2222-4100
 
2222-4200
2222-2220
2222-2211
2222 sax 2210
 
2222-2221
2222-2230
2222-3121
2222-4210
2222-4201
2222-4030
2222 sax 2210
2222-2222
2222-4211
 
2222-4230
2222-3231
2222-4320
2222-4221
2222-4131
2222-4330
2222-4231
 
 
2222-4331
2222-4430
 
 
2222-4431
2222 sax 4430
 
 
2222-8331
 
 
 
8
3221
3221-0000
 
 
 
 
 
 
 
 
 
 
 
 
 
8
3302
 
 
 
3302-3000
 
 
3302-3300
 
 
 
 
 
 
 
7
3202
 
 
 
 
 
 
3202-2220
 
 
 
 
 
 
 
 
7
1222
1222-0000
 
1222-2000
 
1222-2200
 
 
 
 
 
 
 
 
 
7
2122
 
 
2122-2000
2122-3000
2122-2110
2122-3110
 
 
 
 
 
 
 
 
7 2221   2221-1000                        
7
2131
 
 
 
2131-1110
 
 
 
 
 
 
 
 
 
 
7
3030
 
 
 
 
 
 
 
3030-0331
 
 
 
 
 
 
6 0301     0301-2000                      
6
2121
 
 
 
2121-2100
 
 
 
 
 
 
 
 
 
 
6
1221
 
 
 
1221-1110
 
 
 
 
 
 
 
 
 
 
6
0222
 
 
 
 
 
 
 
0222-2230
 
 
 
 
 
 
6
2022
 
 
2022-2000
 
2022-2200
 
 
 
 
 
 
 
 
 
6
2202
 
 
2202-2000
2202-2100
2202-2200
2202-4200
2202-2300
2202-3300
2202-2220
2202-2230
 
 
 
 
 
 
6
2220
 
 
 
 
 
 
2220-4200
 
 
 
 
 
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
5
0302
 
 
 
 
 
 
0302-3300
 
 
 
 
 
 
 
5
2030
 
 
 
 
2030-0211
 
 
 
 
 
 
 
 
 
5
3020
3020-000
 
 
 
 
 
 
 
 
 
 
 
 
 
5
1022
 
 
1022-2000
 
1022-2200
 
 
 
 
 
 
 
 
 
5
1202
 
 
1202-2000
 
1202-2200
 
 
 
 
 
 
 
 
 
5
2201
 
2201-1000
2201-2000
2201-0300
 
 
 
 
 
 
 
 
 
 
5
1121
 
 
 
1121-2100
 
 
 
 
 
 
 
 
 
 
4
4000
 
4000-0100
 
 
 
 
 
 
 
 
 
 
 
 
4
0301
 
 
 
0301-0300
 
 
 
 
 
 
 
 
 
 
4
3010
 
 
 
 
3010-2110
 
 
 
 
 
 
 
 
 
4
0202
 
 
0202-2000
 
0202-2200
 
 
 
 
 
 
 
 
 
4
0022
 
 
 
 
 
 
 
 
 
 
0022-4330
 
 
 
4
1201
 
 
 
 
1201-4000
1201-2200
 
 
 
 
 
 
 
 
 
4
1111
 
1111-1000
1111-1100
 
 
 
1111-2220
 
 
 
 
 
 
 
nr
ww
0 brass
+1 brass
+2 brass
+3 brass
+4 brass
+5 brass
+6 brass
+7 brass
+8 brass
+9 brass
+10 brass
+11 brass
+12 brass
13
3
0030
0030-0000
 
 
 
 
 
 
 
 
 
 
 
 
 
3
0201
0201-0000
 
0201-2000
 
0201-2200
 
 
 
 
 
 
 
 
 
3 1110   1110-1000                        
2
0200
0200-0000
 
0200-2000
0200-0300
0200-2200
 
 
 
 
 
 
 
 
 
2
2000
2000-0000
 
 
 
 
 
 
 
 
 
 
 
 
 
1
0100
0100-0000
 
 
 
 
 
 
 
 
 
 
 
 
 
1
1000
1000-0000
1000-0020
 
 
 
 
 
 
 
 
 
 
 
 
0
0000
 
0000-1000
0000-0100
 
 
 
0000-2210
 
 
0000-0440
 
 
 
0000-4431
 
 
1600-1700: vroege en midden-barok
Italy-17  Italy-17   Italy-18  Italy-19   Italy-20
Gesualdo, Carlo (1566–1613), Gabrieli, Giovanni (1557-1612), Monteverdi, Claudio (1567-1643), Frescobaldi, Girolamo (1583-1643)
 
Gabrieli, Giovanni (1557-1612)    nations&periods   Italy-17   Italy-18  Italy-19   Italy-20    A-Z    ww-brass  ww    times
Gabrieli - Sacrae symphoniae (1597)
In 1597 verscheen een eerste collectie van Gabrieli’s composities, de Sacrae symphoniae. Het werk bevat uitsluitend instrumentale en vocale composities voor de liturgie en werd voor een groot deel geschreven voor cori spezzati. Ongetwijfeld schreef Gabrieli een groot deel van deze composities voor de San Marcobasiliek. Daarnaast is het niet onwaarschijnlijk dat Gabrieli een deel van deze composities schreef voor de broederschap van San Rocco. Sacrae symphoniae bevat onder meer de beroemde Sonata pian’e forte alla quarta bassa, die beschouwd wordt als het eerste werk waarin de dynamiek (piano/forte) in de partituur aangeduid staat. In 1615 verscheen er een tweede bundel met dezelfde naam en gelijkaardige werken. De invloed van dit werk is niet te onderschatten: vele van de composities uit het eerste volume uit 1597 zijn heruitgegeven aan de andere kant van de Alpen, in de Duitssprekende gebieden. Bovendien gaf zijn leerling Heinrich Schütz drie gelijknamige bundels uit, als eerbetoon voor zijn leermeester.
No. 1: Canzon primi toni, for 8 parts (4:07) Musica Rara: 4 Trp, 4 Trb
No. 2: Canzon septimi toni, for 8 parts (4:09) Musica Rara: 4 Trp, 4 Trb
No. 3: Canzon septimi toni for 8 parts (3:29) Musica Rara: 4Tr, 4Trb
No. 4: Canzon noni toni for 8 parts (3:14) Musica Rara: 4Tr, 4Trb
No. 5: Canzon duodecimi toni for 8 parts (3:29) Musica Rara: 4Tr, 4Trb
No. 6: Sonata pian e forte for 8 parts (5:21) Musica Rara: 2Tr, 6Trb
No. 7: Canzon primi toni for 10 parts (3:21) Musica Rara: 7Tr, 3Trb
No. 8: Canzon duodecimi toni for 10 parts (3:43) Musica Rara: 6Tr, 4Trb
No. 9: Canzon duodecimi toni for 10 parts (3:54) Musica Rara: 6Tr, 4Trb
No. 10: Canzon duodecimi toni for 10 parts (2:58) Musica Rara: 5Tr, 5Trb
No. 11: Canzon in echo duodecimi toni for 10 parts (3:57) Musica Rara: 6Tr, 4Trb
No. 12: Canzon in echo duodecimi toni for 10 parts (4:12) Musica Rara: 6Tr, 4Trb, 2 org
No. 13: Canzon septimi et octavi toni for 12 parts (2:56) Musica Rara: 6Tr, 6Trb
No. 14: Canzon noni toni for 12 parts (4:59)  Musica Rara: 6Tr, 6Trb
No. 15: Sonata octavi toni for 12 parts (4:45) Musica Rara: 2TR, 10Trb
No. 16: Canzon quarti toni for 15 parts (4:42) Musica Rara: 3Trp,12Trb
 
Gabrieli - Canzoni per Sonare (1608)
 
Gabrieli - Sacrae symphoniae (1615)
Some of the canzona's in modern editions with brass instrumentation: 0000-0440
 
Gesualdo, Carlo (1566–1613)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20    A-Z    ww-brass  ww    times
Gesualdo,
Stravinsky, Monumentum pro Gesualdo di Venosa (8') 0202-4230 str without cb
 
Monteverdi, Claudio (1567-1643)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20    A-Z    ww-brass  ww    times
Modern instrumentations of the Orfeo (1607).
Orfeo-Monteverdi arr.Carl Orff (1924/1939) (60') 3333-0340 timp 2hp 3lute str speak&SATB-soli mix cor
L'Orfeo. Favola in musica di Claudio Monteverdi 1607 (1924; endgültige Fassung 1939)
full score - German Material on hire Schott
Orfeo-Monteverdi arr.Paul Hindemith (1943)
Orfeo. Favola in Musica von Alessandro Striggio. Musik von Claudio Monteverdi (1607)
Versuch einer Rekonstruktion der ersten Aufführung von Paul Hindemith. Premiere: 3. Juni 1954 Wien · Concentus Musicus · Dirigent: Paul Hindemith
Instrumentation: Soli, Chor und Orchester. Publisher: Schott Music. Duration: 90' 0'' Year of composition: 1943. Material on hire Schott
L'Arianna (SV 291 (1608)
L'Arianna (English: Ariadne) (SV 291) was the second opera written by Claudio Monteverdi, and one of the most influential and famous specimens of early Baroque opera. It was first performed in Mantua on 28 May 1608. The libretto is by Ottavio Rinuccini, who took the Classical story of Ariadne and Theseus from Ovid's Heroides. All of the music to the opera has been lost with the exception of Il lamento d'Arianna ("Ariadne's Lament").
Klage der Ariadne (12') Claudio Monteverdi, Carl Orff in freier Neugestaltung (1925) Alto and Orchestra 3332-0030 perc str
Orchestra instrumentation: 3 · 2 · Engl. Hr. · 2 Bassetthr. · Bassklar. · 1 · Kfg. - 0 · 0 · 3 · 0 - P. - Str. -
1. Fassung 1925: Posaune - Cemb. - Str. (0 · 0 ·3 · 3 · 1) Publisher: Schott Music
Lamento d’Arianna (arr. Respighi) for mezzo soprano and large orchestra after Claudio Monteverdi P88 (1908)
 
Frescobaldi, Girolamo (1583-1643)    nations&periods   Italy-17   Italy-18  Italy-19   Italy-20    A-Z    ww-brass  ww    times
 
1700-1750: laatbarok  composers-A-Z    search instrumentation    search ww-instrumentation
Bach, J.S., Telemann, Corelli, Vivaldi, Händel,
Groot bezet barokorkest:
Geen standaardbezetting, geen klarinetten: 2202 2200 pk is meestal het maximum.
strijkorkest: vierstemmig nog niet standaard; contrabas/violone (8’of 16’);
hout: muli-instrumentalisten: (blok)fluiten, hobo’s, fagotten; klarinetten ontbreken meestal (soms chalumeau);
hoorns niet zo algemeen als trompetten (clarino praktijk); trombones uitzonderlijk (wel in kerkmuziek, opera, oratorium).
slagwerk: pauken in combinatie met trompetten
continuogroep: klavecimbel, orgel, harp, luit, gitaar, theorbe
 
Italy-18    nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Composers list.
Corelli, Arcangelo (1653-1713),
Scarlatti, Alessandro (1660-1725),
Marcello, Alessandro (1669-1747),
Bononcini, Giovanni Battista (1670-1747),
Caldara, Antonio (1670/71-1736),
Albinoni, Tomaso (1671–1751),
Valentini, Giuseppe (1681–1753),
Scarlatti, Domenico (1685-1757),
Marcello, Arturo Benedetto (1686-1739),
Tartini, Giuseppe (1692–1770),
Veracini, Francesco Maria (1690–1768),
Tartini, Giuseppe (1692–1770),
Sammartini, Giovanni Battista (1700/01-1775),
Galuppi, Baldassare (1706-1785),
Pergolesi, Giovanni Battista (1710-1736),
Jommelli, Niccolò (1714-1774),
Piccinni, Niccolò (1728–1800),
Sacchini, Antonio (1730–1786),
Paisiello, Giovanni (1740–1816),
Boccherini, Luigi (1743-1805),
Brunetti, Gaetano (1744-1798),
Cimarosa, Domenico (1749-1801), 
Salieri, Antonio (1750–1825),
 
Clementi, Muzio (1752-1832) already belongs to Italy-19
Corelli, Arcangelo (1653-1713)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Corelli, Arcangelo (1653-1713)
12 concerti grossi Opus 6 (1714)
(8 concerti da chiesa and 4 concerti da camera for concertino of 2 violins and cello, string ripieno, and continuo) (Amsterdam 1714)
op. post.: Sinfonia in D minor, WoO 1
 
Scarlatti, Alessandro (1660-1725)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Scarlatti, Alessandro (1660-1725)
 
Marcello, Alessandro (1669-1747)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
A concerto Marcello wrote in D minor for oboe, strings and basso continuo is perhaps his best-known work. Its worth was attested to by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published of the famous Oboe Concerto in D minor. The edition in C minor is credited to Benedetto Marcello.
 
Bononcini, Giovanni Battista (1670-1747)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
 
Caldara, Antonio (1670/71-1736)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
 
Albinoni, Tomaso (1671–1751)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Albinoni,
He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his masterful 12 concerti a cinque, op. 7)
Albinoni, Tomaso-oboe&orchestra
Op. 7: 12 Concerti a cinque (for solo violin, 1 or 2 oboes, 2 violins, viola, cello and basso continuo), Amsterdam 1715
* No. 1 in D major
* No. 2 in C major (for 2 oboes)
* No. 3 in B-flat major (for oboe)
* No. 4 in G major
* No. 5 in C major (for 2 oboes)
* No. 6 in D major (for oboe)
* No. 7 in A major
* No. 8 in D major (for 2 oboes)
* No. 9 in F major (for oboe)
* No. 10 in B major
* No. 11 in C major (for 2 oboes)
* No. 12 in C major (for oboe)

Op. 9: 12 Concerti a cinque (for solo violin, 1 or 2 oboes, 2 violins, viola, cello and basso continuo), Amsterdam 1722
* No. 1 in B-flat major (for violin)
* No. 2 in D minor (for oboe)
* No. 3 in F major (for 2 oboes)
* No. 4 in A major (for violin)
* No. 5 in C major (for oboe)
* No. 6 in G major (for 2 oboes)
* No. 7 in D major (for violin)
* No. 8 in G minor (for oboe)
* No. 9 in C major (for 2 oboes)
* No. 10 in F major (for violin)
* No. 11 in B-flat major (for oboe)
* No. 12 in D major (for 2 oboes)

 
 
Vivaldi, Antonio (1678-1741)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Vivaldi,
Vivaldi-solo+orchestra  
1 cello
o Cello Concerto RV 398 in C major
o Cello Concerto RV 400 in C major
o Cello Concerto RV 401 in C major
o Cello Concerto RV 402 in C minor
o Cello Concerto RV 403 in D major
o Cello Concerto RV 404 in D major
o Cello Concerto RV 405 in D minor
o Cello Concerto RV 406 in D minor (related to RV 481)
o Cello Concerto RV 407 in D minor
o Cello Concerto RV 408 in E-flat major
o Cello Concerto RV 410 in F major
o Cello Concerto RV 411 in F major
o Cello Concerto RV 412 in F major
o Cello Concerto RV 413 in G major
o Cello Concerto RV 414 in G major
o Cello Concerto RV 415 in G major
o Cello Concerto RV 416 in G minor
o Cello Concerto RV 417 in G minor
o Cello Concerto RV 418 in A minor
o Cello Concerto RV 419 in A minor
o Cello Concerto RV 420 in A minor
o Cello Concerto RV 421 in A minor
o Cello Concerto RV 422 in A minor
o Cello Concerto RV 423 in B-flat major
o Cello Concerto RV 424 in B minor
6 concerti with solo-organ   (see also: organ concertos)
* A major The Nightingale for violin, organ and strings, RV335
* D minor for violin, organ and strings, RV541
* F major for violin, organ and strings, RV542 (allegro, lento, allegro)
* C major for violin, cello, organ and strings, RV554a
* C minor for violin, organ and strings, RV766
* F major for flute (flauto traverso), organ and strings, RV767
 
Valentini, Giuseppe (1681–1753)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times

Scarlatti, Domenico (1685-1757)  
nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Scarlatti,
Scarlatti-17 sinfonias (Billaudot)
Sinfonia 1 3 vls and bc
Sinfonia 2  1100-0000 str bc
Sinfonia 3  vls bc
Sinfonia 4   0100-0000 str bc
Sinfonia 5 2vc bc
Sinfonia 6  0100-0000 str bc
Sinfonia 7  str bc
Sinfonia 8   0100-0000 str bc
Sinfonia 9   0100-0000 str bc
Sinfonia 10  0100-0000 str bc
Sinfonia 11  0100-0000 str bc
Sinfonia 12  0100-0000 str bc
Sinfonia 13  0100-0000 str bc
Sinfonia 14   1100-0000 str bc
Sinfonia 15  0100-0000 str bc
Sinfonia 16   0100-0000 str bc
Sinfonia 17   0120-0000 str bc
1 harpsichord concerto
Scarlatti-arranged
Essercizi per gravicembalo (1738-9) from which the Newcastle-born English composer Charles Avison drew material from at least 29 Scarlatti sonatas to produce a set of 12 concertos in 1744.
The Good-Humoured Ladies, ballet arr. Tommasini (1916) (60')  2222-4200 timp perc (pno) str Chester
The Good-Humoured Ladies, Suite arr. Tommasini (12') 2222-4200 timp perc hpsd (=pno) str Chester
Tommasini, Vincenso (1878-1950),
Shostakovich, Two Pieces by Scarlatti for wind orchestra op.17 (1928) (11') 3222-2210 timp no str
 
Marcello, Arturo Benedetto (1686-1739)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Marcello, Arturo Benedetto (1686-1739)
 
Veracini, Francesco Maria (1690–1768)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Veracini, Francesco Maria (1690–1768)
 
Tartini, Giuseppe (1692–1770)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Tartini, Giuseppe (1692–1770)
Tartini-at least 135 violin concertos
Tartini-arranged
Ottorino Respighi (1879-1936), Pastorale for violin and strings after Giuseppe Tartini (1908)
Luigi Dallapiccola (1904-1975), Tartiniana (16') 3143-2100 xyl hp 6va, 3vc, 2cb, v-solo  violin&orchestra
Luigi Dallapiccola (1904-1975), Tartiniana Seconda (12') 3231-1100 pk perc cel xyl, vibr, glock, hp, 4va, 4vc, v-solo   violin&orchestra
 
 
Sammartini, Giovanni Battista (1700/01-1775)  nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Not to be confused with Giuseppe Sammartini (ca.1693-ca.1770)
Sammartini-the 4 operas
Sammartini-the 68+ symphonies
Sinfonia in A (9') str  0000-0000 (Schott)
Sammartini-the 10 concertos
For cello, piccolo, flute, violin
Reference book.
Churgin, Bathia and Jenkins, Newell. Thematic Catalog of the Works of Giovanni Sammartini: Orchestral and Vocal Music.
Cambridge: published for the American Musicological Society by Harvard University Press, 1976. ISBN 0-674-87735-7.
 
Galuppi, Baldassare (1706-1785)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Galuppi,
 
Pergolesi, Giovanni Battista (1710-1736)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Pergolesi,
Pergolesi-opera
La conversione e morte di San Guglielmo (1731)
Lo frate 'nnamorato (The brother in love) (1732) , to a Neapolitan text
Il prigionier superbo (1733)
La Serva Padrona (1733)
Adriano in Siria (1734) 2 Ob. 2 Trb. da caccia 2 Vl. Violetta Basso (Ricordi) Edizione critica della Pendragon Press di New York a di Casa Ricordi
L'Olimpiade (1734)
Il Flaminio (1735) 0200-2000 chit str (Ricordi)
Il Flaminio, Introduzione (4'30) 2 Ob. 2 Cor. / Archi
Il tempo felice (1735)
Pergolesi-other works
Stabat Mater in C minor (1736) male-SA strings bc
Pergolesi-further reading
The Pergolesi Research Center http://brookcenter.gc.cuny.edu/?page_id=341
The Giovanni Battista Pergolesi Complete Works Edition was begun in 1977 under the direction of Barry S. Brook at the Pergolesi Research Center, with the backing of the Research Foundation of the City University of New York and grants by the National Endowment for the Humanities. The goals of the Center include the publication of the first critical edition of the authentic works of this great Neapolitan composer.
 
Jommelli, Niccolò (1714-1774)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
 
Piccinni, Niccolò (1728–1800)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Piccinni,
 
Sacchini, Antonio (1730–1786)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Sacchini, Antonio (1730–1786)
 
Paisiello, Giovanni (1740–1816)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Paisiello-over 80 operas
Paisiello-8 piano concerti
R 8.10 - Keyboard Concerto No.1 in C major
R 8.11 - Keyboard Concerto No.2 in F major
R 8.15 - Keyboard Concerto No.3 in A major
R 8.16 - Keyboard Concerto No.4 in G minor
R 8.17 - Keyboard Concerto No.5 in D major
R 8.18 - Keyboard Concerto No.6 in B flat major
R 8.19 - Keyboard Concerto No.7 in A major
R 8.20 - Keyboard Concerto No.8 in C major
 
Boccherini, Luigi (1743-1805)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Boccherini,
Boccherini's works have been catalogued by the French musicologist Yves Gérard (born 1932) in the Gérard catalog, published in London (1969), hence the "G" numbers for his output.
Gérard, Yves: Thematic, Bibliographical and Critical Catalogue of the Works of Luigi Boccherini (London, Oxford University Press, 1969, 716p.) ISBN 0-19-711616-7
The Catalogue of the Works is on the website of the University of Quebec: http://www.uquebec.ca/musique/catal/boccherini/boclorc3.html
Boccherini-the 30 symphonies
G 490: Symphony, en D major, for small orchestra 0200-2000  (2 violons, alto, basse, avec 2 hautbois et 2 cors ad lib)
G 491 Op.7 Concerto, en do majeur, pour 2 violons concertants et petit orchestre 1769  (2 violons, alto, violoncelle, basse, 2 hautbois, basson)
G 493: Symphony Op. 21 No. 1 in B flat major (1775) 2000-2000 str ossia 0200-2000 str
G 494: Symphony Op. 21 No. 2 in E flat major (1775) 2000-2000 str ossia 0200-2000 str
G 495: Symphony Op. 21 No. 3 in C major (1775) 2000-2000 str ossia 0200-2000 str
G 496: Symphony Op. 21 No. 4 in D major (1775) 2000-2000 str ossia 0200-2000 str
G 497: Symphony Op. 21 No. 5 in B flat major (1775) 2000-2000 str ossia 0200-2000 str
G 498: Symphony Op. 21 No. 6 in A major (1775) 2000-2000 str ossia 0200-2000 str
G 500: Symphony in D major 0000-2000 str (2 c ad lib)
G 503: Symphony Op. 12 No. 1 in D major (1771) 0200-2000 str
G 504: Symphony Op. 12 No. 2 in E flat major (1771) 0200-2000 str
G 505: Symphony Op. 12 No. 3 in C major (1771) 2000-2000 str
G 506: Symphony Op. 12 No. 4 in D minor (1771) detta 'La casa del diavolo' 0200-2000 str
G 507: Symphony Op. 12 No. 5 in B flat major 2000-2000 str
G 508: Symphony Op. 12 No. 6 in A major (1771) 2000-2000 str
G 509: Symphony Op. 35 No. 1 in D major (1782)  0200-2000 str
G 510: Symphony Op. 35 No. 2 in E flat major (1782) 0200-2000 str
G 511: Symphony Op. 35 No. 3 in A major (11') 0201-2000 str /  0200-2000 str
G 512: Symphony Op. 35 No. 4 in F major 0200-2000 str
G 513: Symphony Op. 35 No. 5 in E flat major 0200-2000 str
G 514: Symphony Op. 35 No. 6 in B flat major (13') 0201-2000 str
G 515: Symphony Op. 37 No. 1 in C major (1786) 0202-2000 str
G 516: Symphony Op. 37 No. 2 in D major (lost)
G 517: Symphony Op. 37 No. 3 in D minor 1202-2000
G 518: Symphony Op. 37 No. 4 in A major (17') 1202-2000 str
G 519: Symphony Op. 41 in C minor (18') 0202-2000  str
G 520: Symphony Op. 42 in D major 1202-2000 str
G 521: Symphony Op. 43 in D major 0201-2000
G 522: Symphony Op. 45 in D major  0202-2000  str
G 523: Symphony in C major 0201-2000 str Arrangement par le Marquis de Bonavente, en 1798, du Quintet Op.10/4, G.268.
Boccherini-solo+orchestra  
Boccherini-12 concerti for cello&orchestra
G 474 Concerto No.1 for cello and orchestra in E flat major  0200-2000 str
1. Allegro (mi bémol majeur); 2. Largo (si bémol majeur); 3. Allegro (mi bémol majeur)
G 475 Concerto No. 2 for cello and orchestra in A major  0000-2000
1. Allegro (la majeur); 2. Adagio (ré majeur); [thème utilisé dans la Sonate pour violoncelle, G 13]; 3. Rondo (la majeur)
G 476 Concerto No. 3 for cello and orchestra in D major  2000-0000  
1. Allegro (ré majeur); 2. Largo (sol majeur); 3. Allegro piacere (ré majeur)
G 477 Concerto No. 4 for cello and orchestra in C major 0000-2000
1. Allegro (do majeur); 2. Adagio (fa majeur); 3. Allegro (do majeur)
G 478 Concerto No. 5 for cello and orchestra in D major 0200-2000 str
1. Allegro (ré majeur); 2. Larghetto (sol majeur); 3. Rondo (ré majeur) / Rondo (ré majeur) [thème du 2e Rondo, voir Andante G 543 et G 490]
G 479 Concerto No. 6 for cello and orchestra in Dmajeur, pour violoncelle et orchestre (2 violons, alto, basse) 0000-0000
1. Allegro (ré majeur); 2. Adagio (la majeur); 3. Allegro (ré majeur)
G 480 Concerto No. 7, in G major str 0000-0000
1. Allegro (sol majeur); 2. Adagio (sol mineur); 3. Allegro (sol majeur)
G 481 Concerto No. 8 for cello and orchestra in C major 0000-2000 str
1. Allegro moderato (do majeur); 2. Adagio (sol majeur); 3. Allegretto (do majeur)
G 482 Concerto No.9 for cello and orchestra in B flat major  0000-2000 str  [Célèbre concerto arrangé par Friedrich Grützmacher]
 1. Allegro moderato (si bémol majeur); 2. Andantino grazioso (mi bémol majeur); 3. Rondo. Allegro (si bémol majeur) [même thème que 3e mouvement du Duet pour 2 violons, Op, 3/2, G 57]
G 483 Concerto No. 10 for cello and orchestra in D major 2 violins solo, 0200-2000 str
1. Allegro maestoso (ré majeur); 2. Andante lentarello (ré mineur); 3. Allegro con moto (ré majeur)
G 484 Concertino, en sol majeur, pour violoncelle et piano/orchestre
1. Allegro (sol majeur); [2e mouvement, Trio Op. 1/5, G 81]; 2. Andante (sol mineur); [3e mouvement, Trio Op. 34/2, G 102]; 3. Rondo. Allegro (sol majeur)
[4e mouvement, Trio Op. 34/2, G 102]

G 573 Concerto, en do majeur, pour violoncelle et orchestre
1. Maestoso (do majeur); 2. Largo cantabile (ré majeur); 3. Allegro comodo (do majeur)
Boccherini-3 violin-concerti
G 485 Concerto, en sol majeur, pour violon et orchestre (2 violons, alto, basse)
1. Allegro (sol majeur); 2. Adagio (mi mineur); 3. Allegro (sol majeur)
G 486 Concerto, en ré majeur, pour violon et orchestre (2 violons, alto, basse)
1. Allegro giusto (ré majeur); 2. Andante tranquillo (la majeur); 3. Allegretto gentile (ré majeur)
G 574 Concerto, en fa majeur, pour violon et orchestre
1. Allegro (fa majeur); 2. Largo ma non tanto (do majeur); 3. Allegro (fa majeur)
Boccherini-1 (2) cembalo-concerti
G 487 Concerto for cembalo and orchestra in E flat major 0200-2000 str
1. Presto (mi bémol majeur); 2. Adagio ma non troppo (do mineur); 3. Variazioni. Moderato (mi bémol majeur) [thème et 12 variations]
G 488 Concerto, en do majeur, pour clavecin et orchestre [esquisse très incomplète, transcription du G 477, attribution incorrecte]
Boccherini-1 (2) flute-concerti
G 489 Concerto, en ré majeur, pour flûte et orchestre [attribution incorecte, œuvre de Franz Xaver Pokorny]                                                                         1. Allegro molto (ré majeur); 2. Adagio (sol majeur); 3. Rondeau. Allegretto (ré majeur)
G 575 Concerto, en ré majeur, pour flûte et orchestre
1. Allegro (ré majeur) [similitudes avec 1er mouvement, G 479]; 2. Largo (la majeur) [similitudes avec 2e mouvement, G 479]; 3. Allegro (ré majeur) [similitudes avec 1er mouvement, G 94]
Boccherini-arranged
Scuola di Ballo, Sur des thèmes de Bocherini (arranged Françaix, J.ca.1933) (25') 2222-2221 timp perc str Schott
Ten pieces by Boccherini, arranged for a ballet by Jean Françaix in or before 1933 and performed by the Ballet Russe de Monte-Carlo under the direction of Dorati, who recorded the music in 1939.
Boccherini/Berio, Ritirata notturna di Madrid (1975) (10') 3333-4431 timp perc hp str
 
Brunetti, Gaetano (1744-1798)   nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Brunetti, Gaetano; Jenkins, Newell, editor (1979). Nine symphonies : 9, 16, 20, 21, 26, 28, 34, 35, 36. New York: Garland Publishing. ISBN 0-8240-3801-0. OCLC 5838860.
 
Cimarosa, Domenico (1749-1801)  nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Cimarosa,
Cimarosa-more than eighty operas
Il matrimonio segreto (1792) Overture (7') 2222-2200 timp str
Il maestro di cappella (1786-92?/1793 Berlin, Germany) (20')
An operatic intermezzo in one act; monodrama for a bass-baritone.
Il maestro di cappella, Overture (2'20) 2202-2200 timp str
Cimarosa-solo+orchestra
Concerto for oboe and strings in C arr. by A. Benjamin from Keyboard Sonatas)
Cimarosa-arranged
Malipiero, Cimarosiana, La (1921) (12') 3222-4200 timp perc str
 
Salieri, Antonio (1750–1825)  nations&periods   Italy-17   Italy-18  Italy-19   Italy-20   A-Z    ww-brass  ww   times
Salieri, Zerboni, Ricordi, Carus
Symphony in D major "La Veneziana" (9')  0200-2000 str (build from overtures to "La Scuola de'gelosi" and "La Partenza inaspettata")
Symphony in D major (''Giorno onomastico'') 2202-2200 timp str (19')
Three minuets for orchestra
Variazioni Sulla 'Follia di Spagna' (26 Variations on "La Follia di Spagna") for orchestra (1815) (20') 2222-2230 timp perc hp str   15'-20'
What makes Salieri's Variations on "La follia di spagna" noteworthy is that it is one of only very few sets of successful orchestral variations that was written before the late Romantic period, when the form became more popular after Brahms' 1873 Haydn Variations. Salieri's take on the famous Portuguese (not Spanish, as the title suggests) theme La Folia is fundamentally an exercise in orchestration. His score calls for strings, woodwinds, brass, harp, percussion, and tambourine, all featured at some point over the 26 variations. Salieri does not use any sophisticated variation techniques, such as inversion, nor does he alter the meter of the theme for much of the work or even the key until the very end. Instead he relies on rhythm and instrumentation to create the variations. The D minor theme is stated by the clarinets and bassoons in a stately manner, similar to the Sarabande in Handel's Harpsichord Suite, Vol. 2, No. 3, HWV 436. The variations, each lasting less than a minute, alternate between those for full orchestra and those for one to four soloists and accompaniment by either the full orchestra or just strings or winds. In the variations featuring the full orchestra -- such as No. 5, the somewhat martial No. 8, No. 13 (foreshadowing Philip Glass with its constant arpeggios), and the gigue-like No. 24 -- he is able to achieve tonal colors worthy of Beethoven. Others that stand out are No. 4 for harp; No. 10, which features the percussion instruments; the Italian concerto grosso-like No. 11; No. 17, wherein the woodwinds pass the melody figure to each other from high to low, flute to bassoon, to tympani; and No. 18, which has two distant violins echoing the full orchestra. The final variation goes through all the soloists once more, for good measure, then into a full orchestral coda that makes its way to D major with the call of the horns and flourishes of the violin and harp. ~ Patsy Morita, Rovi
Allegretto in D major for orchestra
Symphonie (ouverture) in C major - overture to "Habsburg" -
Overture "La Frascatana
Fragmentary Symphonie (overture) in G major
Fragmentary movement for bassoons and strings
Salieri-concertos
Concerto for oboe, violin, violoncello and orchestra in D major (1770)
Concerto for organ and orchestra in C major (1773) - second movement lost -
Concerto for piano and orchestra in C major (1773)
Concerto for piano and orchestra in B flat major (1773)
Concerto for flute, oboe and orchestra in C major (1774)
Concertino da camera for flute and strings G major (1777)
Concertino da camera for oboe and strings in G major (1776)
Salieri-choral music
La Passione di Gesù Cristo (1776) (105') Soli SATB, Coro SATB  2202-2200 timp str bc Carus
 
Germany-17-18    Germany-17-18
Composres list.
Buxtehude, Dietrich (1637-1707), Telemann, Georg Philipp (1681-1767), Bach, J.S. (1685-1750)
 
Buxtehude, Dietrich (1637-1707)
Buxtehude, Dietrich (1637-1707)
Sarabande and Courante arr. Stokowsky 0122-0000 ondes mart str    (bcl,cbcl-bn, cbn)
 
Telemann, Georg Philipp (1681-1767)
Telemann,
Wasser-Ouverture / 'Musica maritima' in C, TWV 55: C3 (1723) (24') 2201-0000 str bc (2*=2fl changes in 2blckfl)
'Hamburger Ebb und Fluth', voor de 100-jaar viering van het Hamburger Admiralitätskollegium.
 
Bach, J.S. (1685-1750) A-Z    search instrumentation    search ww-instrumentation
Bach, J.S.,
Bach-the big 5 of his oratorio works
Matthäus-Passion 4402-0000; va da gamba; 2 string orchestras b.c.
Johannespassion BWV 245 (1724/25/30s/49) (130') 2201-0000 str bc va da gamba solo
Versions: 1724/1725/1730s/1749.
Weihnachts-Oratorium (Christmas Oratorio) BWV 248 (170')
Part I  3 trumpets, timpani, 2 transverse flutes, 2 oboes, 2 oboes d'amore, 2 violins, viola, bc  2200-0300 / 2201-0300 str
1. Birth and Annunciation to the Shepherds
Part II 2 flutes, 2 oboes d'amore, 2 oboes da caccia, 2 violins, viola, continuo 2201-0000
2. The Adoration of the Shepherds
Part III 3 trumpets, timpani, 2 flutes, 2 oboes, 2 oboes d'amore, 2 violins, viola, continuo 2201-0000
3. Prologue to the Gospel of John
Part IV 2 horns, 2 oboes, 2 violins, viola, continuo 0200-2000 / 0201-2000
4. Circumcision and Naming of Jesus
Part V 2 oboes d'amore, 2 violins, viola, continuo 0200-0000 / 0201-0000
5. The Flight into Egypt
Part VI 3 trumpets, timpani, 2 oboes, 2 oboes d'amore, 2 violins, viola, continuo 0200-0300 / 0201-0300
6. The Coming and Adoration of the Magi
Magnificat in D BWV 243 (33') 2200-0300 2201-0300 timp str bc
Versions.  Magnificat in E-flat major BWV 243a (earlier version of BWV 243). Einlage Stücke
Mass in B minor (Hohe Messe) BWV 232 (135') 2302-1300 timp str b.c.
Bach-the 4 (5-6) Orchestral suites (BWV 1066–1071)
Suite nr.1 in C major, BWV 1066 (28') 0201-0000 str bc
[Ouverture], Courante, Gavotte I & II, Forlane, Menuet I & II, Bourrée I & II, Passepied I & II.
Suite nr.2 in B minor BWV 1067 (24') 1000-0000 str bc
[Ouverture], Rondeau, Sarabande, Bourrée I & II, Polonaise & Double, Menuet, Badinerie.
Suite nr.3 in D BWV 1068 (24') 0200-0300 pk str bc
[Ouverture], Air, Gavotte I & II, Bourrée, Gigue.
Suite nr.4 in D BWV 1069 (23’) 0301-0300 pk str bc
[Ouverture], Bourrée I & II, Gavotte, Menuet I & II, Rejouissance.
Orchestral Suite in G minor BWV 1070 (spurious - WF Bach)
Sinfonia in F major BWV 1071 (originally grouped with orchestral suites, now known as BWV 1046a)
Bach-solo+orchestra
Bach-the 2 (3, 4) violin concertos
Violin concertos (1041–1045)
Violin Concerto in A minor BWV 1041
Violin Concerto in E major BWV 1042
Violin Concerto movement in D major BWV 1045
Concerto for violin in G minor BWV 1056
This is the concerto for harpsichord in F minor; it has been reconstructed for violin as the possible original instrument.
Bach-the concerti for harpsichord&orchestra and 2-4 harpichords&orchestra
BWV 1052 — Concerto for harpsichord and strings in D minor (after a lost violin concerto)
BWV 1053 — Concerto for harpsichord and strings in E major (probably after a lost oboe concerto, also performed as "Concerto in F major for oboe, strings, and continuo")
BWV 1054 — Concerto for harpsichord and strings in D major (after BWV 1042, Violin Concerto in E major)
BWV 1055 — Concerto for harpsichord and strings in A major (after a lost oboe d'amore concerto)
BWV 1056 — Concerto for harpsichord and strings in F minor (probably after a lost violin concerto - this is sometimes recorded as Concerto for violin in G Minor)
BWV 1057 — Concerto for harpsichord, 2 recorders and strings in F major (after BWV 1049, Brandenburg concerto No. 4 in G major)
BWV 1058 — Concerto for harpsichord and strings in G minor (after BWV 1041, Violin Concerto in A minor)
BWV 1059 is an incomplete fragment of about 10 bars. So-called 'reconstructions' have been made of harpsichord, organ and oboe concertos based on this by using cantata movements but these are almost entirely speculative.
BWV 1060 — Concerto for 2 harpsichords and strings in C minor (after a lost violin and oboe concerto)
BWV 1061 — Concerto for 2 harpsichords and strings in C major (original version for 2 harpsichords unaccompanied known as BWV 1061a)
BWV 1062 — Concerto for 2 harpsichords and strings in C minor (after BWV 1043, Double Violin Concerto in D minor)
BWV 1063 — Concerto for 3 harpsichords and strings in D minor
BWV 1064 — Concerto for 3 harpsichords and strings in C major (after a lost triple violin concerto)
BWV 1065 — Concerto for 4 harpsichords and strings in A minor (after Antonio Vivaldi's concerto for 4 violins in B minor, L'estro Armonico Op. 3/10, RV 580)
Bach-the 'double concerto' for 2violins&orchestra
Concerto for 2 violins ("Double Concerto"), strings, b.c. in D minor BWV 1043 (14')
Bach-2 various&orchestra
Bach-3 various&orchestra: the 'triple concerto'
Concerto for flute, violin and harpsichord in A minor BWV 1044 (22')
This is an adaptation of harpsichord prelude and fugue in A minor BWV 894 (movts. 1 and 3) and middle movement of organ sonata in D minor BWV 527 (movt. 2).
Bach-the 6 Brandenburg concertos (BWV1046–1051)
Brandenburg Concerto No. 1 in F major BWV 1046 for violino piccolo, three oboes, bassoon, two corni da caccia, strings and continuo (25') 0301-2000
Sinfonia in F major BWV 1046a (earlier version of BWV 1046)
Brandenburg Concerto No. 2 in F major BWV 1047 for trumpet, oboe, recorder, violin, strings and continuo (21') 1100-0100
Brandenburg Concerto No. 3 in G major BWV 1048 for three violins, three violas, three cellos and continuo (12') 0000-0000
Brandenburg Concerto No. 4 in G major BWV 1049 for violin, two flauti d'echo (recorders), strings and continuo (20') 2000-0000
Brandenburg Concerto No. 5 in D major BWV 1050 for harpsichord, violin, flute and strings (24') 1000-0000  3 various&orchestra
Concerto in D Major BWV 1050a for harpsichord, violin, flute and strings (earlier version of BWV 1050) 1000-0000 0000-0000 3 various&orchestra
Brandenburg Concerto No. 6 in B-flat major BWV 1051 for two violas, two violas da gamba, cello and continuo (18')
The only correct performance of the Brandenburg Concertos is by a chamber ensemble. (D.A.)
Bach-arrangements of the late contrapuntal works (1079–1080)
The Musical Offering (Musikalisches Opfer) BWV 1079
arr. ? Kalmus
arr. Blacher, Boris
arr. Canino
arr. David, J.N.
arr. Ghedini 'Offerta Musicale' 3322-0330 2pno hpsd str (70')
arr. Landshoff
arr. Markevitch
arr. Marinotti
Gubaidulina,Sofia (1931) used the Royal Theme of the Musical Offering in her violin concerto Offertorium (1980). (40') 3232-3331 5 perc 2hp cel/pno str .
Orchestrated in an arrangement similar to Webern's, the theme is deconstructed note by note through a series of variations and reconstructed as a Russian Orthodox hymn.
Bach/Webern, Ricercare uit Musicalisches Opfer (9’) 1221-1110 pk hp str
The Art of Fugue (Die Kunst der Fuge) BWV 1080
The Art of Fugue (arr. Collum, Herbert) 1202-0000 str bc Br&H
The Art of Fugue (arr. David, H.Th.) (140') 0424-0211 str  Peters
The Art of Fugue (arr.Diener, Hermann) str Bär
The Art of Fugue (arr.Graeser, W.) 3402-0460 str org 2hpsd Br&H
The Art of Fugue (arr.Isaacs, L.
The Art of Fugue (arr. Lualdi) (17'30) 0021-2000 str
The Art of Fugue (arr. Martinotti) 2202-0220 str Zerboni
The Art of Fugue (arr. Pilney, K.H.) 1202-0000 str (90')
The Art of Fugue (arr. Vuataz, R.) 1202-0000 Ars Viva
 
Händel, G.Fr. (1785-1759)  composers-A-Z    search instrumentation    search ww-instrumentation
Händel
Händel-orchestral works.
6 Concerti grossi op.3
op.3, nr.1 in B-flat Major/G Minor                 0202-0000 str bc
op.3, nr.2 in B-flat Major                               0200-0000 str bc
op.3, nr.3, in G-Major                                   1000-0000 ossia 0100-0000 str bc
op.3, nr.4, in F-Major                                    0200-0000 str bc
op.3, nr.5, in D-Minor                                    0200-0000 str bc
op.3, nr.6, in D-Major                                    0202-0000 str bc
12 Concerti grossi op.6                                  0000-0000 str bc
Concerto grosso in C "Alexander's Feast"       0200-0000 str bc
Royal Fireworks Music (16’)                          0302-3300 timp
Water Music (45’)                                          1201-2200
As there were three royal water-parties (1715, 1717, 1736) for each of which Handel composed the specially commissioned music it is impossible to speak of one Water Music.
In fact there are 3 separate suites:
Suite in F major HWV 348 for strings, oboes bassoons and horns  (1715?)       0201-2000 str bc
1. Overture: Largo - Allegro 3:16; 2. Adagio e staccato 1:40; 3. Allegro - Andante - Allegro 7:25; 4. Presto 2:36; 5. Air 2:54; 6. Minuet for the French Horn 2:52; 
7. Bourrée 2:27; 8. Hornpipe 2:39; 9. (Allegro) 2:43; 10. (Allegro) 4:21; 11. Alla Hornpipe 4:55
Suite in D major for trumpets, horns, bassoons, oboes and strings (1717?)         0201-2200 str bc
Suite in G major for recorder, transverse flute, bassoons and strings (1736?).     1201-0000 str bc
Water Music-reference book
Hogwood, Christopher (2005). Handel: Water Music and Music for the Royal Fireworks (Cambridge Music Handbooks). Cambridge University Press. ISBN 978-0521544863.
Händel-solo+orchestra   (also see : organ concertos)
Handel wrote the organ concertos as interludes for his oratorios—playing the organ part himself while directing the orchestra. Some are arrangements of his earlier works, or of works by other composers. Many alternatives exist so, it is difficult to precisely number his organ concertos, however it is generally accepted that he wrote 16 organ concertos, of which one, Op. 4 No. 6 in B flat major, is also Händel's harp concerto:
1. HWV 289 - Op. 4 No. 1 in G minor: larghetto, allegro, adagio, andante
2. HWV 290 - Op. 4 No. 2 in B flat major: tempo ordinario, allegro, adagio, allegro ma non troppo
3. HWV 291 - Op. 4 No. 3 in G minor: adagio, allegro, adagio, allegro
4. HWV 292 - Op. 4 No. 4 in F major: allegro, andante, adagio, allegro
5. HWV 293 - Op. 4 No. 5 in F major: larghetto, allegro, alla siciliana, presto
6. HWV 294 - Op. 4 No. 6 in B flat major: andante, allegro, larghetto, allegro moderato (Händel's harp concerto) harpconcertos
7. HWV 306 - Op. 7 No. 1 in B flat major: andante, allegro, largo, adagio, allegro
8. HWV 307 - Op. 7 No. 2 in A major: overture, tempo ordinario, tempo ordinario II, allegro
9. HWV 308 - Op. 7 No. 3 in B flat major: allegro, fuga, spiritoso, minuets 1 & 2
10. HWV 309 - Op. 7 No. 4 in D minor: adagio, allegro, adagio, allegro
11. HWV 310 - Op. 7 No. 5 in G minor: allegro ma non troppo, adagio, andante, minuet, gavotte
12. HWV 311 - Op. 7 No. 6 in B flat major: pomposo, adagio, tempo ordinario
13. HWV 295a - F major (No. 13): largo, allegro, larghetto, allegro
      HWV 295b - second version: larghetto, allegro, larghetto, allegro
14. HWV 296a - A major (No. 14) : largo e staccato, andante, grave, allegro
      HWV 296b - second version, Pasticcio Konzert: andante, adagio, grave, andante allegro, a tempo ordinario
15. HWV 304 - D minor (No. 15) : andante, adagio, allegro
16. HWV 305a - F major (No. 16) : concerto, allegro, andante, andante allegro
      HWV 305b - second version: overture, allegro, andante, andante allegro
Händel-choral works
Messiah (120’) 0202-0200 timp str
Der Messias arr. Mozart  0222-2230 pk
oratoria, overzicht (alleen de dramatische)
(2 vroege oratoria in kleine bezetting:
?1718 Acis and Galathea;
1720 Esther Cannons)
1732 Esther 1732 2202-2300 pk str.5122 theorbe, hp, 2cemb, 2org.
1733 Deborah 2202-3300 pk str.3222 2cemb 2org [75 spelers (p. 234)]
1733 Athalia 2bl.+1dw.202-22 pk str.41211 theorbe cemb. org.
1738 Saul 2202-2230 2dw.202-(2*)230 pk str.3111 theorbe hp carrillon cemb 2 org ; p.295:
‘in richness and grandeur of orchestration S. has scarcely a rival in the 18th century’
1741-2 Samson 2202-2220 pk str.3111 cemb org
1743 Semele 0202-2200 pk str.3121 cemb org1743 Joseph and his Brethren 2dw.201-03 pk str.3111 cemb org
1744 Hercules 0201-2200 pk str.33111 cemb (org)
1744 Belshazzar 0201-0200 pk str.3111 cemb org
1746 Judas Maccabaeus 2201-0300 pk str.3111 cemb org
1747 Alexander Balus 2201-22 pk str.4121 hp mand cemb org
1747 Joshua 2201-22 pk gr.tr. str.3111 cemb org
1748 Solomon 2201-2200 pk str 4422 cemb org
1748 Susanna 0201-0200 str.3211 cemb (org)
1749 Theodora 2dw.201-22 pk str.2121 cemb (org)
1750 The Choice of Hercules
(incidental music) 2dw.201-22 str.2111 cemb (org)
1751 Jephta 1dw.202-22 str.3111 cemb org
Händel: opera’s
 
England-17&18  composers-A-Z    search instrumentation    search ww-instrumentation
Purcell, Henry (1659-1695),
Pepusch, John Christopher (1667-1752);
Greene, Maurice (1696-1755)
 
Purcell, Henry (1659-1695)
Purcell,
 
Pepusch, Johann Christoph /John Christopher (1667-1752)
Pepusch,
P. was a German-born composer who spent most of his working life in England. Although Pepusch is now best known for his arrangement of the music for The Beggar's Opera (1728) - to the libretto of John Gay, he composed many other works including stage and church music as well as a number of concertos
Pepusch-The Beggar's Opera: the 3 versions (1728-Gay, 1729-Pepusch, 1948-Britten).
For his original production in 1728, Gay intended all the songs to be sung without any accompaniment, adding to the shocking and gritty atmosphere of his conception. However, a week or so before the opening night, John Rich, the theatre director, insisted on having Johann Christoph Pepusch, a composer associated with his theatre, write a formal French overture (based on two of the songs in the opera, including a fugue based on Lucy's 3rd act song "I'm Like A Skiff on the Ocean Toss'd") and also to arrange the 69 songs. Although there is no external evidence of who the arranger was, inspection of the original 1729 score, formally published by Dover Books, demonstrates that Pepusch was the arranger.
Britten, The Beggar's Opera op. 43 (1948) (108') 1111-1000 hp perc 5 solo-str (11111)
Ballad-Opera by John Gay (1728), realized from the original airs by Benjamin Britten. Flute (doubling Piccolo), Oboe (doubling Cor Anglais), Clarinet,Bassoon, Horn, Percussion, Harp, String Quartet, Double Bass.
http://www.guidetomusicaltheatre.com/shows_b/beggars_opera_britten.htm
 
Greene, Maurice  (1696-1755)
Greene, Maurice (1696-1755)
6 Overtures … in Seven Parts
Overture no.5 in D 0201-0000 str (Eul)
 
Arne, Thomas  (1710-1778)
Arne,
Arne-organ&orchestra
The English composer Thomas Arne composed six organ concertos.
Concerto No. 1 in C major: largo ma con spirito, andante, allegro, minuetto
Concerto No. 2 in G major: allegro, lento, moderato, allegro, con spirito
Concerto No. 3 in A major: con spirito, con spirito, minuetto, moderato
Concerto No. 4 in B flat major: con spirito, minuetto, giga moderato
Concerto No. 5 in G minor: largo, allegro con spirito, adagio, vivace
Concerto No. 6 in B flat major: allegro, moderato, ad libitum, allegro, minuetto
 
Boyce, William (1711-1779)   composers-A-Z    search instrumentation    search ww-instrumentation
Boyce, Doblinger
Boyce is widely regarded as one of the most important English-born composers of the 18th century. He is best known for his set of eight symphonies.
Symphony no.1 in B flat (8') 0201-0000 str bc
Symphony no.2 in A (6')      0201-0000 str bc
Symphony no.3 in C (6')      0201-0000 str bc
Symphony no.4 in F (7')      0202-2000 str bc
Symphony no.5 in D (9')      0201-0200 timp str
Symphony no.6 in F (10')     0201-0000 str bc
Symphony no.7 in B flat (11') 2201-0000 str bc
Symphony no.8 in d minor (12') 2201-0000 str bc
 
Stanley, Charles John (1712-1786)
Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745)
Opus 10 Six Concertos for Organ or Harpsichord solo (1775)
 
France-17&18    France-17&18    France-19   France-19&20 nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
Claude Gervaise (fl. 1540-1560) und Estienne du Tertre see: Hindemith Poulenc
 
Lully, Jean-Baptiste (1632-1687)    nations&periods    France-17&18    France-19   France-19&20   A-Z    ww-brass  ww    times
Lully
Lully-ballet
La nuit (1653); Les plaisirs (1655); Alcidiane (1658); La raillerie (1659); L'impatience (1661); Les saisons (1661); Les arts (1663); Les noces de village (1663); La naissance de Vénus (1665); Les gardes (1665); Ballet de Créquy ou Le triomphe de Bacchus dans les Indes (1666); Les muses (1666); Flore (1669); La jeunesse (1669); Les deux pythiens (1670); Le triomphe de l'amour (1681);
Ballet Suite 20' (P.Angerer) str Doblinger
Le temple de paix (1685).
Lully-Comédies-ballet
Le mariage forcé (1664); L'amour médecin (1665); Monsieur de Pourceaugnac (1669);
Le bourgeois gentilhomme LWV 43 (1670);
Le bourgeois gentilhomme, Suite 24' 1202-0000 str (Wenzinger) Bar
Psyché (1671)
Psyché, Overture 2202-0000 str
Lully-Lyric tragedies (opera's):
Cadmus et Hermione (1673); Alceste (1674); Thésée (1675); Atys (1676); Isis (1677);
Psyché (1678) overture 3' 2202-0000
Bellérophon (1679); Proserpine (1680); Persée (1682); Phaéton (1683); Amadis (1684); Roland (1685); Armide (1686).
Lully-modern arrangements
Le bourgeois gentilhomme (1670) Danses et Entrees (13') 2202-2000 timp str (H. Scherchen)
Strauss, Der Bürger als Edelmann (Le Bourgeois gentilhomme) op. 60 (1912, rev.1917) (180') (75') 2222-2110 timp.perc-harp-pft-strings
Text: Hofmannsthal, after Moliere (G). Three-Act version with optional soprano,mezzo- soprano, and chorus. (Boosey)
Strauss, Le Bourgeois gentilhomme, orchestral suite (1920) (35') 2222-2110 timp.perc-harp-pft-strings
Jolivet, Les Amants magnifiques (1961) (12') 2202-2200 timp 2perc harp hpd or pft(=cel) str
Lully-further reading:
http://nl.wikipedia.org/wiki/Oeuvre_van_Jean-Baptiste_Lully#Com.C3.A9dies-ballets.2C_pastorales_enz.
Chronologisch-thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV), red. H. Schneider (1981)
http://imslp.org/index.php?title=Category:Lully,_Jean-Baptiste&

Delalande, Michel Richard (1657-1726)    nations&periods    France-17&18    France-19   France-19&20   A-Z    ww-brass  ww    times
Symphonie des soupeurs du Roy (11') 2202-1000 str hpsd
Les Symphonies pour les Soupers du Roy sont l'oeuvre la plus connue de Delalande. Il s'agit d'un recueil de pièces orchestrales composées pour etre jouées quand le Roi dinait en public et la musique s'intégrait alors parfaitement à tout le cérémonial du Grand Couvert.
 
Couperin, Francois (Le grand) (1688-1733)   nations&periods    France-17&18    France-19   France-19&20   A-Z    ww-brass  ww    times
Couperin
Apothéose composé à la mémoire de Lully. 1 Violins, 2 Flutes and Basso Continuo (25')
Concert instrumental sous le titre d'Apothéose composé à la mémoire immortelle de l'incomparable Monsieur de Lully
L'Apotheose de Lully (2 Flutes[Oboes/Violins] Viola da Gamba and Bc) (Higginbottom)
Couperin-modern arrangements
Apotheose de Lully 3020-0000 3v, vc hpsd (arr. Desormiere)
Strauss, Dance Suite after keyboard pieces by Couperin  for chamber orchestra (1923) (30') 2222-2110  perc:t.bells/tamb-harp-cel-hpd-str (4.3.2.2.2)
(ob1, ob2=corA). German title: Tanzsuite nach Couperin. German composer Richard Strauss was an old hand at classical parody by the time he was commissioned by the Vienna Staatsoper to compose a work to be performed in the Redoutensaal of the Imperial Palace in 1920. Strauss had set Molière's play Le bourgeois gentilhomme (1918) to faux-French music and his opera Ariadne auf Naxos (1911-1912) is itself a highly elevated pastiche.
1. Einzug und feierlicher Reigen (Pavane) (2'55); 2. Courante (3'12); 3. Carillon (2'37); 4. Sarabande (3'41); 5. Gavotte (5'); 6. Tourbillion (3'20); 7. Allemande (5'03); 8. Marche (1'31).
 
Rameau, Jean-Philippe (1683-1764)  nations&periods    France-17&18    France-19   France-19&20   A-Z    ww-brass  ww    times
Rameau,
L'Endriague (1723)
L'Enrôlement d'Arlequin (1726)
1726 La Robe de dissension;
1733 rev.1742 Hippolyte et Aricie
1737 Castor et Pollux  2202-2000
1739 Dardanus
1744 La Rose; (of: Les Jardins de l'Hymen), (ook: Les Fêtes de l'Hymen)
1749 Zoroastre 5 aktes 5 december 1749, Parijs, Académie royale de musique Louis de Cahusac
1751 Acanthe et Céphise; (of: La Sympathie)
1752 Linus
1753 Daphnis et Églé
1760 Les Paladins
Les Boréades (1763), Suite 13' 2204-2*000 str  (2*=2 or 4horns) 2204-2000 / 2204-4000
Les Indes galantes (1735) opéra-ballet 2402-0000 str bc STB soli cor
http://nl.wikipedia.org/wiki/Jean-Philippe_Rameau#Familie
http://nl.wikipedia.org/wiki/Jean-Philippe_Rameau
 
Corrette, Michel  (1709-1793)   nations&periods    France-17&18    France-19   France-19&20   A-Z    ww-brass  ww    times
Corrette,
Corrette-solo+orchestra    (see also: organ concertos)
The French organist-composer Michel Corrette wrote six organ concertos.
Concerto No. 1 in G major: allegro, aria I, aria II, allegro
Concerto No. 2 in A major: allegro, adagio, allegro
Concerto No. 3 in D major: adagio, aria, andante, adagio, allegro
Concerto No. 4 in C major: allegro, aria, allegro
Concerto No. 5 in F major: allegro, aria, allegro
Concerto No. 6 in D minor: allegro, andante, presto
 
1750-1845: Viennese classical / early romantic   nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
Composers.
Gluck (1714-1787),
Bach, Carl Philipp Emanuel Bach (1714-1788),
Wagenseil, Georg Christoph (1715-1777),
Mozart, Johann Georg Leopold (1719-1787),
Haydn (1732-1809),
Bach, J.Chr. (1735-1782),
Albrechtsberger, Johann Georg (1736-1809),
Dittersdorf, Karl Ditters von (1739-1799),
Mozart, Wolfgang Amadeus (1756-1791),
Beethoven, Ludwig van (1770-1827);
Witt, Friedrich Jeremias (1770-1836);
Voříšek, Jan Václav Hugo (1791-1825)
Schubert, Franz Peter (1797-1828);
Mendelssohn-Bartholdy, Felix (1809-1847);
Weber, Carl Maria von (1786-1826)
 
Gluck, Christoph Willibald (1714-1787)    Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
 
Ouverture Iphigenie en Aulide (11') 2223-4300 timp str
Orfeo, Ballet des ombres heureuses (7') 2000-0000  
 
Wagenseil, Georg Christoph (1715-1777)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Wagenseil,
Harp Concerto
Trombone Concerto
 
Mozart, Johann Georg Leopold (1719-1787)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Mozart, Leopold (1719-1787)

Bach, Carl Philipp Emanuel Bach (1714-1788)  
Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Bach, C.P.E,
Bach, C.P.E.-orchestral works (Wq 173-183)
Wq-number
 
ww
brass
str
173
 
0000
0000
str
174
 
2000
2000
str
175
 
2002
2000
str
176
 
2200
2300 timp
str
177
 
0000
0000
str
178
 
2200
2000
str
179
 
0200
2000
str
180
 
0200
2000
str
181
 
2200
2000
str
182/1-6
 
0000
0000
str
183
 
0200?
2000
str
Bach-C.Ph.Em.-solo+orchestra   
 * Concerto for organ and orchestra No. 4 in B flat major: con spirito, minuetto, giga
* Concerto for organ and orchestra No. 5 in G minor: largo, allegro con spirito, adagio, vivace
* Concerto for organ and orchestra No. 6 in B flat major: allegro moderato, minuetto - variations
* Concerto for organ, strings and basso continuo in G major: allegro di molto, largo, presto
Bach-C.Ph.Em.-3 cello concerti               cello&orchestra
Cello Concerto in A minor;
Cello Concerto in B-flat major;
Cello Concerto in A major
 
Haydn, Franz Joseph (1732-1809)    Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Haydn,
Haydn-the 104(?) symphonies.
Instrumentation-list
number
of winds
wind-
instrumentation
number of
symphonies
 
5
0201-2000
37
Symphony no.22 in E flat (16')
6
1201-2000
6
 
7
0201-2200
6
 
7
1202-2000
12
 
7
2201-2000
 
 
8
1201-2200
3
 
9
1201-4000
3
Symphony 13 in D (14'); Symfonie 31 in D "Mit dem Hornsignal / Auf dem Anstand" (20'); Symfonie 39 in g (15')
9
1202-2200
8
 
10
2202-2200
6
 
12
2222-2200
5
 

Conclusie: fluiten: 43 symfoniëen zonder fluit, 32 symfonieën met 1 fluit, 13 symfonieën met 2 fluiten;
hobo’s: altijd 2, waarvan 1 keer 2 ca (nr.22); klarinetten slechts 5 symf (99,100,101,103,104);
altijd 1-2 fg en 2c (0 hoorns in 2 symf, 4 hoorns in 3 symf)
De London-symfonieën 93-104 (gemiddelde lengte: 30’)
2202-2200 pk standaard, behalve
99, 100, 101, 103, 104 2222 2200 pk (de enige 5 met klarinetten)
Haydn-solo+orchestra
Haydn-the 3 violin concertos
Violin Concerto No. 1 in C major, Hob. VIIa/1 (ca. 1765)
Violin Concerto No. 3 in A major, Hob. VIIa/3 (ca. 1770)
Violin Concerto No. 4 in G major, Hob. VIIa/4 (ca. 1769)
Haydn-the 2 (3) violoncello concertos
Cello Concerto No. 1 in C, Hob. VIIb/1 (1761-5) (25') 0200-2000 str
cello&orchestra
Cello Concerto No. 2 in D, op.101 Hob. VIIb/2 (1783) (26') 0200-2000 str      
 cello&orchestra
Cello Concerto No. 4 in D, Hob. VIIb/4 (spurious) 
cello&orchestra
Haydn-the 12+ concerti for keybord (harpsichord, organ or piano)   (see also: organ concertos harpsichord&orchestra
* Keyboard Concerto No. 1 in C, Hob. XVIII/1 (1756)
* Keyboard Concerto No. 2 in D, Hob. XVIII/2 (1767)
* Keyboard Concerto No. 3 in F with French horns and strings, Hob. XVIII/3 (1771)
* Keyboard Concerto No. 4 in G, Hob. XVIII/4 (1770)
* Keyboard Concerto No. 5 in C with strings, Hob. XVIII/5 (1763)
* Keyboard Concerto No. 6 in F with violin and strings (Double Concerto), Hob. XVIII/6 (1766)
* Keyboard Concerto No. 7 in F, Hob. XVIII/7
* Keyboard Concerto No. 8 in C, Hob. XVIII/8 (1766)
* Keyboard Concerto No. 9 in G, Hob. XVIII/9 (1767)
* Keyboard Concerto No. 10 in C, Hob. XVIII/10 (1771)
* Keyboard Concerto No. ? in F, Hob. XVIII/F2
* Keyboard Concerto No. 11 in D, Hob. XVIII/11 (1779-80)
* Keyboard Concerto No. ? in C with strings, Hob. XVIII/? (1763)
Haydn-the concertos for woodwind-instruments
Flute Concerto in D Hob.VII/D1 (not a work of Haydn but of Leopold Hoffmann)
Oboe Concerto in C major, Hob. VIIg:C1 (179?) (spurious)   oboe&orchestra
Haydn-the 2 concertos for horn&orchestra and 1 for trumpet&orchestra
Horn Concerto No. 1 in D, Hob. VIId/3 (1762) (14') 0200-0000 str  
Horn Concerto No. 2 in D, Hob. VIId/4 (1781, doubtful) (15') 0000-0000 str
Concerto for Two Horns in E flat, Hob. VIId/6 (attrib.) 0000-0000 str
Trumpet Concerto in E flat, Hob.:VIIe/1, (1796) (14') 2202-2200 timp str 
Haydn-the 5 concerti for 2 lire organizzate
These concerti were written for Ferdinand IV, King of Naples whose favorite instrument was the lira organizzata - an instrument similar to the hurdy gurdy. Modern performances often use flute and oboe (or two flutes) as the soloists. http://de.wikipedia.org/wiki/Drehleier
Concerto No. 1 in C major, Hob.:VIIh/1, (1786) (16') 0000-2000 str
Concerto No. 2 in G major, Hob.:VIIh/2, (1786) (15') 0000-2000 str
Concerto No. 3 in G major, Hob.:VIIh/3, (1786) (14') 0000-2000 str
Concerto No. 4 in F major, Hob.:VIIh/4, (1786) (17')  0000-2000 str
Concerto No. 5 in F major, Hob.:VIIh/5, (1786) (13') 0000-2000 str
Haydn-the sinfonia concertante a 4
Sinfonia concertante for violin, cello, oboe, bassoon and orchestra op.84 in Bflat Hob.I:105 (23') 1201-2200 timp str  4 various&orchestra
Haydn-the choral music with orchestra
The 2 great oratorio's   
Die Jahreszeiten (120’) 2223-2230 timp perc cemb/pno STB-soli koor
Die Schöpfung (105’) 3223-2230 timp STB koor
The 12 Masses
Haydn-reference books
Fuchs, Aloys: Thematic Verzeichnis der samtlicher Kompositionen von Joseph Haydn. Wilhelmshaven: Heinrichshofen, 1968, 204p.
Hoboken, Anthony von: Joseph Haydn - Thematisch- bibliographisches Werkverzeichnis. Mainz: B. Schott's Söhne, 1957/1972/1978, 3 vols.
Hoboken, Anthony van: Thematisch-bibliographiches Werkverzeichnis, New York: Pendragon Press, 1982, 100p. ISBN : 0-918728-19-3
Bach, Johann Christian (1735-1782)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Bach, J.Chr.,
De Londense Bachzoon schreef een groot aantal aantrekkelijke Sinfonia’s, in feite de ouvertures uit zijn nu grotendeels vergeten opera’s. Bij een groot strijkorkest is het de moeite waard de kamerorkeststijl te bewaren door een Sinfonia voor dubbel-orkest te kiezen. (D.A.)
.Orchestral Works
W=Warburton OMiP geeft sinfonia's die niet voorkomen op de W-lijst
W C1 \ Symphony Op. 3 No.1 in D major 11' 0200-2000 str bc
W C2 \ Symphony Op. 3 No.2 in C major 8'   0200-2000 str bc
W C3 \ Symphony Op. 3 No.3 in E flat major 10' 0200-2000 str bc
W C4 \ Symphony Op. 3 No.4 in B flat major 11'0200-2000 str bc
W C5 \ Symphony Op. 3 No.5 in F major 11' 0200-2000 str bc
W C6 \ Symphony Op. 3 No.6 in G major 8' 0200-2000 str bc
W C7a \ Symphony Op. 6 No.1 in G major 15' 0200-2000 str bc
W C7b \ Symphony in G major
W C8 \ Symphony Op. 6 No.2 in D major
W C9 \ Symphony Op. 6 No.3 in E flat major 14' 0200-2000 str bc
W C10 \ Symphony Op. 6 No.4 in B flat major
W C11 \ Symphony Op. 6 No.5 in E flat major
W C12 \ Symphony Op. 6 No.6 in G minor 20' 0200-2000 str bc
W C13 \ Symphony Op. 8 No.2 in G major
W C14 \ Symphony Op. 8 No.3 in D major
W C15 \ Symphony Op. 8 No.4 in F major
W C16a \ Symphony in C major (Venier No.46)
W C16b \ Symphony in C major
W C17a \ Symphony in B flat major
W C17b \ Symphony Op. 9 No.1 in B flat major
W C18a \ Symphony in E flat major
W C18b \ Symphony Op. 9 No.2 in E flat major 22' 0200-2000 str bc
W C19 \ Symphonie périodique in E flat major
W C26 \ Symphony Op. 18 No.1 in E flat major 13' 2202-2000 str bc
              Symphony Op. 18 No.2 in B flat (12') 2222-2000 str bc  Overture to "Lucio Silla"
              Symphony Op. 18 No.3 in D 14' 2201-2000 str bc
W C27 \ Symphony Op. 18 No.4 in D major 13' 0201-2000 tip str bc
W C28 \ Symphony Op. 18 No.5 in E major 15' 2201-2000 str bc
              Symphony Op. 18 No.6 in D 15' 2201-2000 str bc
Bach, Johann Christian - further reading
The Collected Works of Johann Christian Bach is a 48 volume edition of the music of J.C. Bach published by Garland Publishing from 1984 to 1999. The general editor was the musicologist and J.C. Bach expert Ernest Warburton. Vol. 48 of the edition is a Thematic Catalog of this composer's work prepared by Warburton.
One notable feature of the edition is that it includes material which the obituary of Warburton in The Musical Times described as "drawn in Warburton's own elegant calligraphy." Rather than having scores set in musical type, much of the edition has been printed from scores transcribed by hand for the publication and then reproduced. It also includes some facsimiles of manuscript sources and librettos to vocal works by J.C. Bach. Noted music scholar Richard Maunder (best known for his completion of Mozart's Requiem) also contributed to the edition. http://en.wikipedia.org/wiki/Collected_Works_of_Johann_Christian_Bach
http://en.wikipedia.org/wiki/Johann_Christian_Bach#Work_List

 
Albrechtsberger, Johann Georg (1736-1809)    Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Albrechtsberger, Johann Georg (1736-1809)
Albrechtsberger - symphonies
Albrechtsberger - concertos
Concerto for Alto Trombone and Orchestra in B Major (15') str
One of his most notable works is his concerto for Alto Trombone and Orchestra in B Major. As the trombone has few works dating back to the classical period, his concerto is often highlighted by the trombone community. (Wikipedia)
Concertino for jew's-harp & mandora in E.
Concertino for jew's-harp & mandora in F
Concerto for harp
Concerto for organ
Concerto for oboe
Further reading.
A. Weinmann, Johann Georg Albrechtsberger, Thematischer Katalog, 1987.
 
Dittersdorf, Karl Ditters von (1739-1799)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Double bass concertos
 
Mozart, Wolfgang Amadeus (1756-1791)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Mozart,
Mozart-the 41(?) symphonies
with 2 clarinets
Symphony no.31 KV 297 (1778) 2222 2200 timp str
Two different second movements: Version I a&b) and Version II.
Symphony no.35 2222 2200 timp str
Symphony no.40, 2nd version with clarinets 1222-2000
Symphony no.40, 1th version without clarinets 1202-2000
Symphony no.39 1022-2200 timp
without clarinets
Symphony no.28 in C (15') 0200-2000
Symphony no.29 (23') 0200-2000
Symphony no.30 0200-2200
Symphony no.32 2202-4200 timp
Symphony no.33 0202-2000
Symphony no.34, 36 0202 2200 timp
Symphony no.37 1200 2000 (alleen de inleiding is van Mozart; rest van M.Haydn)
Symphony no.38 2202-2200 timp
Symphony no.41 1202-2200 timp
Mozart-opera-overtures 
Standaard dubbelhout, 2 hoorns&trompetten; alleen Zauberflöte met trombones; Entführung met Turks slagwerk en maar 1 fluit.
Idomeneo (5’) 2222-2200 timp str
La Clemenza di Tito (5’) 2222-2200 timp str
Cosi fan tutte (6’) 2222-2200 timp str
Don Giovanni (7’) 2222-2200 timp str
Die Entführung (5’) 1222-2200 timp perc str
Le Nozze di Figaro (4’) 2222-2200 timp str
Il Re Pastore (3’) 0200-2200 str
Die Zauberflöte (8’) 2222-2230 timp str
Mozart-danses
Mozart-solo+orchestra   violin&orchestra 2violins&orchestra
Concerto for violin and orchestra no.1 in B flat KV 207 (20') 0200-2000 str
Concerto for violin and orchestra no.2 in D KV 211 (23')  0200-2000 str
Concerto for violin and orchestra no.3 in G KV 216 (26')  2200-2000 str
Concerto for violin and orchestra no.4 in D KV 218 (26')  0200-2000 str
Concerto for violin and orchestra no.5 in A KV 219 (30')  0200-2000 str
Concerto for 2 violins and orchestra in C K.190 (25') 0200-2200 str
Mozart-the 29 works for piano&orchestra, 2 pianos&orchestra, 3 pianos and orchestra
Piano Concerto No. 1 in F major, K. 37 (1767) (17') 0200-2000 str
Piano Concerto No. 2 in B-flat major, K. 39 (
1767) (14') 0200-2000 str
Piano Concerto No. 3 in D major, K. 40 (
1767) (12') 0200-2200 str
Piano Concerto No. 4 in G major, K. 41 (
1767) (13') 2000-2000 str
Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: KV 37 and 39-41. The autographs, all held by the Jagiellonian Library, Kraków, are dated by his father as having been completed in April (KV 37) and July (KV 39-41) of 1767. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based on were largely published in Paris, and presumably Mozart and his family became acquainted with them or their composers during their visit to Paris in 1763/64.
Piano Concerto No. 5 in D major, K. 175 (1773) (20')
0200-2200 timp str
Piano Concerto No. 5 in D major, K. 175, was composed by Wolfgang Amadeus Mozart in 1773, at the age of 17. Its Mozart's first fully original piano concerto. His previous efforts were based on works by other composers. The work is scored for two oboes, two horns, two trumpets, timpani, and strings and was the only concerto with trumpets and timpani until No. 13, K. 415. Mozart revised the work in 1782 to make it more suitable for his Viennese audience at the upcoming important Lenten concert on the 3rd March 1782. This led to the composition of the Rondo in D in the months before the concert, where it was performed for the first time. The Rondo was a more tuneful alternative to its predecessor and thus it was very popular with the audience; indeed, in the concert it was encored. In effect the rondo is a substitute finale to the Piano Concerto No. 5.
Piano Concerto No. 6 in B-flat major, K. 238 (
1776) (25') 2200-2000 str
Piano Concerto No. 7 in F major for Three Pianos, K. 242 (1776)
(25') 0200-2200 str ('Lodron')
In 1776, Wolfgang Amadeus Mozart composed three independent piano concertos, one of which was the Concerto in F for Three Pianos and Orchestra, No. 7, K. 242. He originally finished K. 242 for three pianos in February of 1776. However, when he eventually recomposed it for himself and another pianist in 1780 in Salzburg, he rearranged it for two pianos, and that is how the piece is often performed today. The concerto is often nicknamed "Lodron" because it was commissioned by Countess Antonia Lodron to be played with her two daughters Aloysia and Giuseppa.
Piano Concerto No. 8 in C major, K. 246 (1776) (21') 
0200-2000 str ('Lützow')
Piano Concerto No. 9 in E-flat major, K. 271 (1777) (32')
0200-2200 str ('Jeunehomme')
Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365 (1779) (23') 02(2)2-2(2)00 (timp) str 0202-2000 str / 0222-2200 timp str  2 pianos&orchestra
Mozart wrote it to play with his sister Maria Anna (“Nannerl”).
Piano Concerto No. 11 in F major, K. 413/387a (
1782) (21') 0202-2000 str
Piano Concerto No. 12 in A major, K. 414/385p (1782) (24')
0200-2000 str / 0202-2000 str (2 bassoons optional)
Piano Concerto No. 13 in C major, K. 415/387b (1782/83) (25') 0202-2200 timp str
Piano Concerto No. 14 in E-flat major, K. 449 (1784) (22')
0200-2000 str
Piano Concerto No. 15 in B-flat major, K. 450 (1784) ((23') 1202-2000 str
Piano Concerto No. 16 in D major, K. 451 (1784) (31')
1202-2200 timp str
Piano Concerto No. 17 in G major, K. 453 (1784) (30')
2202-2000 str
Piano Concerto No. 18 in B-flat major, K. 456
(1784) (29') 2202-2000 str
Piano Concerto No. 19 in F major, K. 459
(1784) (24') 1202-2000 str
Piano Concerto No. 20 in D minor, K. 466
(1785) (32') 1202-2200 timp str
Piano Concerto No. 21 in C major, K. 467
(1785) (30') 1202-2200 timp str
Piano Concerto No. 22 in E-flat major, K. 482
(1785) (32') 1022-2200 timp str
Piano Concerto No. 23 in A major, K. 488
(1786) (22') 1022-2000 str
Piano Concerto No. 24 in C minor, K. 491
(1785/86) (28') 1222-2200 timp str
Of the Mozart piano concertos, this one has the most complete scoring. It is the only one scored for both oboes and clarinets.
Piano Concerto No. 25 in C major, K. 503
(1786) (30')  1202-2200 timp str
Piano Concerto No. 26 in D major, K. 537 (1788) (32')
 1202-2200 timp str  'Coronation'
Piano Concerto No. 27 in B-flat major, K. 595 (1791?)
(31') 1202-2200 str
Rondo for piano and orchestra in D major, K. 382 (1782) (10') 1200-2200 timp str
The Rondo for Piano and Orchestra in D major, K. 382 is a three movement concert rondo scored for piano and orchestra that was composed by Wolfgang Amadeus Mozart. It was intended by Mozart to be a substitute finale to his Piano Concerto No. 5 in D major.
Rondo for piano and orchestra in A major, K. 386 (9')
0200-2000 str / 0201-2000 str
It was once believed that Mozart left this piece unfinished,[2] because when Constanze Mozart sold the manuscript in 1799 to J. A. André, the concluding pages were missing. However, Alan Tyson discovered the previously-missing conclusion in the British Library in 1980. [3] Before this, the rest of the autograph had been dismembered and scattered, and the only known version that was complete was Cipriani Potter's piano arrangement from about 1838. Alfred Einstein, using this and only 2 then-known leaves of the score, published a reconstruction of the rondo in 1936, and further leaves that came to light were reflected in the Neue Mozart-Ausgabe and a 1962 completion by Paul Badura-Skoda and Charles Mackerras.[1] The final leaves discovered by Tyson have now been incorporated into most recent recordings of the rondo, such as those of Murray Perahia and Malcolm Bilson.
Mozart-concertos for 2 pianos&orchestra
Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365 (1779) (23') 02(2)2-2(2)00 (timp) str 0202-2000 str / 0222-2200 timp str  2 pianos&orchestra
Mozart wrote it to play with his sister Maria Anna (“Nannerl”).
Piano Concerto No. 7 in F major for Three Pianos, K. 242 (1776) (25') 0200-2200 str ('Lodron') Mozarts own version for 2 pianos.
Mozart-concerto for 3 pianos and orchestra
Piano Concerto No. 7 in F major for Three Pianos, K. 242 (1776) (25') 0200-2200 str ('Lodron')
Mozart originally finished K. 242 for three pianos in February of 1776. However, when he eventually recomposed it for himself and another pianist in 1780 in Salzburg, he rearranged it for two pianos, and that is how the piece is often performed today. The concerto is often nicknamed "Lodron" because it was commissioned by Countess Antonia Lodron to be played with her two daughters Aloysia and Giuseppa.
Mozart-concerti for wind instruments
2 concerts for flute&orchestra, 1 concert for 1 concert for oboe&orchestra, 1 concert for clarinet&orchestra, 4 concerts for horn&orchestra
Flute concerto no.1 in G K.313 (27') 2200-2000 str
Flute concerto no.2 in D K.314 (18') 0200-2000 str   flute&orchestra
Andante in C for flute and orchestra KV 315
Oboe concerto in C K.314 (13') 0200-2000 str   oboe&orchestra
Clarinet concerto in A K.622 (31') 2002-2000 str   clarinet&orchestra
Bassoon concerto in B flat K.191 (13') 0200-2000 str   bassoon&orchestra
Bassoon concerto no.2 in B flat K.Anh. 230a (17') 0200-2200 str (Seiffert, authenticity doubtful)
Horn concerto no.1 in D, K.412 (12') 0202-0000 str
Horn concerto no.2 in E flat, K.417 (15') 0200-2000 str
Horn concerto no.3 in E flat, K.447 (10') 0022-2000 str
Horn concerto no.4 in E flat, K.417 (16') 0200-2000 str
Mozart-2 various&orchestra  
Sinfonia concertante in E flat major K. 364 (1779) (25') 0200-2000 str 2 various&orchestra
Concerto for 2 pianos and orchestra no.10 in E flat K.365 (23') 0202-0200 timp str  2 pianos&orchestra
Flute-harp concerto in C K.299 (27') 0200-2000 str
Mozart-marches
* March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto)
* March in D major, K. 189 (probably to open/close K. 185 Serenade)
* March in C major, K. 214
* March in D major, K. 215 (to open and/or close Serenade, K. 204)
* March in D major, K. 237 (to open and/or close Serenade, K. 203)
* March in F major, K. 248 (for use with Divertimento, K. 247)
* March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250)
* March in D major, K. 290
* March in D major, K. 335, No. 1 (probably to open Serenade, "Posthorn", K. 320)
* March in D major, K. 335, No. 2 (probably to close Serenade, "Posthorn", K. 320)
* March in C major, K. 408, No. 1
* March in D major, K. 408, No. 2
* March in C major, K. 408, No. 3
* March in D major, K. 445 (for use with Divertimento, K. 334)
Mozart-dance music
Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler, or German Dances).
6 Menuets, K. 61h 0200-2000 str without va
7 Menuets, K. 65a/61b 0000-0000 str without va
4 Contredanses, K. 101/250a
20 Menuets, K. 103 2201-2200 str without va
6 Menuets, K. 104/61e 1200-2200 str without va (1=piccolo)
6 Menuets, K. 105/61f 1200-2000 str without va
Menuet in E-flat, K. 122 0200-2000 str without va
Contredanse in B-flat, K. 123 0200-2000 str without va
6 Menuets, K. 164  1200-0200 str without va (2tr or 2 c)
16 Menuets, K. 176 0201-2000 str (2ob or 2fl, 2c or 2tr) 2201-2200
4 Contredanses, K. 267/271c 1201-2000 str
Gavotte in B-flat, K. 300
3 Menuets, K. 363 0202-2200 timp str without va
Menuet in C, K.409 2202-2200 str
6 Menuets, K. 461/448a 0202-2000 str
6 Contredanses, K. 462/448b 0200-2000 str without va
2 Quadrilles, K. 463/448c 0200-2000 str without va
6 German Dances, K. 509 3222-2200 timp str (3=picc&2fl)
Contredanse in D, "Das Donnerwetter", K. 534 0200-2000 str drum?
Contredanse in C, "La Bataille", K. 535 1*021-0100 drums str without va
6 German Dances, K. 536; 6 German Dances, K. 567 3222-2200 timp str without va (3=picc&2fl)
12 Menuets, K. 568 2222-2200 timp str without va
6 German Dances, K. 571 1202-2200 timp str without va
12 Menuets, K. 585 (10') 3222-2200 timp str without va.
12 German Dances, K. 586 3222-2200 timp str without va. tamburino (3=picc&2fl)
Contredanse in C, "Der Sieg vom Helden Koburg", K. 587 1101-0100 str without va
6 Menuets, K. 599 3222-2200 timp str
6 German Dances, K. 600 (12') 3222-2200 timp str without va. Includes 'Der Kanarienvogel'
4 Menuets, K. 601
4 German Dances, K. 602 (9') 3222-2200 timp str without va, hurdy-gurdy. Includes 'Der Leiermann'.
2 Contredanses, K. 603 1202-2200  timp str without va
2 Menuets, K. 604 2022-2200 timp str without va
3 German Dances, K. 605 (7') 2202-2200 timp perc str (horns double on posthorns) Includes 'Die Schlittenfahrt'.
6 German Dances, K. 606
5 German Dances, K. 609 (7'45) 1000-0000 drums str without va
Contredanse in G, K. 610
Mozart-other orchestral
Maurische Trauermusik KV.477 (6') 0200-2000 str / 0241-2000 str  (4: 1cl, 3 basset.hn; 1: cfg)
Mozart-wind ensemble music
Serenade no.10 for winds in B flat major, K. 361/370a (50) 0242-4000 cb 'Gran Partita'
2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns and db
Serenade No. 10 for winds in B flat major, K. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments (twelve winds and string bass). The piece was likely composed in 1781 or 1782 and is often known by the subtitle "Gran Partita", though the title is a misspelling and not in Mozart's hand. It consists of seven movements.
Companian piece:
Keuris, Capriccio for 12 wind instruments and double-bass (1978) (9')
 
Beethoven, Ludwig van (1770-1827)    Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Beethoven,
Beethoven-the 9 symphonies – trombones only in 5, 6&9.
The so-called "Jena Symphony" is a symphony that was at one time attributed to Ludwig van Beethoven. The symphony was discovered by Fritz Stein in 1909 in the archives of a concert society in Jena, from which it derived its name. Stein believed it to be the work of Beethoven and it was so published by Breitkopf und Härtel in 1911. It is now known that the piece was the work of Friedrich Witt. (Wikipedia)
Symphony no.1 in C op.21 (29’) 2222 2200 timp
Symphony no.2 in D op.36 (36’) 2222 2200 timp
Symphony no.3 in E flat op.55 (50’) 2222-3200 timp
Symphony no.4 in B flat op.60 (35’)
1222-2200 timp
Symphony no.5 in c op.67 (36’) 3223-2230 timp
Symphony no.6 in F op.68 (40’) 3222-2220 timp
Symphony no.7 in A op.92 (38’) 2222 2200 timp
Symphony no.8 in F op.93 (26’) 2222 2200 timp
Symphony no.9 in d op.125 (70’) 3223-4230 timp perc SATB-soli mix cor
Beethoven-the 12 overtures
The Creatures of Prometheus, Overture opus 43 (1801) (5') 2222-2200 timp str (German: Die Geschöpfe des Prometheus)   -05'
Coriolan Overture opus 62 (1807) (7') 2222 2200 timp str  05'-10'
The 4 overtures composed for Beethoven's opera Fidelio, Op. 72:
Fidelio Overture opus 72                  (1814)
(6')   2222-4200 timp str  05'-10'
Leonore Overture "No. 2" opus 72a (1805) (13')
2222-4230 timp str  10'-15'
Leonore Overture "No. 3" opus 72b (1806) (12')
2222-4230 timp str  10'-15'
Leonore Overture "No. 1" opus 138 (1807) (9')
  2222-4200 timp str  05'-10'
Egmont, overture from the incidental music opus 84 (1810)  (9')
3222-4200 timp str  05'-10'
Wellington's Victory ("Battle Symphony") opus 91 (1813) (17') 3222-4630 1timp 6(10) perc str 
15'-20'
Composed by Beethoven to commemorate the Duke of Wellington's victory over Joseph Bonaparte's forces at the Battle of Vitoria in Spain on June 21, 1813. It is also known sometimes as "The Battle Symphony" or "The Battle of Vitoria", and was dedicated to the Prince Regent, later George IV of the United Kingdom. A common (and understandable) misconception among commentators is that the piece commemorates Wellington's defeat of Napoleon Bonaparte at the Battle of Waterloo, but it does not. In the orchestral percussion section one player plays the timpani, the other three play the cymbals, bass drum and triangle. On stage there are two 'sides', English and French, both playing the same instruments: 2 side drums (englisches/französisches Trommeln in the score), 2 bass drums (Kanone in the score), 2 (4) rattles, played by 8 to 10 instrumentalists. (Wikipedia).
The Ruins of Athens (Die Ruinen von Athen), overture from the incidental music opus 113 (1811)
(5') 2222-4200  timp str  -05'
King Stephen (König Stephan) overture opus 117 (1811) (8') (from the incidental music) 2223-4200 timp str 
05'-10'
Zur Namensfeier (Feastday) Overture opus 115 (1815) (7')
2222-4200 timp str    05'-10'
Zur Namensfeier, (French: Jour de fête, English: Feastday or Name day) op. 115, is a symphonic overture in C major by Ludwig van Beethoven completed in 1815, and first performed on Christmas Day 1815. It is seldom played. Its title refers to the feastday of King Francis I of France, October 4, and while Beethoven made an attempt to complete the work for this day in 1814, he was unable to finish it in time, so he set aside work on it until the following spring. The theme at the beginning is related to that which he used to set Schiller's Ode to Joy in his Ninth Symphony nine years later.
Overture The Consecration of the House (Die Weihe des Hauses) opus 124 (1822)
(12') 2222-4230 timp str  10'-15'
The Ruins of Athens (Die Ruinen von Athen), Opus 113, is a set of incidental music written in 1811 by Ludwig van Beethoven. The music was written to accompany the play of the same name by August von Kotzebue, for the dedication of a new theatre at Pest. A second overture known as the Consecration of the House Overture was written in 1822 for the same play.
Beethoven-
the 6 concertos for piano&orchestra, the Rondo and the Choral Fanasy.
A Piano Concerto No. 0 in E-flat major (1784) WoO 4, is one of his earlier works, written in 1784 when Beethoven was 13. Only the piano part survives today.
Piano Concerto no. 1 in C major opus 15 (1797)
1222-2200 timp str
Piano Concerto no. 2 in B-flat major opus 19 (1789/95) (24')
1202-2000 str
Piano Concerto No. 3 in C minor opus 37 (1801)
2222-2200 timp str
Piano Concerto No. 4 in G major opus 58 (1806)
1222-2200 str
Piano Concerto No. 5 in E-flat major opus 73 (1810)
2222-2200 timp str ("Emperor")
Concerto op.61a (42') for piano and orchestra 1222-2200 timp str
Beethoven's arrangement of Opus 61 for piano. Perhaps due to the Violin Concerto's lack of success at its premiere, and at the request of Muzio Clementi, Beethoven revised it in a version for solo piano and orchestra, which was later published as Opus 61a. For this version, which is present as a sketch in the Violin Concerto's autograph alongside revisions to the solo violin part[4], Beethoven wrote a lengthy, somewhat bombastic first movement cadenza which features the orchestra's timpanist along with the solo pianist.
Fantasia in C minor for piano, chorus, and orchestra opus 80 (1808) (19') 2222-2200 timp str pno-solo, SATB-soli, cor SATB ("Choral Fantasy")
Rondo for piano and orchestra in B flat major WoO 6  (1793) (10') 1202-2000 str
The Rondo was composed in 1793 and originally intended as the final movement for the Piano Concerto No. 2 Op. 19. It was eventually published in 1829, with the solo part completed by Carl Czerny.
Beethoven-the violin concerto and smaller works for violin&orchestra
Violin Concerto in D major Opus 61 (1806) (42')  1222-2200 timp str  
Romance no.1 op.40 in G (1802) (8') 1202-2000 str
Romance no.2 op.50 in F (1798) (8') 1202-2000 str
Beethoven-voice&orchestra
Ah!Perfido for solo voice and orchestra op.65 (14') 1022-2000 str S-solo  
Beethoven-3 various&orchestra
Triple Concerto for violin, cello, and piano in C major opus 56 (1805) (35') 1222-2200 timp str
Hess 13: Romance in E minor for 3 soloists and orchestra 1201-0000 str Breitkopf
Beethoven-ballet music
The Creatures of Prometheus, Overture and ballet music opus 43 (1801)
Beetthoven-incidental music
opus 84: Egmont, overture and incidental music (1810) (40')
The Ruins of Athens (Die Ruinen von Athen), overture and incidental music opus 113 (1811) (60') 3223-4230 perc str SBB skr mix cor
The Ruins of Athens (Die Ruinen von Athen), Opus 113, is a set of incidental music written in 1811 by Ludwig van Beethoven. The music was written to accompany the play of the same name by August von Kotzebue, for the dedication of a new theatre at Pest. A second overture was written in 1822 for the same play. It was composed especially for the reopening of Vienna's Theater in der Josefstadt in 1822. The second overture is known as the Consecration of the House Overture. Perhaps the best-known music from The Ruins of Athens is the Turkish March, a theme that many who are not even avid classical music listeners are familiar with. The overture and the Turkish March are often performed separately.
Die Ruinen von Athen (The Ruins of Athens) op. 113 (1811/1924 arr. R. Strauss) (60') SBB; 2speaking roles; silent role; chorus; ballet; 2220-2220 timp
A musical entertainment with dances and choruses, partly incorporating 'Die Geschöpfe des Prometheus', in a new edition and adaptation by Hugo von Hofmannsthal and Richard Strauss. Boosey.
Text by August von Kotzebue, adapted by Hugo von Hofmannsthal (G)
THE GODDESS silent role; THE STRANGER, a German artist Bass; AND OLD GREEK Bass; HIS WIFE speaking role; THE ELDER DAUGHTER Soprano; THE YOUNGER DAUGHTER speaking role
Time and Place: 1800, Athens, during the occupation by the Turks.
Synopsis: In an Athens square, with a view towards the Acropolis, townsfolk await the regular appearance of a stranger, and bemoan the occupation of their once proud city by Ottoman forces. The stranger, a German poet, appears and muses on the ruins of the past, invoking the goddess Pallas Athene. His ideal is to achieve artistic perfection, mending the fragments of lost culture, and joining with the ancients in a celestial round-dance. Darkness falls and he finds himself transported as if in a dream back to Ancient Greece. In a moonlit grove, with statues of the Gods silhouetted against the night sky, bacchic revellers and maidens appear and dance before him. They encourage him to join their celebrations and attempt to crown him with vine leaves. He declines these Dionysiac pleasures, being intent on loftier pursuits. A procession of priests leads him away from the bacchanale, to celebrate his marriage to Pallas Athene, symbolising a new union between the modern and ancient cultures. Illuminated by a rosy light, the Acropolis becomes visible in its pristine state.
Beethoven Beethoven-Strauss
1. Overture, Op. 113, (Andante con moto, G minor - Allegro, ma non troppo, G major)  
  Chor: Trümmer der herrlichen Welt, erwachet (2'55)
2. Chorus: Tochter des mächtigen Zeus (Andante poco sostenuto, E-flat major)  
3. Duet (a Greek and a Greek girl):
Ohne Verschulden Knechtschaft dulden (Andante con moto - Poco piu mosso, G minor)
Duett: Das Mädchen - Der Mann (4'25)
 
4. Dervish Chorus: Du hast in deines Ärmels Falten (Allegro, ma non troppo - G major) Marcia alla turca (1'51)
5. Turkish March (Vivace - B-flat major) Chor der Derwische (2'27) MK
6. Music from the back of the stage (Allegro assai ma non troppo - C major) Melodram: Der Fremde
  Intermezzo
  Auftritt des Fremden (2'18)
  Auftritt und Tanz von 5 Mädchen
  Auftritt und Tanz von 4 Jünglingen
  Pastorale: Auftritt eines Jünglings und einer Bacchantin
  Rüpelhafter Spott-Tanz der 4 Faune
  Ein Zug springender Bacchantinnen, die Faune
  Ein Zug springender Bacchantinnen, die Faune
  Bacchanal (6'30) based upon Eroica music
7. March with chorus, Op. 114: Schmückt die Altare (Assai moderato - E-flat major) Marsch und Chor
8. Recital: Mit reger Freude  
9. Chorus: Wir tragen empfängliche Herzen im Busen (Allegretto ma non troppo - G major)  
10. Aria and Chorus: Will unser Genius noch einen Wunsch gewähren? (Adagio - C major) Er ist's! Wir sind erhört! (Allegro con brio - C major)  
11. Chorus: Heil unserm König! (Allegro con fuoco - A major)  
 
1. Overture; 2. Chorus: Tochter des mächtigen Zeus; 3. Duet: Ohne Verschulden Knechtschaft dulden; 4. Dervish Chorus: Du hast in deines Ärmels Falten; 5. Turkish March; 6. Music from the back of the stage; 7. March with chorus, Op. 114: Schmückt die Altare; 8. Recital: Mit reger Freude; 9. Chorus: Wir tragen empfängliche Herzen im Busen; 10. Aria and Chorus: Will unser Genius noch einen Wunsch gewähren? / Er ist's! Wir sind erhört!; 11. Chorus: Heil unserm König!
King Stephen (König Stephan), overture and incidental music for chorus and orchestra opus 117 (1811) 3223-4230 timp str cor SSAA&TTBB

Beethoven-choral music
Mass op.86 in C (1807) (38') 2222-2200 timp org str SATB-solo SATB
Missa solemnis op.123 in D (80’) SATB-soli cor  2223-4230 pk org. str 60'-90'
King Stephen (König Stephan), overture and incidental music for chorus and orchestra opus 117 (1811) 3223-4230 timp str cor SSAA&TTBB
Beethoven-arrangements
Adelaide op. 46 (1796) (3') (arranged by Anonymous) for solo voice (S/T) and orchestra op.46 1022-2000 str Kalmus
 
Schubert, Franz Peter (1797-1828)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   timess
Schubert,
Schubert-the 10? symphonies
Symphony no.1 in D D82 (26') 1222-2200 timp str  
Symphony no.2 in B flat D125 (26') 2222-2200 timp str
Symphony no.3 in D D200 (23’) 2222-2200 timp str  
20'-30'
Symphony no.4 in c D417 (34’) 2222-4200 timp str   
30'-40'
Symphony no.5 in B flat major D485 (27’) 1202-2000 str 
20'-30'
Symphony no.6 in C D589 (32’) 2222 2200 timp str 
 30'-40'
Symphony no.7 in C major D944 (46’) 2222-2230 timp str 
 40'-50'
Symphony no.8 in B minor D759 (22’) 2222-2230 timp str  
20'-30'
Symphony nr.10 Schubert-Berio, Rendering, (36') 2222-2230 timp celesta str    30'-40'
Rendering is een door Luciano Berio gerealiseerde voltooiing van Schubert's tiende symfonie. Berio werkte de overgeleverde schetsen van Schubert uit, maar waagde zich niet aan een reconstructie. In plaats daarvan componeerde hij in zijn eigen moderne idioom een 'soort muzikaal cement' (Berio), ter overbrugging van de gedeeltes die in Schuberts ontwerp ontbraken. Door dit procedé is het werk niet alleen zeer afwisselend, maar wordt het de luisteraar ook nog onmiddellijk duidelijk waar Schubert's werk ophoudt en dat van Berio begint. (D.A.)
Schubert-the overtures
Overture in D, D 2a
Overture zu "Der Teufel als Hydraulicus", D 4 (4') 2021-2000 str
Overture in D, D 12  2222-2230  pk str 9'
Overture in D, D 26  2222-2230  pk str
Overture in B flat, D 470 0202-2200 pk str
Overture in D, D 556 (7') 2222-2000 pk str
Overture Des Teufels Lustschloss, D. 84
Overture Die Freunde Von Salamanka D 326 (5'50)
Overture in D, D 590  'In the Italian Style' (8') 2222-2200 pk str
Overture in C, op. 170, D 591 'In the Italian Style' (8') 2222-2200 timp str
Overture Die Zauberharfe (Overture 'Rosamunde') D.644 (10') 2222-4230 timp str  10'-15'
Overture Die Zwillingsbruder, D. 647 (4')  2222-2200 timp str
Overture in e, D 648  2222-4230 pk str (8')
Overture zu "Rosamunde, Fürstin von Zypern", D 732 2222-4230  pk str
Overture zu "Alfonso und Estrella", op. 69 Nr. 1, D 759A (Overture 'Rosamunde') (7') 2222-2230  pk str
Overture Die Verschworenen (Der hausliche Krieg), D. 787 (7')
Overture Fierrabras, D. 796 (9')
Schubert-choral music
The 6 Masses
Schubert-arrangements
Fantasie (1828) Schubert / instr.van Otterloo (1953)  2222-4230 timp str
Schubert-Joachim, "Sonate voor piano vierhandig in C gr.t., D.812, 'Grand Duo'" uitwerken
Ter aanvulling klinkt de door de violist Jospeh Joachim georkestreerde versie van Schubert's "Sonate voor piano vierhandig in C gr.t., D.812, 'Grand Duo'", daartoe verleid door de symfonische dimensies van dit werk.
Rendering

Mendelssohn-Bartholdy, Felix (1809-1847)   
Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Mendelssohn,
Mendelssohn-the
12 early sinfonias
Twelve early symphonies, sometimes called "sinfonias", to distinguish them from the mature Symphonies 1 to 5. Most of them string symphonies in three movements.
Sinfonia no.1 in C str (I,II, Va, Bassi)
Sinfonia no.2 in D str (I,II, Va, Bassi)
Sinfonia no.3 in E str (I,II, Va, Bassi)
Sinfonia no.4 in c str (I,II, Va, Bassi)
Sinfonia no.5 in Bflat str (I,II, Va, Bassi)
Sinfonia no.6 in Eflat str (I,II, Va, Bassi)
Sinfonia no.7 in D str (I,II, Va, Bassi)
Sinfonia no.8 in D string version
Sinfonia no.8 in D (wind version) 2222-2200 timp str 
Sinfonia no.9
Sinfonia no.10
Sinfonia no.11
Sinfonia no.12
Mendelssohn-the 5 mature symphonies 
The numbering of his mature symphonies is approximately in order of publishing, rather than of composition. The order of composition is: 1 (1824), 5 (1830), 4 (1833), 2 (1841), 3 (1843). Because he worked on it for over a decade, the placement of No. 3 in this sequence is problematic; he started sketches for it soon after the No. 5, but completed it following both Nos. 5 and 4.
Symphony no.1 in c op.11 (1824) (37’) 2222-2200 timp str   
30'-40'
Symphony no.2 in B flat major (from Lobgesang op.52) (1841) (37’) 2222-4230 timp str   
30'-40'
Symphony no.3 in a minor op.56 ('Scottish') (1843) (38’) 2222-4200 timp str  
30'-40'
Symphony no.4 in A op.90 (28’) ('Italian') (1833) 2222-2200 timp str  
20'-30'
Symphony no.5 in d op.107 'Reformations' (25’) (1830) 2223-2230 timp str  
20'-30'
To celebrate the 300th anniversary of the Lutheran Church. Mendelssohn remained dissatisfied with the work and did not allow publication of the score.
Mendelssohn-the overtures and symphonic fragments
A Midsummer Night's Dream Overture) op.21 (1826) (12') 2222-2201* timp str
A Midsummer Night's Dream fragmenten
A Midsummer Night's Dream, Notturno (6') 2222-2000 str
A Midsummer Night's Dream, Intermezzo (4') 2222-2000 str
De Hebriden (Fingal's Grot), Overture, op. 26 (1832) 2222-2200 timp str 10'  05'-10'
Die Hochzeit des Camacho, Overture op.10 2222-4230 timp str  6'  
Meerestille und glückliche Fahrt  (Calm Sea and a Prosperous Voyage) Overture op. 27 (1832) 3223-2301*timp str (18=serpent) 12'  
Die schöne Melusine / Märchen von der schönen Melusine, overture, op. 32 (1833) 2222-2200 timp str  
Ruy Blas, overture, op. 95 (1839) (7') 2222-4230 timp str  
Trompeten Ouverture (Trumpet Overture) op.101 (9') 2222-2230 timp str    05'-10'
Athalia Ouverture 2222-2230 timp hp str 10'  
Heimkehr aus der Fremde, Overture op.89 2222-2200 str 7'
Paulus Overture op.36 2222-2200 timp str 8' 
Overture in C
Mendelssohn-solo+orchestra    
Concerto in a minor for piano and strings, op. posth. (1822)
Concerto in E major for 2 pianos and orchestra op. posth. (1823) 1222-2200 timp str 
2 pianos&orchestra
Concerto in A flat major for 2 pianos and orchestra (1824) 2222
-2200 timp str 2 pianos&orchestra
Concerto for violin in E minor op.64 (1844) (25') 2222-2200 timp str        20'-30'   violin&orchestra    
Pianoconcerto  nr.1  in G minor op.25 (1830-31) 2222-2200 timp str 23'  
Pianoconcerto  nr.2 in d minor op.40 (1837) 2222-2200 timp str 25'  
Concert for 2 pianos and orchestra in Aflat major (1824) 2222-2200  timp str   
Rondo Brillante for piano and orchestra in Eflat major op.29 (1834)
Capriccio Brillante for piano and orchestra op. 22 in b minor (1832)
Serenade and Allegro Giocoso for piano and orchestra Op. 43 in b minor (1838)
 
Weber, Carl Maria Friedrich Ernest von (1786-1826)   Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Weber,
Weber-2 symphonies
nr 1 in C groot (1807) (24') 1202-2200 timp str
nr 2 in C groot (1807) (15') 1202-2200 timp str
Weber-1 concerto overture (the opera overtures are listed in the opera section)
Jubel Ouverture op.59 (1818) (8') 4222-4230 timp perc str   05'-10'
Weber composed the Jubel Overture in August 1818, and it exists as an independent concerto work. Except its title, the Jubel Overture bears no relationship with the Jubel-Kantate that Weber completed in 1818. The Jubel Overture is a relatively short work that resembles some of the other concert overtures he composed in his career and exists in the tradition of concert overtures as found with Beethoven.
Weber-solo+orchestra   
Concerto for piano nr 1 in C groot (1810)
Concerto for piano nr 2 in Es groot (1812)
Konzertstück for piano and orchestra in f klein (1821)
Concerto for clarinet nr 1 in f minor (1811) (19') 2202-2200 timp str
Concerto for clarinet nr 2 in E flat major (1811) (20') 2202-2200 timp str
Concertino for clarinet (1811) op.26 in E flat (11') 1202-2200 timp str
Concerto for bassoon in F major, (1811, revised 1822) (18') 2202-2200 timp str  bassoon&orchestra
Concertino for horn op.45 in E (1815) (12') 1022-2200 timp str
Romanza Siciliana voor fluit en orkest (1805)
Grand Potpourri voor cello en orkest (1808)
Andante en Rondo Ungarese voor altviool en orkest (1809, herzien voor fagot in 1813
Weber-arrangement
Aufforderung zum Tanz / Invitation tot the dance (Weber/Berlioz) 2224-44*30 timp 2hp str (10') (4*=2tr+2ct) (→ Berlioz)
von Weber-opera
Turandot, J. 75: Overture & March (6') 1+1, 2, 2, 2 - 2, 2, 1, 0, timp, perc, str

Das Waldmädchen / The Forest Maiden (1800)
Peter Schmoll und seine Nachbarn (1802) Overture (9')
2222-2210 timp str
Ruler of the Spirits (1805) Rübezahl, Der Beherrscher der Geister , overture op. 27 (1811) (7') 2222-4230 timp str
The concert overture, "Ruler of the Spirits" ("Beherrscher der Geister), is also known as the "Rübezahl" Overture. In 1804 Weber revised the overture he had intended for his unfinished opera Rübezahl (1804-5) as a work to be performed independent of the stage work. The overture stands out for its immediate communication of drama already present in the driving rhythm at the opening of the work. In addition, passages for solo instruments provide a constant shift of color and texture, which evokes the supernatural images found in the opera. Weber increases the drama of the overture by using contrapuntal passages that create waves of sound intensify the mood. The brief lyrical passages that occur in the overture provide enough contrast to underscore the more dramatic gestures that Weber used to open and conclude the work. In its revised version the overture is known properly by the title "Beherrscher der Geister," rather than through its original association with the opera Rübezahl. All Music Guide
Silvana J. 87 (1810) Overture (5') 2222-2210 timp str
Tanz der Edelknaben (2'01); Silvana: Fackel Tanz (3:05)
Abu Hassan (1811)
J.106, Overture (4') 2222-2210 timp perc str  -05'
Der Freischütz (1821)
J.277, Overture (10') 2222-4230 timp str
Euryanthe (1823)
J.291, Overture (8') 2222-4230 timp str  05'-10'
Die drei Pintos (1820)
Die drei Pintos (The Three Pintos) is a comic opera of which Carl Maria von Weber began composing the music, working on a libretto by Theodor Hell. The work was completed about 65 years after Weber's death by Gustav Mahler.
Die Drei Pintos: Entr'acte 5'51 http://en.wikipedia.org/wiki/Die_drei_Pintos
Oberon (1826) J.306, Overture (9') 2222-4230 timp str

Incidental music
Turandot (1809)
Overture and March 2222-2210 timp perc str
March from Act II 2'28
Funeral March from Act V 2'29
Preciosa
J.279 (1820) Overture (10') 2222-2200 timp perc str
Weber-choral
3 Masses
Cantata Der erste Ton for chorus and orchestra, Op. 14, J. 58 (1808 / revised 1810)
Recitative and rondo Il momento s'avvicina for soprano and orchestra, Op. 16, J. 93 (1810)
Hymn In seiner Ordnung schafft der Herr for soloists, chorus and orchestra, Op. 36, J. 154 (1812)
Cantata Kampf und Sieg for soloists, chorus and orchestra, Op. 44, J. 190 (1815)
Scene and Aria of Atalia Misera me! for soprano and orchestra, Op. 50, J. 121 (1811)
Jubel-Cantata for the 50th royal jubilee of King Frederick Augustus I of Saxony for soloist, chorus and orchestra, Op. 58, J. 244 (1818)

 
JJ. 244 (Op. 58)
Minor composers   
Viennese classical / early romantic  nations&periods  A-Z    ww-brass   ww   times
Voříšek
Voříšek, Jan Václav Hugo (1791-1825)  
Voříšek - 1 symphony
symphony in D 25' 2222-2200 timp str
Bravurni Variace 14' 2222-2200 timp str pno-solo
Voříšek-choral
Mass in B-Flat Major (32'24) uitwerken
 
Germany-Austria   Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
Composers.
Marschner, Heinrich (1795-1861)
Strauss I, Johann (1804-1849)
Mendelssohn-Bartholdy, Felix (1809-1847);
Schumann, Robert (1810-1856);
Wagner, Richard (1813-1883);
Bruckner, Anton (1824-1896);
Reinecke, Carl (1824-1910);
Strauss II, Johann (1825-1899)
Brahms, Johannes (1833-1897);
Liszt, Franz (1811- 1886);
Bruch, Max (1838-1920);
Reznicek, Emil von (1860-1945);
Strauss, Richard (1864-1949);
Reger, Max (1873-1916)  
 
Marschner, Heinrich (1795-1861)
Marschner was the most important composer of German Romantic opera between Carl Maria von Weber and Richard Wagner, and is remembered principally for his operas Hans Heiling (1833), Der Vampyr (1828), and Der Templer und die Jüdin (1829).
Marschner, Bote Hofmeister
Hans Heiling op.80 (1833) Overture (8'28)  2222-4230 timp str  05'-10'
 
Strauss I, Johann (1804-1849)
Strauss I,
German: Johann Baptist Strauß, Johann Strauss (Vater); also Johann Strauss, Sr., the Elder, the Father), born in Vienna, was an Austrian Romantic composer famous for his waltzes, and for popularizing them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musical dynasty. His most famous piece is probably the Radetzky March (named after Joseph Radetzky von Radetz), while his most famous waltz is probably the Lorelei Rheinklänge, Op. 154.
Radetzky March op.228 (1848) (3') 2222-4230 perc str   -05'   Edition Erdmann
 
Lanner, Joseph (1801-1843)
L. was an Austrian dance music composer. He was best remembered as one of the earliest Viennese composers to reform the waltz from a simple peasant dance to something that even the highest society could enjoy, either as an accompaniment to the dance, or for the music's own sake. (Wikipedia)
 
Schumann, Robert (1810-1856) Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
Schumann,
Schumann-orchestral
The 4 (5) symphonies and a symphonic piece
Symphony in G minor ("Zwickau") WoO29 (1832?) (19') 1. Moderato-Allegro (10'37); 2. Andantino-Intermezzo: Allegro assai-Andantino (8')
Symphony nr.1 in B flat op.38 ‘Frühling’
Spring (1841) (32’) 2222-4230 timp perc
Ouverture, Scherzo und Finale in E op.52 (1841) (18’)  2222-2230 timp str  15'-20'
Schumann originally considered it his second symphony.
Symphony nr.2 in C op.61 (1846) (36’) 2222-2230 timp
Symphony nr.3 in Eflat major op.97 (1850) (31’) ‘Rheinische’ Rhenish
2222-4230 timp
Symphony nr.4 in d op.120
(1841; revised in 1851) (29’) 2222-4230 timp   20'-30'
The earlier versions of this symphony are not convincing (D.A.)
Schumann-overtures   05'-10'
# Op. 100, The Bride of Messina overture (1850–51)
# Op. 120, Symphony No. 4 in D minor (1841; revised in 1851)
# Op. 128, Julius Caesar overture (1851)
# Op. 136, Hermann und Dorothea overture (1851)

Overture to The Bride of Messina (Die Braut von Messina) op.100 (9’) 3222-2230 pk str   
05'-10'
In 1850 Richard Pohl, a student friend of Schumann, sent him Schiller's tragedy, "The Bride of Messina," arranged as an opera libretto with the suggestion that he should set it to music. Perhaps remembering the fate of "Genoveva," he could not make up his mind to compose an opera upon the subject. That he was very much interested in it, however, is shown by his writing an overture to it, which was performed in Leipzig in 1851. (Internet)
Ouv.Faust-Szenen (6’)
2222-4230 timp str
Ouv. Hermann und Dorothea op.136 (8’) 3222-2200 perc str
Ouv. Julius Caesar op.128 (9’) 2222-4231 timp str
Ouv. Manfred op.115 (11’) 2222-4330 timp str
Schumann-solo+orchestra
Violin Concerto in d (30’) 2222-2200 timp str  
violin&orchestra
Fantasy, violin and orchestra op.131 (14’) 2222-2200 pk str
Celloconcert op.129 in a (23’) 2222-2200 timp str
Pianoconcert op.54 in a (30’) 2222-2200 timp str
Konzert-Allegro mit Introduktion op.134 (13’)
2222-2210 timp str  
Konzertstück for 4 Horns and Orch.op.86 in F (21’) 3222-2230 timp str
Konzertstück pno&orch op.92 in G (15’) 2222-2200 timp str
Schumann-incidental music
Manfred, op.115 (1848) (80') after Byron several Sp SATBBBB – choir: SSATB 3322-4331 timp, 2perc hp org str (ww: 2+1, 2+1, 2, 2) 
Breitkopf, (Kalmus=Br&H)
0. Ouvertüre
Erste Abtheilung. Part I.
1. Gesang der Geister: Dein Gebot zieht mich heraus (2'52) SATB
2. Erscheinung eines Zauberbildes: O Gott, ist's so, wenn du nicht Wahnbild (Melodrama)
3. Geisterbannfluch: Wenn der Mond auf stiller Welle (4'01) BBBB
4. Alpenkruhreigen: Horch, der Ton! (Melodrama).
Zweite Abtheilung. Part II.
5. Zwischenaktmusik
6. Rufung der Alpenfee: Du schöner Geist mit deinem Haar (Melodrama)
7. Hymnus der Geister Ariman's: Heil unsrem Meister! (0'19)
8. Chor: Wirf in den Staub dich (1'22)
9. Chor: Zermalmt den Wurm (1'03)
10. Beschwörung der Astarte: Schatten! Geist! Was immer du seist (Melodrama)
11. Manfreds Ansprache an Astarte: O höre, hör' mich. Astarte! (4'39) (Melodrama)
Dritte Abtheilung. Part III.
12. Ein Friede kam auf mich (Melodrama) ()
13. Abschied von der Sonne ()
14. [ohne Bezeichnung] (Melodrama)
15. Klostergesang: Requiem aeternam (3'44) rec. choir

Schumann-arranged
Symphonic Studies (1864) (8') 3222-4230 timp str (Schumann-arr. Tchaikovski)
Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets (A), 2 Bassoons + 4 Horns (A, D), 2 Trumpets (D), Alto Trombone, Tenor Trombone, Bass Trombone + Timpani + Violins I, Violins II, Violas, Cellos, Double Basses
2 numbers from the Symphonischen Etuden (Op. 13) for piano by Robert Schumann, arranged by Tchaikovski for orchestra (1863/64).
 
Reinecke, Carl (1824-1910)  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
Reinecke,
-solo+orchestra
Harp concerto op.182  in e (22') 2222-4200 timp perc str   harpconcertos
Flute concerto op.283 in D (20') 2222-4200 timp perc str   flute&orchestra
 
Strauss II, Johann (1825-1899)
Strauss II,
Also known as Johann Baptist Strauss or Johann Strauss, Jr., the Younger, or the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.
Fledermaus, Die, Overture (1874) (9') 2222-4230 timp perc str   05'-10'
Die Fledermaus (The Bat) is an operetta composed by Johann Strauss II to a German libretto by Karl Haffner and Richard Genée.
Der Zigeunerbaron (1885), Overture (8') 2222-4230 timp perc hp str   05'-10'
The Gypsy Baron (German: Der Zigeunerbaron) is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its libretto was by the author Ignaz Schnitzer and in turn was based on Sáffi by Mór Jókai.
 
Brahms, Johannes (1833-1897)   Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
Brahms,
Brahms - the ‘5’ symphonies.
The ‘4’ symphonies all have double ww, except 3 bns (cbn). The '5th symphony' (arr. Schoenberg) has triple ww.
Symphony  nr.1 (41’) 2223-4230 timp str 
   40'-50' 
Symphony  nr.2 (43’)
2222-4231 timp str     40'-50' 
Symphony nr.3 (36’)  2223-4230 timp str     30'-40'
Symphony  nr.4 (44’) 2223-4230 timp tri str
40'-50' 
Quartet op.25 in g (25’) arr. A. Schoenberg 
3333-4331 timp perc str  ('5th Symphony')   20'-30'
Brahms - 2 serenades.
Serenade nr.1 in D op.11 (1857) (40’)
2222-4200 timp str   30'-40'
1. Allegro molto (12'); 2. Scherzo. Allegro non troppo (7'40); 3. Adagio non troppo (13'30); 4. Menuetto I; Menuetto II (3'36); 5. Scherzo. Allegro (2'52); 6. Rondo. Allegro (5'45)
Originally scored for chamber group but revised at the suggestion of Clara Schumann and Joseph Joachim to be played by a larger orchestra. Apparently it started life as a three or four movement work for wind and string octet; the first full version, with six movements, saw light in 1858. The scoring was now for nine instruments, one of each Classical orchestral instrument except with the substitution of a second clarinet for the oboe (Brahms evidently opting for cornstarch in preference to chili peppers in such a light recipe). Inspired by the character of the music and the urging of Joseph Joachim and Karl Bargheer, Brahms' violinist colleague in Detmold, the following year Brahms expanded the instrumentation to a small orchestra (likely with the same winds but multiple strings); finally in 1860 came the scoring for full orchestra, the form in which the work is usually performed. Brahms toyed with the idea of transforming it into his first symphony, but desisted - being perhaps a little shellshocked by the rocky reception in 1859 of his first piano concerto - and also with billing it as a “Symphony-Serenade”, but the original title won out. www.riverdaleensemble.com
Serenade nr.2 in A op.16 (1859/75) (32’) 3222-2000 strings without violins; fl.3=piccolo: only last movement  30'-40'
Combinations with other pieces without violins: Dallapiccola, Tartiniana (16') 3143-2100 xyl hp 6va, 3vc, 2cb, v-solo violin&orchestra; Tartiniana Seconda (12') 3231-1100 timp perc cel xyl, vibr, glock, hp, 4va, 4vc, v-solo violin&orchestra
Brahms - 2 overtures and the Haydn Variations.
Akademische Festouverture op.80 (12’) 3222-4331 1+3 str (1. tri; 2. cymb; 3. b.dr) 10'-15'
Tragische Ouverture op.81 (11’) 3222-4231 timp  
Variationen über ein Thema von Joseph Haydn op. 56a (17’) 3223-4200 timp tri str   15'-20'
Brahms - solo+orchestra: the 4 concertos.
Pianoconcerto nr.1 in d op.15 (43’)
2222-4200 timp
Concerto in D op.77 for violin (36’)
2222-4200 timp str  violin&orchestra
Pianoconcerto nr.2 in Bflat major op.83 (49')
2222-4200 timp  
Double concerto for violin&cello in a op. 102 (34’)
2222-4200 timp str 2 various&orchestra
Brahms-the Hungarian Dances   05'-10'
[there is a confusing variety of arrangements of different authorship]
Hungarian Danses 1/3/10 (Brahms) 3222-4200 timp  perc
Brahms - choral works
Rhapsodie op.53 (13') 2222-2000 str A-solo TTBB
Brahms - orchestral arrangements of 6 Schubert songs
Breitkopf
Brahms - arranged
Four serious Songs (Vier ernste Gesänge) op.121   orchestral songs
arr. Erich Leinsdorf 3333-4331 timp hp str Bar-solo (20') Boosey
arr. L. Misch 22234-3230 timp hp str B-solo Lengnick?Simrock
arr. G.Raphael 2222-2230 timp str
arr. M. Sargent 2222-4230 timp hp str A/B solo Oxford
arr. K.M.Zwissler 3223-4230 timp hp str low solo UE

Bruckner, Josef Anton (1824-1896) 
Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
Bruckner,
Bruckners symphonies are listed 1-9 but in fact he wrote 11 symphonies. Only 8&9 have triple woodwinds; 7-9 have an extended group of 8 hornplayers (4Wagner-tubas included). A special point of concern are the different versions of some symphonies. Bruckner in his early  years wrote some minor orchestral works of much less value. The mature choral works with orchestra are a worthy adition to the symphonies. Bruckners string quintet has been arranged for string orchestra.
Bruckner-the 11 symphonies.
Symphony in F major             (40’) 
2222-4230 timp str  40'-50'  
Symphony nr.0 in d minor       (43’) 2222-4230 timp str  40'-50' 
Symphony nr.1 in c minor       (45’) 3222-4230 timp str  40'-50'
Symphony nr.2 in c minor       (67’) 2222-4230 timp str  60'-90'  
Symphony nr.3 in d minor       (65’) 2222-4330 timp str  60'-90'   
Symphony nr.4 in E flat major (72’) 3222-4331 timp str  60'-90'  
Versions. At least 7 authentic versions of the Fourth Symphony can now be identified.
1874 version. Bruckner's original version, published in an edition by Leopold Nowak in 1975, was composed between 2 January and 22 November 1874. This version of the symphony was never performed or published during the composer's lifetime, though the Scherzo was played in Linz on 12 December 1909.
1878 version. When he had completed the original version of the symphony, Bruckner turned to the composition of his Fifth Symphony. When he had completed that piece he resumed work on the Fourth, though it is possible that he made some revisions to the latter in 1876 or 1877. Between 18 January and 30 September 1878 he thoroughly revised the first two movements and replaced the original finale with a new movement entitled Volksfest ("Popular Festival"). This Volksfest finale was published as an appendix to Robert Haas's edition of 1936 and in a separate edition by Leopold Nowak in 1981.
In December 1878 Bruckner replaced the original Scherzo with a completely new movement, which is sometimes called the "Hunt" Scherzo (Jagd-Scherzo). In a letter to the music critic Wilhelm Tappert (October 1878), Bruckner describes the new movement thus: "[the Scherzo] represents the hunt, whereas the Trio is a dance melody which is played to the hunters during their repast". The original title of the Trio reads: Tanzweise während der Mahlzeit auf der Jagd ("Dance melody during the hunters' meal").
1880 version. After the lapse of almost a year (during which he composed his String Quintet in F Major), Bruckner took up his Fourth Symphony once again. Between 19 November 1879 and 5 June 1880 he composed a new finale – the third, though it shares much of its thematic material with the first version[3] – and discarded the Volksfest finale. Thus the 1880 version is the same as the 1878 version but with a new finale. This was the version performed at the work's premiere on 20 February 1881, which was the first premiere of a Bruckner symphony not to be conducted by Bruckner himself. This version is sometimes referred to as the 1878/80 version.
1881 version. The 1881 version is the same as the 1880 version but includes some changes made after the first performance of the latter – notably a cut in the slow movement and a reworking of the finale. It is available in an edition by Robert Haas, which was published in 1936, based on Bruckner's manuscript in the Austrian National Library.
1886 version. The 1886 version is the same as the 1881 version but includes a number of changes made by Bruckner while preparing a score of the symphony for Anton Seidl, who took it with him to New York. This version was published in an edition by Nowak in 1953, based on the original copyist's score, which was rediscovered in 1952 and is now in the collection of Columbia University. In the title of Nowak's publication, it was confusingly described as the "1878-1880 version". It was performed in New York by Seidl on 4 April 1888.
1887 version.m With the assistance of Ferdinand Löwe, and probably also Franz and Joseph Schalk, Bruckner thoroughly revised the symphony in 1887-88 with a view to having it published. Although Löwe and the Schalks made some changes to Bruckner's score, these are now thought to have been authorized by Bruckner. This version was first performed to great acclaim in Vienna on 20 January 1888 by the Vienna Philharmonic Orchestra under the baton of Hans Richter.
The only surviving manuscript which records the compositional process of this version is the Stichvorlage, or engraver's copy of the score, which was prepared for the symphony's publisher Alfred J. Gutmann of Vienna. The Stichvorlage was written down by three main copyists whose identities are unknown, though it is possible that they were none other than Löwe and Franz and Joseph Schalk. One of the copyists copied out the 1st and 4th movements, while the others each copied out one of the inner movements. Some tempi and expression marks were added in a fourth hand; these may have been inserted by Hans Richter during rehearsals for the premiere in January 1888, or even by Bruckner himself, who is known to have taken an interest in such matters. The Stichvorlage is now in an inaccessible private collection in Vienna; there is, however, a set of black-and-white photographs of the entire manuscript in the Wiener Stadtbibliothek
1888 version. In February 1888, Bruckner made extensive revisions to all four movements after having heard the premiere of the 1887 version the previous month. These changes were entered in Bruckner's own hand into the Stichvorlage, which he then dated. The Stichvorlage was sent to the Viennese firm of Albert J. Gutmann sometime between 15 May and 20 June 1888. In September 1889 the score was published by Gutmann. This was the first edition of the symphony to be published in the composer's lifetime. In 1890 Gutmann issued a corrected text of this edition, which rectified a number of misprints. The 1888 version is sometimes referred to by Bruckner scholars as the "revised version".
Symphony nr.5 in B flat major (80’) 3222-4331  timp str  60'-90'  
1875 original version
1878 version. This is the version normally performed. The editions by Robert Haas (published 1935) and Leopold Nowak (published 1951) are almost identical.
1896 version. This is the first published version (Schalk) It is generally agreed that most of the changes were made by Schalk, unapproved by Bruckner and also inauthentic. Schalk generally made Bruckner's music sound more Wagnerian, mainly by means of reorchestration. The most obvious differences occur in the coda of the Finale. In the last few pages, Schalk adds triangle and cymbals, and an offstage brass band. Schalk also made several cuts, mostly in the Finale.
Symphony nr.6 in A     (65’) 2222-4331 timp str   60'-90'     
One version.
Symphony nr.7 in E      (68’) 2222-8331 timp str  60'-90'     
(4+4=4c+4Wagner-tubas)
1883 premiere-version. This was the version performed at the work's premiere. Unfortunately it survives only in one autograph copy which includes later changes by Bruckner and others, so the exact contents of this version are lost unless new manuscripts are found. This version is unpublished.
Gutmann-edition (1885). Some changes were made after the 1884 premiere but before the first publication by Gutmann in 1885. It is widely accepted that Nikisch, Franz Schalk and Ferdinand Löwe had significant influence over this edition, but there is some debate over the extent to which these changes were authorized by Bruckner. These changes mostly affect tempo and orchestration.
Haas-edition (1944). Robert Haas attempted to remove the influence of Nikisch, Schalk and Löwe in order to retrieve Bruckner's original conception of the symphony. Haas used some material from the 1883 autograph but because this autograph also includes later changes much of his work was the product of conjecture. The most prominent feature of Haas's edition is the absence of cymbals, triangle and timpani in the slow movement: Haas asserted that Bruckner decided to omit the percussion, a claim scholar Benjamin Korstvedt deems "implausible".
Nowak edition (1954). Leopold Nowak kept most of the changes in the 1885 Gutmann edition, including the percussion. He reprinted the tempo modifications from Gutmann but placed them in brackets. Some performances of this edition omit the cymbal clash at the climax of the slow movement, although it is included in the printed score.
Symphony nr.8 in c      (87’)  3333-8331 timp perc hp str   60'-90'  
(4 Wagner-tubas) 
Symphony nr.9 in d      (60’)  3333-8331 timp str    60'-90'  
(4 Wagner-tubas) 
Het Quintett in F 45’in de versie voor strijkorkest (arr. Lehnert, J., UE rent)
Bruckner-early choral works with orchestra.
Mis in C (Windhager Messe) WAB 25 (1842)
Requiem in d WAB 39 (1849) (37') 0000-1030 org str SATB-soli mix
Magnificat 1852 WAB 24
Missa Solemnis in Bes (1854) 0022-2230 timp org str SATB-soli mix
  • Psalm 22 1852 WAB 34
  • Psalm 114 1852 WAB 36
  • Bruckner - the 3 mature masses and 2 psalms
    Mass no.1 in d (1864) 2222-2230 timp str mix
    Mass in e (1866) 0222-2230 no str 0-solo
    Mass in f (1868) (60') 2222-2230 timp str opt org SATB-solo mix 40'-60'
  • Psalm 146 WAB 37 (1860)
  • Psalm 112 WAB 35 (1863) (14') 2222-2230 timp str mix 0-solo
  • Bruckner - the 2 late choral works with orchestra.
    Te Deum in C (1883) (22') 2222-4331 timp str (opt org) SATB-soli mix
    Psalm 150 (1892) (8') 2222-4331 timp str mix 0-solo 0'-10'
    Bruckner - male choir with orchestra
    Mitternacht WAB 80 (1870) (5') 2322-4230 timp hp cel str men cor
    Germanenzug  (1863)
    Helgoland for male choir and orchestra (1893) (12') 2222-4331 timp cymb str
    Since he did not complete the 9th symphony, Helgoland is Bruckners last complete work. Helgoland is a piece of music by Anton Bruckner for large orchestra and male choir in the key of G minor, assigned the catalogue number WAB 71. The average performance duration ranges from 12 minutes to 15 minutes. The orchestra is composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbal and strings.

     
    Bruckner - combinations
    Schnittke's Symphony No. 2 "St. Florian" (1979) (Missa invisibilis) für Kammerchor und Orchester (1979) (55') 4444-4441 timp 5perc could make a thematic match with a selection of Brucker's choral works.
     
    Liszt, Franz (1811-1886)  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Liszt,
    Liszt - the 2 programmatic symphonies
    Dante Symphony / A Symphony to Dante's Divine Comedy S.109 (1857) (46') 3332-4231 timp perc 2hp harm str wom cor  40'-50'  
    1. Inferno; 2. Purgatorio
    Liszt's intention was to compose the work in three movements—one each for the Inferno, Purgatorio and Paradiso. However, Wagner persuaded Liszt that no earthly composer could faithfully express the joys of Paradise.
    Eine Faust Symphonie in drei Charakterbildern S.108 (1857) (72') (nach Goethe) male cor 3222-4331 timp perc hp org str   60'-90'
     
    Liszt - 13 (?) symphonic poems
    Nr.1, Ce qu’on entend sur la montagne (1849) (31') 3232-4331 timp perc hp str   30'-40'
    Nr.2, Tasso, 1849, Lamento e Trionfo. 3232-4431 timp perc hp str  15'  
             Le Triomphe funèbre du Tasse (epiloog bij “Tasso”). Trois Odes Funebres, G. 112; No. 3:
    3222-4231  2+1, 2, 2, 2 - 4, 2, 3, 1, timp, str
    Nr.3, Les Préludes (1850) (15’) 3222-4231 timp perc hp str 15'-20'
    Nr.4, Orpheus (1854)        (12') 3322-4231 timp 2hp str       15'-20'
    Nr.5, Prometheus (1850/55) (12') 3322-4231 timp str           15'-20'
    http://www.raff.org/support/download/liszt_en.htm
    Nr.6, Mazeppa (1851)         (17') 3333-4331  timp perc str   15'-20'
    (fl, ob, cl: 2+1) (nach V. Hugo).
    Nr.7, Festklänge, G. 101 (1856) (18') 2222-4331 timp perc str             20'-30'
    Nr.8, Heroide Funebre, S. 102 (1849/54) (20') 3322-4231 timp perc 2bells str  20'-30'
    (fl&ob:2+1) [collaborative orchestration] by Franz Liszt (1811-1886). Arranged by Joseph Joachim Raff. Kalmus.
    Nr.9, Hungaria (1854) (22') 3322-4331 timp perc str  20'-30'
    Nr.10, Hamlet, G. 104   3222-4231 timp perc str
    (fl: 2+1)
    Nr.11, Hunnenschlacht (1857) (16') 
    3222-4231 timp perc org str   15'-20'
                  Combinatiemogelijkheid. Mendelssohn, Wallpurgisnacht 2222-2230 timp perc str ATBar-solo cor-SATB 45'
    Nr.12, Die Ideale, G. 106 (30') 2222-4231 timp perc str  20'-30'
    Nr.13, Von der Wiege bis zum Grabe (1881) (15’) 4322-4231 timp perc hp str  15'-20'   Bote rent 
    Liszt-small orchestral works
    2 Episoden aus Lenau's Faust / Two Episodes from Lenau’s Faust, G. 110; 3322-4231 timp, bell, hp, str
    Legendes, G. 175 No. 1: St. Francois d’Assise: la Predication aux Oiseaux [arrangement] 2222-4231 timp, 2hp, str (Bird Sermon of St. Francis of Assisi)
    Christus, G. 3: Hirtengesang 2, 2+1, 2, 2 - 4, 2, 0, 0, timp, hp, str
    Annees de Pelerinage III, G. 163; No. 1: Angelus! [composer's transcription of Priere aux Anges Gardiens, G. 378/2] string orchestra
    Mephisto Waltz No. 2, G.111 3*222-4231  timp, perc, hp, str
    Zwei Legenden
    Trois Odes Funebres: La nuit 6' 2222-4030 pk str 6'  
    À la Chapelle Sixtine (Raabe 445, Searle 360) 2222-4231 timp perc str
    Weinen, Klagen (Variation on a Bach Motif), G. 179 J.S. Bach: Cantata No. 12, BWV 12 [arrangement] 2222-4231 timp, perc, str
    Totentanz (Dance of Death, Danse macabre) (16') 3222-2231 timp perc str pno-solo
    Paraphrase on the 'Dies irae'
    Liszt, 6 Hongarian Rapsodies
    Nr.1 (12') 3222-4231 pk perc hp str Nr.2 (9')
    4 versies: 2222-4230 pk perc hp str
    Nr.3 (6')
    Nr.4 (
    Nr.5
    Nr.6
    Numbers 2, 5, 6, 9, 12, and 14 were arranged for orchestra by Franz Doppler with revisions by Liszt himself. These orchestrations appear as S.359 in the Searle catalogue. However, the numbers given to these versions were different from their original numbers. The orchestral rhapsodies numbered 1-6 correspond to the piano solo versions numbered 14, 2, 6, 12, 5 and 9 respectively.
    In 1874, Liszt also arranged the same six rhapsodies for piano duet (S.621).  Liszt-
    piano&orchestra
    Concerto for Piano No. 1 in E-flat, G. 124 [collaborative orchestration] 2+1, 2, 2, 2 - 2, 2, 3, 0, timp, perc, str, [solo piano]
    Concerto for Piano No. 2 in A, G. 125 3d1, 2, 2, 2 - 2, 2, 3, 1, timp, perc, str, [solo piano]
    Fantasy on Beethoven's Ruins of Athens, G. 122 3222-2230 timp, perc, str, solo pf in sc
    Fantasy on Hungarian Folk-Themes, G. 123 2+1, 2, 2, 2 - 2, 2, 3, 0, timp, perc, str, [solo piano]
    Wandererfantasie, D. 760/Op. 15 [transcription] Wanderer Fantasy Schubert/Liszt 2, 2, 2, 2 - 2, 2, 3, 0, timp, str, solo piano
    Malediction, G.121 str, solo piano in sc
    Soirees de Vienne, Valses-Caprices d'apres Schubert Schubert/Liszt 0, 2, 2, 1 - 2, 2, 1, 0, timp, perc, str, [solo voice] SCORE NOT AVAILABLE
    Annees de Pelerinage II, G.161; No. 5: Sonetto 104 del Petrarca 2, 2, 2, 2 - 2, 0, 3, 0, timp, hp, str, [solo voice]
    Liszt choral music
    Graner Festmesse(1855)
    Christus, G. 3: Die Heiligen Drei Koenige March of the Three Kings 2+1, 2, 2, 2 - 4, 3, 3, 1, timp, hp, str
    Cantico del Sol, G. 4 2, 2, 2, 2 - 4, 2, 1, 1, org, str, solo Bar, men's chor
    Liszt-further reading List of compositions by Franz Liszt (S.1 - S.350) / List of compositions by Franz Liszt (S.351 - S.999)
     
    Wagner, Richard (1813-1883)    Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  Wagner,
    Wagner levenswerk was wel het componeren van opera's die meestal uitgevoerd worden in het muziektheater. Voor symfonische programma's in de concertzaal bestaat de keuze uit de vroege orkestwerken, operafragmenten, orkestliederen en als apart kamerorkeststuk de Siegfried Idyll..
    Wagner-orchestral works  
    Overture in D minor 'Konzert-Ouvertüre Nr. 1' (1831) 2222-4200 timp str
    Symphonie in C (1832) 26' 2223-4230 pk str
    Overture in C major Polonia (1836) 2222-4230 timp str
    Ouvertüre in D major Rule Britannia (1837) (8') 4233-4431 timp perc str
    Trauermusik nach Motiven aus Carl Maria von Webers "Euryanthe" 1844 (première 1844)
    # twee of drie symfoniefragmenten 1846-1847
    # Träume voor solo-viool en orkest in As-groot (bewerking van de Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung: nr. 2 (later nr. 5)) 1857 (première 1857)
    # Romeo und Julie tussen 1868 en 1879?     
    Eine Faust-Ouvertüre in D minor (1840, revised 1855) (12’) 3223-4231 timp
    Wagner-orchestral song
    Wesendonklieder 2222-4100 timp harp str (Mottl) / 22' 22*2*2*-2000 hp str (Henze) / 1122-2300 hp str (Stüber)    voice&orchestra
    Wagner-chamber orchestra
    Siegfried-Idyll (18') 1121-2100 str  15'-20'
    Wagner-from the opera’s
    Wagner-Die Feen (The Fairies) (1833)
    Die Feen (The Fairies) in three acts was Wagner's first completed opera. Libretto (German) written by the composer after Carlo Gozzi's La donna serpente.
    Die Feen, Ouverture (13’) 2222-4230 pk str
    Wagner-Das Liebesverbot (The Ban on Love) (1836)
    Das Liebesverbot, Ouverture 3222-4431* pk perc str 15'    [21]
    Wagner-Rienzi (1842)
    Rienzi, Ouvertüre (12’) 3223-4431 timp perc
    Rienzi, Ballet (5’) 3222-4431 pk perc
    Rienzi, Friedensmarsch (5') 2222-4231 timp str
    Wagner-Der Fliegende Holländer (1843),
    Ouvertüre (13’) 3222-4231 pk hp str
    Tannhäuser (1845)
    Lohengrin (1850)
    Lohengrin, Prelude Act I (7') 3333-4331 timp perc str
    Lohengrin, Prelude Act III (5') 3333-4331 timp perc str
    Lohengrin, Feierlicher Zug zum Munster (4') 3333-4331 timp str cor
    Lohengrin, Hochzeitsmarch (Bridal Chorus) (5') 3223-4231 perc hp str cor
    Tristan und Isolde (1865)
    Die Meistersinger von Nurnberg (1868)
    Prelude (10') 3222-4331 timp perc hp str
    Wagner-Der Ring des Nibelungen
    I. Das Rheingold (1869)
    II. Die Walküre (1870)
    III. Siegfried (1876)
    IV. Götterdämmerung (1876)
    The Ring, an orchestral adventure (symphonic compilation, arranged by Henk de Vlieger, 1991) (68') 4443-8441 2timp, 3perc 6hp str
    piccolo, 3 flutes, 3 oboes, english horn, 3 clarinets, bassclarinet, 3 bassoons, 8 horns (including 4 Wagner-tubas), 3 trumpets, basstrumpet, 3 trombones, contrabasstrombone, basstuba, 2 timpanists, 3 percussionists, 6 (2) harps, strings
    Was commissioned by the Netherlands Radio Philharmonic Orchestra on the occasion of a concert tour in Germany in February 1992, and is dedicated to chief conductor Edo de Waart.
    Wagner-Parsifal (1882)
    Parsifal, Prelude, Act I (13') 3434-4331 timp str
    Parsifal, Charfreitagszauber (10') 3444-4331 timp str
    Parsifal, Zum letzten Liebesmahle (6') 3444-4331 timp perc str cor
     
    Bruch, Max (1838-1920) Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Bruch, Max (1838-1920)
     
    Reznicek, Emil Nikolaus [Freiherr] von (1860-1945)  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Reznicek,
    Reznicek-5 symphonies
    Symphony No. 1, "Tragic" in D minor (1902) (22'37) 3223-4231 timp perc hp str

    Symphony No. 2, "Ironic" in B-flat (1904) (25') 3222-2200 timp str
    Symphony No. 3, "Im alten Stil" in D major (1918) (35') 222-4200 timp str
    Symphony No. 4 in F minor (1919) 2223-4230 timp perc str
    Symphony No. 5, "Tanz-Symphonie" (1924)
     
    Donna Diana Overture (5') 3222-4200 perc hp str   -05'
    Schlemihl (1912) (40') 4454-4431 timp 5perc 2hp cel org str T-solo 2tr offstage
    Reznicek's symphonic poem Schlemihl (1912) can be seen as a direct parody of Strauss' Ein Heldenleben.
    Raskolnikoff
     
    Reger, Johann Baptist Joseph Maximilian (1873-1916) Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times Reger,
    Reger-symphonic works
    Variations and Fugue on a Theme of Beethoven, Op. 86 (22') 2222-4231 timp str
    (arranged from a 2-piano work)
    Sinfonietta op. 90 in A major (42') 2222-4200 timp hp str
    Serenade op. 95 (1905) (42') 2222-2000 timp hp double str-orch
    Hiller Variations, Op. 100 (39') 2223-4231 timp hp str
    Symphonic Prologue to a Tragedy, Op. 108 (35') 3333-6331 timp perc str
    Romantic Suite, Op. 125 (29') 3322-4331 timp perc hp str
    Four Tone Poems after A. Böcklin, Op. 128 (26') 3223-4331 timp perc hp str
    Variations and Fugue on a theme by Mozart op.132 (35') 3222-4200 timp hp str
    Concerto in the Olden Style (Konzert im alten Stil) op. 123 (1912) (21') 3302-3300 timp str  20'-30'
    Reger-solo&orchestra
    Violin concerto Op. 101 in A major (57') 2222-4200  timp str
    Piano concerto Op. 114 in F minor (48') 2222-4200  timp str
     

    England-19    England-19   Engeland-20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Cramer, Johann Baptist (1771-1858)
    Field, John (1782-1837)
    Samuel Wesley,
    Sterndale Bennet,
    G.A.Macfarren,
    Arthur Sullivan,
    Hubert Parry,
    Stanford, Charles (1852-1924),
    Elgar, Edward (1857-1934)
     
    Cramer, Johann Baptist (1771-1858)
    Field, John (1782-1837)
     
    Stanford, Charles (1852-1924)  
    Stanford,
     
    Elgar, Edward (1857-1934)
    Elgar,
    Enigma variations op.36 (28') 2223-4331 timp perc org str
    Elgar-solo+orchestra
    Concerto for violoncello and orchestra op.85 (30') 2222-4231 timp str  cello&orchestra
    Concerto for violin and orchestra op.61 (50') 2223-4331 timp str   1solo-violin&orchestra
     
    Russia-19    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Russia-19-composers list
    Bortniansky, Dmitry Stepanovich (1751-1825);
    Aljabjev, Alexandr Alexandrovich (1787-1851);
    Glinka, Michail (1804-1857)
    Dargomyzhsky, Alexander Sergeyevich (1813-1869);
    Rubinstein, Anton (1829-1894);
    Borodin, Aleksandr (1833-1887);
    Cui, Cesar Antonovitch (1835-1918),
    Balakirew, Milij (1837-1910);
    Mussorgsky, Modest Petrovitsj (1839-1881);
    Tchaikovsky, Pjotr Iljitsj (1840-1893);
    Rimski-Korsakov, Nikolaj Andrejevitsj (1844-1908);
    Liadov, Anatoli (1855-1914);
    Taneyev, Sergei Ivanovich  (1856-1915),
    Kastalsky, Alexand(e)r Dmitriyevich (1856-1926),
    Ippolitov-Ivanov, Mikhail Mikhailovitch (1859-1935);
    Lyapunov, Sergei Mikhailovich (1859-1924)
    Arensky, Anton Stepanovitch (1861-1906),
    Gretchaninov, Alexander Tikhonovitch (1864-1956);
    Glazunov, Alexander (1865-1936);
    Kalinnikov, Vasily Sergeyevich (1866-1901);
    Rebikov, Vladimir Ivanovich (1866-1920);
    Koreshchenko, Arseny Nikolayevich (1870 -1921);
    Rachmaninoff, Sergei Vasilievich (1873-1943);
    Tcherepnin, Nicolai (1873-1945)
    Glière, Reinhold (1875-1956);
    to be continued in: Russia&Sovjet-Union-20  
    Russia-19-three forrunners.
    Bortniansky was a Ukrainian composer, active principally in Russia. He was one of the "Golden Three" of his era, along with Artem Vedel (1770-1808) and Maxym Berezovsky (1745-1777). He is mainly remembered as a composer of sacred choral works, but he also wrote operas and sacred vocal works with orchestral accompaniment. The 3 just mentioned composers are memorated in Duma (1985), a composition of Virko Baley (1938). http://virkobaley.com/ and http://virkobaley.com/works/programnotes/TNP1011note.html
    Duma, a Soliloquy for orchestra (1985, rev. 1988) (13') Dur: 13' 2 2 2d1(b.cl) 2 - 4 2 3 1 - 3 perc, hp, pf1(cel), pf2(amplified hpchd) Str: 10 8 6 6 4 (minimum) (Part II of "Sacred Monuments" full orchestra version) Commissioned by Nevada State Council on the Arts and Dr. Robert Meger
    Duma, a soliloquy (now the second movement of the Symphony), a tribute to the Ukrainian composer Artem Vedel (1770-1808) using quotes from his music. Each movement of Baley’s Symphony extends its commemorations to other composers, with the first movement, entitled “The Hour of the Wolf,” honoring Maxym Berezovsky (1745-1777), the third, entitled “Agnus Dei,” concerning Dmitri Bortniansky (1751-1825) and the fourth, a “Postludium,” devoted to Boris Lyatoshynsky (1895-1968). Despite these inspirations, there is little programmatic or overtly Ukrainian influence in this music. Nor is there an overly intellectual bent of western formulism, despite the piece’s willful structure. Instead, Baley’s symphony unfolds in a densely layered sound world where the composer’s Slavic roots and Western existence find peaceful coexistence in the music’s depths rather than its surface.
    Russia-19-The Five / The Mighty Handful
    The Five, also known as The Mighty Handful (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856-1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. In a sense, they were a branch of the Romantic Nationalist movement in Russia, with the Abramtsevo Colony and Russian Revival striving to achieve similar goals in the sphere of fine arts. (Wikipedia)
    Read more: http://en.wikipedia.org/wiki/The_Five
     
    Bortniansky, Dmitry Stepanovich (1751-1825)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Bortniansky is mainly remembered for his religious choral works, but he also wrote instrumental works: piano sonatas, chamber music, symphonies (Encyclopedia of Ukraine, vol. 1, 1984. The oldest Russian piece with the title symphony but in fact a piano septet. It is an unimportant composition. Ein schwages dreisätziges Werk, das weniger eine Kammersymphonie ist als vielmehr ein Klavierseptett. (Bär).
    Concerto-Symphony for Piano, Harp, Two Violins, Viola da gamba, Cello and Bassoon in B Flat Major (1790) (19'26)
    Piano Concert Listen: YouTube
     
    Aljabjev, Alexandr Alexandrovich (1787-1851)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Aljabjev,
    A completely forgotten composer who can given the credit of having been the composer of the first Russian symphonies.
    Symphony No.1 in G (1815?); Symphony No.2 in E flat (1815); Symphony No.3 e flat - in 1 mvmt (1830); Symphony No.4 (1850); Symphony in e (1830)
    More Aljabjev: http://de.wikipedia.org/wiki/Alexander_Alexandrowitsch_Aljabjew  / http://www.russisches-musikarchiv.de/werkverzeichnisse/aljabjew-werkverzeichnis.htm
     
    Glinka, Michail (1804-1857)    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Glinka,
    Glinka-symphonic pieces
    Glinka-overtures and short pieces
    Overture in D (1826)
    Overture in g  (1826)
    A life for the Tsar, Overture (1836) (12') 2222-4230 timp str
    Russlan and Ludmilla, Overture (1842) (5') 2223-4230 timp perc str
    Caprice Brilliant on 'La  Jota Aragonesa' (1845) (9') 2222-4231 timp perc hp str (Spanish Overture No.1)   05'-10'
    Summer Night in Madrid  'Recuerdos de Castilla' (1845) (10') 2222-4210 timp perc str (Spanish Overture No.2)
    Kamarinskaia (1848) (7') 2222-2210 timp str   05'-10'
    Polonaise in F- on a Spanish bolero-theme (1855) (?)
    Sinfonia sopra due motivi russi (Sinfonia über 2 Russische Themen) (1834) 2222-4030 timp str
    Valse-Fantaisie (1856) (5') 2222-2210 pk perc str
    Glinka-the 2 operas
    A life for the Tsar (Ivan Sussanin; Иван Сусанин) (1836) (version-2: 1837)
    A life for the Tsar, Overture (12') 2222-4230 timp str
    Russlan und Ludmilla (1842) (version-2: 1846)
    Russlan and Ludmilla, Overture (5') 2223-4230 timp perc str
    Glinka-incidental music
    Incidental music for Prince Kholmsky (1840) T: Nikolaj Kukolnik
    Prince Kholmsky, Overture (Glasunov; Rimski-Korsakov) (6') 2222-2210 timp str
    Prince Kholmsky, Suite (Glasunov; Rimski-Korsakov) (21')     2222-2210 timp str
    * 1840-1841 Tarantella, toneelstuk met recitatief, gemengd koor en orkest - tekst: Mjatlev
    Glinka, further reading.
    Glinka, Complete Works. Moscow 1955-1969.
     
    Dargomyzhsky, Alexander Sergeyevich (1813-1869)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Dargomyzhsky,  IMSLP
    His last unfinished opera, The Stone Guest (1872), is his most famous work, pioneering in melodic recitative. It was completed and orchestrated by César Cui (completion) and Nikolai Rimsky-Korsakov (orchestration), and was much prized by The Five.
    Comp. 1860–9 and left almost finished. Orch. by Rimsky-Korsakov, ov. by Cui. Prod. St Petersburg 1872. Rev. vers. (re-orch. by Rimsky-Korsakov 1898–1902 and with prelude added 1903), prod. Moscow 1906, Florence 1954, NY 1986
    Dargomyzhsky - 4 orchestral works
    Baba-Yaga or From the Volga nach Riga (1862) (8'15)  IMSLP
    Cosaque (1864) (5'45) 2222-2221 timp perc str IMSLP
    Bolero (late 1830s) (6'29) 1121-2210 timp cast cassa str  IMSLP
    Finnish Fantasy (1863-67) 3222-4221 timp perc str  IMSLP
     
    Dargomyzhsky - opera
    Rusalka (1848-55) IMSLP
    The Stone Guest (1872) T: Pushkin's drama (1830) on same story as Don Giovanni IMSLP
    The Stone Guest (1872), Overture by Cui? (10') 2222-4230 timp str Breitkopf
     
    Rubinstein, Anton (1829-1894)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Rubinstein, Anton (1829-1894)
     
    Borodin, Aleksandr Porfirjevitsj  (1833-1887)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Borodin,
    Borodin - the 3 symphonies
    Symphony no. 1 in E flat (1867) (31’) 2222-4230 timp str   30'-40'
    Symphony no. 2 in B minor (1876) (28’) 3222-4231 timp perc hp str  
    20'-30'
    (revised by Nikolai Rimsky-Korsakov and Glazunov)
    Symphony no. 3 in A minor (1887) (15’30”) 2222-4230 timp str   15'-20'
    (first two movements only, completed and orchestrated by Glazunov)
    Borodin - various
    In the Steppes of Central Asia (7’) 2222-4230 timp str  05'-10'
    Petite Suite arr. Glazunov 3222-4230 timp 4perc (24')
    Borodin - from the opera
    Mlada
    Finale (Rimsky-Korsakov) (5') 3222-4231 timp perc hp str
    Prince Igor (incomplete listing):
    Overture Prince Igor (10’) 3222-4231 timp str 
    Polovtsian Dances (12’) 3322-4231 timp perc hp str (opt cor) 
    10'-15'
    Borodin - string orchestra
    Scherzo (9')
     
    Cui, Cesar Antonovitch (1835-1918)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Cui,
    Elibron: Cйsar Cui. Chorus mysticus trium vocum muliebrium (Mystical Chorus). For Female Chorus and Piano. Full Score and Parts. Music score: $4.95. Paperback: $14.92
    Ukrainian Folk Songs. For Men's Choir: Edited by A. N. Artemovsky. Text in Ukrainian. Paperback: $19.42
    45 Russian Folk Songs. For 3 Voices. Edited by V. A. Biriukov. Paperback: $19.42
     
    Balakirev, Mily Alexyevitch (1837-1910)    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Balakirev,
    Balakirev - the 2 symphonies
    Symphony nr.1 (42') 3232-4231 timp perc hp str   40'-50' 
    ww: 32*32  
    Symphony nr.2 (33') 3232-4231 timp perc hp str  30'-40'
    ww: 32*32 
    Balakirev-the 4 overtures
    2 Russian overtures
    Overture on Three Russian Themes, orchestra (1858) (7') 2222-2230 timp str  05'-10'
    Overture on the themes of three Russian Folk Songs
    Second Overture on Russian Themes, Russia (Rus') (1864/84) (12') 3222-4231 timp perc 2hp str
    Ouverture sur un theme de marche Espagnole (1857) (11') 3222-4231 timp perc str  (Uvertyura Na Temu Ispanskogo Marsha)
    Overture on Czech Themes 'In Bohemia'('En Boheme') (13') 3232-4231 timp perc hp str (Uvertyura Na Tri Cheshkiye Temi)
    Balakirev-symphonic poems
    Islamey (1869) (11')
    Balakirev composed the original version of Islamey in 1869.Nikolai Rubinstein premiered the "oriental fantasy," which Balakirev considered a sketch for his symphonic poem Tamara. http://www.circassianworld.com/Balakirev_Islamey.htm
    arr. ? 4334-4331
    arr. Casella
    arr. L1apunov
    Thamar / Tamara, symphonic poem (1867/82) (22')   3232-4231 timp 3perc 2hp str ww: 32*32
    Balakirev was inspired by the poetry of Mikhail Lermontov about the seductress Tamara, who waylays travelers in her tower at the gorge of Daryal and allows them to savor a night of sensual delights before killing them and flinging their bodies into the River Terek.
    Balakirev-incidental music
    King Lear Overure (1861/1905) 11' 3232-4231 timp str   ww:32*32
    King Lear (Korol' Lir), incidental music Shakespeare's play (1858-1861, orchestra, revised 1902-1905).
    Balakirev-solo+orchestra
    Grande Fantasie on Russian Folksongs for piano and orchestra.
    Piano concerto

     
    Mussorgsky, Modest Petrovitsj (1839-1881)     nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Mussorgsky,   Russia-19
    Night on Bald Mountain / Nacht op de Kale Berg (8') 3222-4231 pk perc hp str   05'-10'
    The Rimski-Korsakov orchestration (1886) is the standard-version.
    http://nl.wikipedia.org/wiki/Nacht_op_de_Kale_Berg
    Pictures of an exhibition arr. Ravel (29') 3333 sax 4331 timp perc 2hp cel str   30'-40'
    The Ravel orchestration (xx) is the standard-version.
    Mussorgsky-solo+orchestra
    Songs and dances of death (arranged Shostakovich) (21') S-solo 2222-4231 timp perc hp cel pno str  1voice&orchestra
    Mussorgsky-opera
    Khovantchina, Dance of the Persian Slaves
    3222-4231 pk perc hp str 6' 
    Khovantchina, Entr'acte
    3222-4231 timp str
    Mussorgsky-choral works with orchestra
    St Nicholas Mass (Mussorgsky, edited by Philip Lane) (40') 2 fl (II+picc), 2 ob (II+ca), 2 cl, 2 bn, 4 hn, 2 tpt, 3 tbn, tba, timp, 2 perc (tri, cym, BD), hp, str
    St Nicholas Mass for mezzo-soprano and baritone soloists, semi-chorus of boys' or girls' voices, SATB chorus, and orchestra
    An arrangement of music from a number of Mussorgsky's compositions which provides an attractive work for choirs. Philip Lane, who realized and edited the work, described it in his programme note for the he première (1990) ‘an unashamed hybrid’.  http://www.3choirs.org/about/three-choirs-festival-timeline.html 

     
    Tchaikovsky, Pjotr Iljitsj (1840-1893)    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Tchaikovsky,
    Tchaikovsky-the 7 (8) symphonies
    Symphony no.1 in g op.13 'Winter Daydreams' (1866) (39’) 3222-4231 timp 2 perc str  30'-40'
    (1.piatti; 2.cassa)
    I. 2222-4200 timp II. 2222-2000 III.2222-2200 timp IV. 3222-4231
    Symphony no.2 in c op.17 Little Russian (1872) (35’)
    3222-4231 timp 2 perc str   30'-40'
    (1.piatti; 2.cassa, tamtam) 
    Symphony no.3 in D op.29 Polish (1875) (45’)
    3222-4231 timp perc str   40'-50'    
    Symphony no.4 in f op.36 (1878) (40’)  3222-4231 timp 3perc str   30'-40'
    (1.triangolio; 2.piatti; 3.cassa)  
    Manfred op.58 (1885) (35’) 3333-4431 2hp harm* (org) timp perc str  
    30'-40'
    (3rd flute doubling piccolo; 3rd oboe=cor anglais; 3rd clar.=bass clar.)
    (inspired by Byron's poem Manfred) *harmonium performed usually on organ, featured in the coda of the finale.
    Symphony no.5 in e op.64 (1888) (50’) 3222-4231 timp str   40'-50'    
    I. 3222-4231 II. 3222-4231 III. 3222-4200 timp IV. 3222-4231     
    Symphony no.6 in b op.74 (1893) (40’)
    3222-4231 timp 2 perc str   30'-40'
    (1.piatti; 2.cassa, tamtam)
    Symphony no.7 in E-flat
    (sketched 1892 but not finished; reconstructed during the 1950s and subsequently published as Symphony No. 7)
    Concert-overtures and other smaller forms
    Overture 1812 op.49  (16') 3322-4431
    timp perc str
    Romeo and Julia (18’) 3322-4231
    timp perc hp str   15'-20'
    Capriccio Italien op.45 (15’) 3322-4431
    timp perc hp  
    Francesca di Rimini Fantasy op.32 (22') 3322-4431 timp perc hp str
    The 4 suites
    nr.1 op.43 (42’) 4222-4200 timp  perc str     
    nr.2 op. 53 (37’) 3322-4231 timp  perc hp str
    nr.3 op. 55 (37’) 3322-4231 timp  perc hp str
    nr.4 op.61 "Mozartiana" (1887) (26’) 2222-4200 timp hp      
    1. Gigue (2'08); 2. Menuet (4'17); 3. Preghiera (3'22); 4. Theme and variations (15')
    Tchaikovsky
    -solo+orchestra
    Violin Concerto in D op.35 (35’) 2222-4200 timp   
    Piano Concerto no.1 in B flat minor op.23 2222-4230    
    Piano Concerto no.2 in G major op.44 2222-4200 timp
    Piano Concerto no.3 in E flat major op.75 3222-4231 timp
    Variations on a Rococo Theme op.33 (1877) (18’) 2222-2000  
    There are 2 versions: the original Tchaikovsky-version (Peters no.7673a) and the Fitzenhagen-version (Kalmus) with the latters emendations.
    Tchaikovsky-the 3 great ballet scores
    Swan Lake, ballet op.20 (1876)
    Swan Lake op.20, suite from the ballet (19’) 3322-4431 timp perc hp str   
    The Sleeping Beauty, ballet op.66 (1889)
    The Sleeping Beauty, suite from the ballet op.66a (23’) 3322-4431 timp perc hp str
    The Nutcracker, ballet op.71 (1892)
    The Nutcracker, suite from the ballet op.71a (1892) (25’) 3332-4231 timp perc hp cel/pno str  
     
    Rimski-Korsakov, Nikolaj Andrejevitsj (1844-1908)    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Rimski-Korsakov,    Russia-19
    Capriccio Espagnol, op. 34 (1887) (15') 3222-4231 timp 5perc hp str  
    Scheherazade, Symphonic Suite op. 35 (1888) (41') 3322-4231 timp 5perc hp str   40'-50' 
    1888 La grande Paque Russe op.36 (14') Russisch Paasfeest, Ouverture over liturgische thema's 3222-4231 timp 5perc hp str
    Rimski-Korsakov-the 3 symphonies and the sinfonietta
    Symphony nr.1 in e op. 1 (1884) (25') 2222-4230 timp str
    Symphony nr.2 "Antar" op. 9 (1897) (30') 3222-4231 timp perc hp str
    R-K wrote the piece in 1868 but revised the work in 1875 and 1891. He initially called this work his Second Symphony. He later reconsidered and called it a symphonic suite.
    Symphony nr.3 in C op. 32 (1886) (35') 3222-4231 timp str
    Sinfonietta on Russian Themes op.31 (1887) 2222-4200 timp str
    Rimski-Korsakov-the 3 military band concerti
    Trombone concerto in Bflat major (1878 ) (11’) 3262-5632 perc   3262-4.4+2.3.1   trombone&orchestra
    3(3=picc).2.6 (1=Eflat, 3Bflat, 1basset F, 1 Basset Bflat).2bn-2cornetti.1 corno basso.4tr (2F, 2 Eflat).4 corni (2F, 2 Eflat).3trb.2bassi
    percussion: gran cassa, piatti, tamburo
    1878 Clarinet concerto Concertstuk in Es gr.t., voor klarinet en harmonieorkest (10’) (Allegro moderato - Andante - Allegro moderato)
    Variations on a Romance by Glinka for military band (1878) picc 2 fl grandi 2fg cl-es cl-1,2,3 bes Basetti I&II F, Bes 2cornetti.1 corno basso 4tr (F) 4 corni (F) 3trb.2bassi percussion: gran cassa, piatti, tamburo triangolo
    Variaties in G-gr.t., voor hobo en harmonieorkest op een thema van Michail Glinka "Chto krasotka molodaya"(8’) (Thema, 12 Variaties en Finale)
    http://www.admiraltynavyband.com/history.html
    Rimski-Korsakov-the 22 operas.
    1. The Maid of Pskov (Pskovitianka), opera in four acts. (1872, 1873, 1892)
        The Maid of Pskov, Overture (6') 3333-4331 timp str
        The Maid of Pskov, Prologue and Entr'actes (27')
    2. Mlada, opera-ballet in four acts in collaboration with Borodin, Cui, Mussorgsky and Minkus.
    3. May Night (Maiskaia noch'), opera in three acts.
        May Night, Overture (8') 2222-4230 timp str
        May Night, Chorus of the Mermaids (5') 2222-4231 perc str
    4. Snow Maiden, The (Snegurochka), opera in four acts and a prologue.
        Snow Maiden, The, Suite (13') 3222-4231 timp perc str
    5. Mlada, opera-ballet in four acts.
        Mlada, Suite (15') 4344-6331 pk perc hp str
        Mlada, Night on Mount Triglav (25') 4343-6331 timp perc 3hp str
        The symphonic poem Night on Mount Triglav is a symphonic rearrangement of Act III of the opera Mlada.
    6. Christmas Eve (Noch' pered Roshdestvom), opera in four acts.
        Christmas Eve, Suite (23') opt mix 3232-4331 timp perc hp cel str
    7. Sadko, opera in seven scenes.
        Sadko, Suite (15) 3222-4231 timp perc hp str
    8. Bagdadskii borodobrei (The Barber of Baghdad), opera in one act, sketches.
    9. Op. 48 Mozart i Sal'ieri (Mozart and Salieri), opera in one act, two scenes.
    10. Op. 54 Boyarina Vera Sheloga (revision of prologue to second version of opera Pskovitianka, with additional new material) opera in one act.
    11. Tsarskaia nevesta (The Tsar's Bride), opera in four acts.
         The Tsar's Bride, Overture (7') 3222-4231 timp hp str
    12. Skazka o Tsare Saltane (The Tale of Tsar Saltan), opera in four acts and a prologue.
         Tsar Saltan, Suite op.57 (20') 3333-4331 timp perc hp cel str
         Tsar Saltan, Flight of the Bumblebee (10') 2222-4231 timp perc str
    13. Serviliia (Servilia), opera in five acts.
    14. Kashchei bessmertnyi (Kashchei the Immortal), opera in one act.
    15. Pan Voevoda (Pan Voyevoda), opera in four acts.
    16. Skazanie o nevidimom grade Kitezhe i deve Fevronii ( The Legend of the Invisible City of Kitezh and the Maiden Fevronia), opera in four acts.
          The Legend of the Invisible City of Kitezh, Prelude: A Hymne to Nature (5'32)
          The Legend of the Invisible City of Kitezh, Suite (22') 3333-4331 timp perc balalaika 2hp cel str
          The Legend of the Invisible City of Kitezh, The battle of Kershenetz (15') 3232-4331 timp perc str
    17. Zolotoi petushok (The Golden Cockerel), opera in three acts.
    18. Sten'ka Razin (Stenka Razin), opera, sketches.
    19. Zemlia i nebo (Heaven and Earth), opera, sketches.
    20. Dobrynya Nitkitich
    21. Navzikaya (Nausicaa), based on Homer.
          From Homer op.60 (11') 3333-4431 timp hp str wom cor
    22. Il'ya Muromets.
    Liadov, Anatoli Konstantinovitsj (1855-1914)    nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Liadov,
    Liadov-the 3 descriptive Russian fairy-tale pieces (Baba-Yaga, Kikimora, The Enchanted Lake)
    Baba Yaga, Tone poem for orchestra, Op. 56 (1905) (4') 3333-4231 timp perc str   -05'
    Baba-Yaga (Russian: Ба́ба-Яга) is a witch-like character in Slavic folklore. She flies around on a giant mortar or broomstick, kidnaps (and presumably eats) small children, and lives in a hut that stands on chicken legs. (Wikipedia).
    Enchanted Lake op.62 (1909) (6') 3232-4000 timp perc hp cel str   05'-10'
    Kikimora op.63 (1910) (8') 3332-4200 timp perc cel str   05'-10'
    Kikimora – subtitled "fantastic scherzo" by the composer -- is more specific, the subject being the eponymous monster who, in Liadov’s words, "grows up with a magician in the mountains. From dawn to sunset the magician’s cat regales Kikimora with fantastic tales of ancient times and faraway places, as Kikimora rocks in a cradle made of crystal. It takes her seven years to reach maturity, by which time her head is no larger than a thimble and her body no wider than a strand of straw. Kikimora spins flax from dusk and to dawn, with evil intentions for the world". What those intentions are is left to our imaginings. (Internet).
    Liadov-other orchestral
    From the Apocalypse, symphonic picture for orchestra, Op. 66 (1910-1912) (10') 3333-4332 timp perc hp cel str  05'-10'
    Intermezzo op.8 (3') 3222-4231 timp perc str   -05'
    Polonaise op.49 (6') 3222-4231 timp perc str   -05'
    Skorbnaya Pesn' (Threnody), Op. 67: Nenie, Op. 67 (3') 3122-4000 str
    Eight Russian Folksongs for orchestra, Op. 58 (1906) (12') 3322-4200 timp perc str 
    1. Religious Chant. Moderato; 2. Christmas Carol 'Kolyada'. Allegretto; 3. Plaintive Song. Andante; 4. Humorous Song 'I Danced With The Gnat'./Allegretto; 5. Legend Of The Birds. Allegretto; 6. Cradle Song. Moderato; 7. Round Dance. Allegro; 8. Village Dance Song. Vivo
    Liadov-brass
    3 fanfares
     
    Taneyev, Sergei Ivanovich (1856-1915)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Taneyev,
    A close friend of both Tchaikovsky and Tolstoy (and the object of unrequited infatuation from Mrs. Tolstoy), Sergey Ivanovich Taneyev is notable among Russian composers for his refusal to follow the nationalist traditions of the "Mighty Five." Initially known only as a performer - he premiered most of Tchaikovsky's piano concerti - Taneyev kept his composing a secret from even his closest friends for many years. His works, which include the massive opera Oresteya, are notable for their structural complexities and extended contrapuntal passages. (Elibron).
    Taneyev-2 great choral works with orchestra
    John of Damascus (Ioann Damaskin, "A Russian Requiem") op.1 (1884) (24') 2222-4231 timp str cor SATB orchestra Sikorski (Elibron: T.Russian and German).
    At the Reading of a Psalm op.36 (1915) (70')
    1. (5'12); 2.(4'49); 3. (7'37);  4. (3'39); 5. (10'55); 6. (8'40); 7. (6'20); 8. (10'22); 9. (10'55).
     
    Kastalsky, Alexand(e)r Dmitriyevich (1856-1926)
    The Village Symphony (1923)
     
    Ippolitov-Ivanov, Mikhail Mikhailovitch (1859-1935)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Ippolitov-Ivanov,   Russia-19  
    Ippolitov-Ivanov was a composition pupil of Rimsky-Korsakov at the St. Petersburg Conservatory (1875-1882). Except his Caucasian Sketches his works are rarely performed. The orchestral songs of the Caucasian Sketches were influenced by the Georgian folk songs that Ippolitov-Ivanov heard during his years as director of the music conservatory and conductor of the orchestra in Tbilisi, the principal city of Georgia and during his visits to the surrounding Caucasus Mountains.
    Caucasian Sketches Suite No. 1, op.10 (1894) (20') 2322-4430 timp perc hp str  15'-20'
    I. In a Mountain Pass (4'50); II. In a Village (5'43); III. In a Mosque (4'17 ) IV. Procession of the Sardar (10').
    Caucasian Sketches, Suite No. 1 consists of four "songs" or parts. The suite begins with a vibrant song, In a Mountain Pass, which is characterized by a steady ambitious beat suggesting the steep Caucasus Mountains and makes one feel like a bird flying over them. The second song, In a Village, has a steady beat and becomes more vibrant near the end. The title of a third, In a Mosque, reflects the abundance of mosques in the once Turkish Caucausus and Circassian regions such as Adygea in Russia, and one can here the Muezzin's call to prayer in the music. The most famous and admired portion is the final piece, Procession of the Sardar, a Persian title for a military commander, leader or dignitary.
    Caucasian Sketches Series II op.42 (Iveria) (1896) (25') 3322-4231 timp perc hp str
    Caucasian Sketches, Suite No. 2, Op. 42 Iveria (1896) was written after the composer moved to Moscow. The suite contains an introduction and four sketches. The first sketch is the tantalizing, oppressive Lamentation of Princess Ketevana. It is followed by Berceuse (French for lullaby). Then comes Lesghinka, a manic song that becomes rambunctious near the end. And the final sketch is the Georgian March, a very lively song which sounds like a military march and makes much use of the woodwinds and chimes. Suite No. 2 is also called Iveria (Iberia), the name given by the Greeks and Romans to the ancient kingdom of Kartli, corresponding roughly to the eastern and southern parts of the country of Georgia today.
    Symphony no.1 in E minor op. 46 (1908) (36'20)
    Spring Overture (Yar-kmel) op. 1 (1882) (9'46)   05'-10'
    1917 Het jaar 1917, symfonisch gedicht, op. 71
    Turkish Fragments op.62 (14') 3322-3231 timp perc hp str  10'-15'
    I. Caravan (4'13); II. At Rest (5'24); III. Night (3'42); IV. Festival (3'29).
    Turkish Fragments is a collection of four orchestral sketches written in 1930 by Russian composer Mikhail Mikhailovich Ippolitov-Ivanov. The four fragments, entitled Caravan, At Rest, Night and Festival, use material drawn from Turkish folk music. The Turkish fragments contain dominant chimes strings and beats. the Caravan has a steady ambitious beat that goes on for the entire piece and the loudest of all the Fragments. At rest and Night are peaceful more quiet parts and sound respective to their names. Festival sounds upbeat and at some times peaceful. (Wikipedia).
    Armenian Rhapsody on National Themes, Op. 48 (1895) (6'54)
    Caucasian War March (4'45)
    Turkish March op.55 (1926) (5') 3222-4231 timp perc str  -05'
    Mtzyri / Mtsyri op.54 (1924) (15'32) 'The monk' symphonic poem after Michail Jurievich Lermontov
    1928 Een episode uit het leven van Franz Schubert symfonische schilderij voor tenor (ad libitum) en groot orkest, op. 61
    1932 Voroshilov - Jubileummars voor de 15e verjaardag van de grote socialistische oktoberrevolutie, voor groot orkest, op. 67
    1935 Op de steppen van Turkmenistan - orkestsuite nr. 4, op. 65
    1935 Symfonie no. 2 «Karelia»
    Avond in het dorp, fantasie over twee Russische thema's voor balalaika en groot orkest, op. 64
    Katalaanse suite, op. 79
    Muzikale schilderijen uit Oezbekistan - orkestsuite nr. 5, op. 69
    Op de Wolga muzikale schilderij voor orkest, op. 50
    Scherzo voor groot orkest, op. 2
    Ippolitov-Ivanov-internet
    The best wikipedia page (2009) is Dutch:  http://nl.wikipedia.org/wiki/Michail_Ippolitov-Ivanov
    Free Scores: http://imslp.org/wiki/Category:Ippolitov-Ivanov,_Mikhail_Mikhailovich
     
    Lyapunov, Sergei Mikhailovich (1859-1924)
     
    Arensky, Anton Stepanovitch (1861-1906)
    Arensky,
     
    Jāzeps Vītols / Joseph Wihtol (1863-1948)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Vītols was a Latvian composer.
     
    Gretchaninov, Alexander Tikhonovitch (1864-1956)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    other spelling: Gretchaninoff
    Gretchaninov,
    Gretchaninov studied in Moscow as a pupil of Taneyev and Arensky and moved to St. Petersburg to studie composition and orchestration with Nikolai Rimsky-Korsakov until 1893. He remained in Russia after the Revolution, then emigrated to France (1925) and finally to the United States (1939) to eventually become an American citizen.
    Gretchaninov-the 5 symphonies
    Five symphonies (1894, 1908, 1923, 1927, 1936)
    Symphony no.1 op.6 in B minor (1894) (30') 3222-4231 timp perc hp str
    I. Allegro non tanto (9'40); II. Andante sostenuto assai (8'24); III. Molto vivace (6'11); IV. Allegro spirituoso (9'27)
    Symphony no.2 op.27 (1908) (32') 3222-4231 timp perc str
    Symphony no.3 op.100 (1923) in E flat (30') 3223-4231 timp perc str
    I. Moderato-Allegro (10'28); II. Scherzo: Allegro vivi (8'07); III. Andante (10'27); IV. Finale: Allegro vivace (7'08).
    Symphony no.4 op.102 (1927)
    Symphony no.5 op.153 (1936)
    Gretchaninov-other orchestral works
    Six Russian Folksongs 2, 2, 2, 2 - 4, 2, 0, 0, timp, hp, pf in set, str Kalmus
    Gretchaninov-solo+orchestra
    Cello concerto, op.8 (1895);
    Violin concerto, op.132 (1932);
    Concerto for flute, harp and strings, op.159 (1938)
    Gretchaninov-Liturgical vocal
    Passion Week, op.58 (1911); Liturgica Domestica, op.79 (1917); Missa Oecumenica, op.142 (1936); Missa Festiva, op.154 (1937); Missa Sancti Spiritus (1940); Et in Terra Pax, mass, op.166 (1942)
    Cantata "Kvalite Boga" (Praise the Lord), Op.65 
    1.Bless the Lord, O my Soul  (7:18); 2.Now the Powers of Heaven  (9:23); 3.Praise the Lord  (13:26).
    Liturgia Domestica op. 79 (1917) 30' for tenor and bass soli, chorus, harp, organ and strings Music Text (L)
    The Liturgia Domestica is one of the only works in the Russian sacred music repertoire to be accompanied by an orchestra rather than in the usual a cappella setting.
     
    Glazunov, Alexander (1865-1936)     nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Glazunov,
    Glazunov-the 8-9 symphonies
    Symphony No.1, Op.5 in E major "Slavonian Symphony" (1884) (35') 2222-4230 timp str   30'-40'
    Revised in 1885 and 1929.
    Symphony No.2, Op.16 n F sharp minor "To the Memory of Liszt" (1886) (43')
    3222-4231 timp perc str  40'-50' 
    Symphony No.3, Op.33  in D major (1890) (50')
    3222-4331 timp perc str   40'-50' 
    Symphony No.4, Op.48 in E flat major (1893) (45') 3232-4331 timp str  
    40'-50' 
    Symphony No.5, Op.55 in B flat major (1895) (35') 3232-4331 timp perc hp str
     30'-40'
    Symphony No.6, Op.58 in C minor (1896) (37') 3232-4331 timp perc str  
    30'-40'
    Symphony No. 7 "Pastorale" in F major opus 77 (1903) (34') 3222-4231 timp perc hp str  30'-40'
    Symphony No.8, Op.83 in E flat major (1905-1906) (40') 5333-4331 timp perc str  
    40'-50' 
    Symphony No.9 in D minor (1910) First movement (incomplete).
    Glazunov-other orchestral
    Poeme lyrique op.12 (11') 2222-4231 hp str
    The Sea op.28 (1889) (20') 3333-6431 timp perc 1-2hp str
    Idylle et Reverie Orientale op.14 (10') 2222-4000 opt hp str
    The Spring (Vesna) op. 34, symphonic picture in D major (1891) (13'50)
    Serenade nr.1 op.7 (6') 2222-4200 timp perc str
    Serenade nr.2 op.11 (1884) (5') 2122-2000 str 
    Glazunov-solo+orchestra   saxophone&orchestra
    Concerto for violin and orchestra op.82 (20') 3222-4230 timp perc hp str
    Two Pieces for cello and orchestra (1887-1888) / Melodie et Serenade Espagnole for violoncello and orchestra op.20 (10') 2222-2000 hp str
    Glazunov-ballet
    The Seasons ballet in one act op. 67 (1899) (40') 3222-4231 timp perc cel pnino hp str  40'-50' 
    1 piccolo, 2 flutes, 2 oboes (2nd doubling english horn in F), 2 clarinets in B-flat and A, 2 bassoons
    Percussion: timpani, triangle, tambourine, military drum, cymbal, bass drum, glockenspiel
    1. Winter (9'51); 2. Spring (5'23); 3. Summer (12'31 ); 4.Autumn (12').
    Raymonda op.57 (1898)
    Raymonda Suite op.57a (40') 3232-4331 timp perc 2hp cel str
    Raymonda Dances (23') 3232-4331 timp perc hp pno str
    Raymonda Pizzicato and Pas Clasique (6') 3232-4331 timp perc hp pno str
    Raymonda (Russian: Раймонда) is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa, with music by Alexander Glazunov, his opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on January 7/19, 1898 (Julian/Gregorian calendar dates) in St. Petersburg, Russia. Among the ballet's most celebrated passages is the Pas Classique hongrois or Raymonda Pas de dix from the third act, which is often performed independently.
    Glazunov-internet
    work list: http://home.wanadoo.nl/ovar/glazun.htm Glazunov wrote works with opus nrs 1-110 and many works without opus-number.
    free scores: http://imslp.org/wiki/Category:Glazunov,_Alexander
     
    Kalinnikov, Vasily Sergeyevich (1866-1901)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    The 2 Symphonies
    Symphony No.1 in G Minor (1894-1895)
    Symphony No.2 in A Major (1895-1897)
    Kalinnikov, further orchestral: Fugue in D Minor (1889); Nymphs (Нимфы), Symphonic Picture after Ivan Turgenev (1889); Serenade for Strings (1891); Suite (1891-1892); Bylina (Былина), Overture (c.1892); Overture in D Minor (1894); Intermezzo No.1 in F sharp Minor (1896); Intermezzo No.2 in G Major (1897); The Ceder and the Palm (Кедр и пальма), Symphonic Picture after Heinrich Heine (1897-1898); Tsar Boris (Царь Борис), Incidental Music after Aleksey Konstantinovich Tolstoy (1899).
     
    Rebikov, Vladimir Ivanovich (1866-1920)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
    Rebikov,
     
    Koreshchenko, Arseny Nikolayevich  (1870 -1921)   nations&periods   Russia-19   Russia&Sovjet-Union-20   A-Z    ww-brass  ww    times
     
    Tcherepnin, Alexander Nikolayevich (1899-1977)  Russia&Sovjet-Union-20  nations&periods   A-Z    ww-brass  ww    times
     
    The Russia-19 chapter ends here. For the Russian-Sovjet continuing go to: Russia&Sovjet-Union-20  
     
    Italy-19   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Italy-19-introduction.
    The production of all great 19th century Italian composers is focussed on opera. Symphonic repertoire has such a moderate position in their output that we must conclude that in the 19th century Italy didn't have a symphonic tradition. Rossini (4), Bellini (7), Donizetti (13), Pacini (1) and Mercadante (7) wrote symphonies in operatic style that don't have much importance in the history of the field. The best symphonies were written by composers that lived abroad: Clementi (6) and Cherubini (1). (D.A.)
    Italy-19-list of composers
    Clementi, Muzio (1752-1832);
    Cherubini, Luigi (1760-1842);
    Spontini, Gaspare (1774–1851),
    Giuliani, Mauro (1781-1829);
    Paganini, Niccolò (1782–1840),
    Rossini, Giacchino (1792-1868);
    Donizetti, Gaetano (1797-1848);
    Bellini, Vincenzo (1801-1835);
    Verdi, Giuseppe (1813-1901);
    Ponchielli, Amilcare (1834-1886);
    Sgambati, Giovanni (1841-1914);
    Boito, Arrigo (1842-1918);
    Sgambati, Giovanni (1841-1914),
    Martucci, Giuseppe (1856-1909),
    Puccini, Giacomo (1858-1924);
    Leoncavallo, Ruggiero (1858-1919);
    Mascagni, Pietro (1863-1945);
    Busoni, Ferruccio (1866-1924);
    Perosi, Don Lorenzo (1872-1956)
    Encouraged by Sgambati’s and Martucci’s example, other Italian composers soon turned to instrumental music: Marco Enrico Bossi (1861-1925), Leone Sinigaglia (1868-1944) and Vincenzo Tommasini (1878-1950). Martucci’s impact on the next generation of Italian composers can scarcely be overestimated. His most famous pupil was Ottorino Respighi (1879-1936), and he was a fatherly mentor to Alfredo Casella (1883-1947). On the one-hundredth anniversary of his birth Gian Francesco Malipiero (1882-1973) praised him as "a genius in every sense of the term."
     
    Clementi, Muzio (1752-1832) Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Clementi,
    6 symphonies, overtures, piano concerto
     
    Cherubini, Luigi (1760-1842)  Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Cherubini,
    Cherubini-1 symphonie.
    Cherubini wordt vaak gerekend tot de Weense klassieken. Hij schreef maar 1 symfonie in een klassieke orkestbezetting:
    Symphonie in D (1814) (30') 1222-2200 timp str
    Cherubini-Opera-ouvertures en balletmuziek uit de opera's.
    Maar Cherubini was vooral een belangrijk operacomponist. Uit zijn vele opera's zijn de ouvertures en de balletmuziek het overwegen waard. Onderstaande lijst is waarschijnlijk onvolledig.
    1783, Lo Sposo di tre e marito di nessuno Ouverture 6' 0202-0200 pk str
    1786, Il Giulio Sabino Ouverture 10' 2222-2200 pk str
    1788, Ifigenia in Aulide Ouverture 7' 2222-2200 pk str
    1788, Démphoon Ouverture 10' 2222-2230 pk str
    1791, Lodoïska Ouverture 11' 2222-2210 pk str
    1794, Elisa Ouverture 8' 2222-4000 pk str
    1797, Médée Ouverture 8' 2222-4000 pk str
    1798, L'Hôtellerie portugaise Ouverture 6' 2222-2210 pk str
    1799, La punition Ouverture 8' 2222-2200 str
    1800, Ouverture Les Deux Journées / Der Wassertrager / The water carrier10' 2222-3210 pk str
    1803, Anacréon Balletmuziek 6'30 2222-4030 pk str
    1803, Anacréon Ouverture 10' 2*222-4230 pk str
    Faniska Ouverture (1806) (8') 2222-2210 timp str
    1813, Ouverure Les Abencérages 11' 2222-4230 pk str Kalmus
    1833, Ali Baba, Ouverture 10' 2222-4431 pk str
    1833, Ali Baba, Entr'acte en ballet muziek 2222-4230 pk perc str
     
    Spontini, Gaspare (1774–1851)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Spontini, Gaspare (1774–1851)
     
    Giuliani, Mauro  (1781-1829)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Giuliani, Mauro (1781-1829)
    The Complete Works, in 39 volumes in facsimiles of the original editions collected and with prefaces by Brian Jeffery. Paperbound set of 39 volumes: http://www.tecla.com/catalog/0850.htm
     
    Donizetti, Gaetano (1797-1848)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    13 symphonies
     
    Bellini, Vincenzo (1801-1835)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Bellini, Vincenzo (1801-1835)  
    7 symphonies
     
    Pacini, Giovanni   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    1 symphony
     
    Paganini, Niccolò (1782–1840)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Paganini, Niccolò (1782–1840)
     
    Rossini, Giacchino (1792-1868)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times       
    Rossini,
    Fondazione G. Rossini http://www.fondazionerossini.org/
    http://chronicle.uchicago.edu/971009/gossett.shtml
    Rossini-the 4 early symphonies   Rossini
    Sinfonia di Bologna 1221-2200 timp str Kalmus
    Sinfonia di Odense (1809) (5') 2222-4220 pk perc str Kalmus Arranged by Liviabella, Lino (1902-1964), Editor. Kalmus
    Sinfonia (1808, gebruikt in l'inganno felice)
    Sinfonia (1809, gebruikt in La cambiale di matrimonio en Adelaide di Borgogna)
    Sinfonia di Bologna 1221-2200 pk str Kalmus
    Sinfonia del Conventello 1 (32)
    Sinfonia obbligata a contrabbasso 33 (56)
    Sinfonia "obbligata a contrabasso" (1807-10)
    Sinfonia in Re maggiore (Bologna, 1808) 89 (36)
    Sinfonia in Mi(XXX) maggiore (Bologna, 1809)
    Sinfonie Giovanili Author(s): ROSSINI GIOACCHINO
    ISBN10: 0226728579 / ISBN13: 9780226728575
    Cover: Hardcover. Copyright: 12/01/1999
    The four overtures in this volume display Rossini's extraordinary talent at the threshold of his career. Composed before his eighteenth birthday, they show him developing orchestral skills that served him throughout his life. The Sinfonia del Conventello and the Sinfonia obbligata a contrabbasso were written for performance at "Il Conventello," the estate of his patron Agostino Triossi, and feature the cello and double bass. The Sinfonia in D and the Sinfonia in E-flat were composed at the Liceo Filarmonico in Bologna, where Rossini was a student from 1806 to 1809. Their public performances showed them to be much more than classroom exercises, and Rossini later reworked the E-flat overture for his opera La cambiale di matrimonio.
    None of these overtures survives in Rossini's hand. (In his late years, Rossini confided that he had left a number of "little things" with Triossi, who had probably used them "to wrap salami.") The critical edition has recovered the first two from recently identified manuscript copies, the others from incomplete sets of parts.

    Abeelding Conventello: http://www.emiliaromagnafestival.org/stagione_2008/_conventello.asp
    Sinfonie giovanili (The Critical Edition of the Works of Gioachino Rossini, Section I: Operas)
    by Gioachino Rossini uitgegeven in October 1, 1998, Fondazione Rossini cover_not_available
    bijdragen (voorwoord, inleiding...): Paolo Fabbri (Editor)
    talen: English
    formaat: Hardcover
    afmetingen: 12.5 x 9.3 x 1 inches
    gewicht: 2.6 pounds
    isbn 10: 0226728579
    isbn 13: 9780226728575
    Rossini-the 40 (?) overtures
      Italy-19  composers-A-Z    search instrumentation  search ww-instrumentation
    Rossini schreef 40 opera's, waarvan de meeste zijn verdwenen van het repertoire terwijl vele ouvertures nog steeds klinken op het concertpodium van de symfonieorkesten.
    https://tspace.library.utoronto.ca/VPAC80/Projects/Daisy/overtures2.html   Rossini
                                                                                              
      Sinfonia in D, 'al Conventello' (1806-07)  
      Overture obbligata and contrabasso in D (1807-1810)  
    5' Sinfonia (Overture) in D, 'Bologna' (1808)  
    5' Sinfonia di Odense in A(1809)  
    5'
    La cambiale di matrimonio (1810) (5')
    1221-2000 str
     
    L'equivoco stravagante (1811)
     
     
    Demetrio e Polibio (1812)
     
     
    L'inganno felice (1812) Overture=Sinfonia di Bologna (1808?)
    1221-2200 timp str
     
    Ciro in Babilonia (or La caduta di Baldassare) (1812)
     
    7'
    La scala di seta (1812) (7')
    1221-2000 str
    6'
    La pietra del paragone (1812)
    2222-2200 timp str
     
     L'occasione fa il ladro (of Il cambio della valigia) (1812)
     
    5'
    Il Signor Bruschino (of Il figlio per azzardo) (1813) (5')
    1221-2000 str
    6'
    Tancredi (1813)
    2222-2200 timp str
    9'
     L'Italiana in Algeri (1813)
    1222-2200 timp str
     
    Aureliano in Palmira (1813)
     
    9'
    Il Turco in Italia (1814)
    2222-2210 timp perc str
     
    Sigismondo (1814)
     
     
    Elisabetta, regina d'Inghilterra (1815)
     
     
    Torvaldo e Dorliska (1815)
     
    8'
    Almaviva (of L'inutile precauzione of Il barbiere di Siviglia) (1816)
    2222-2230 timp perc str
     
    La gazzetta (of Il matrimonio per concorso) (1816)
     
    8'
    Otello (of Il moro di Venezia) (1816)
    2222-4230 timp perc str
    8'
    La Cenerentola (Cinderella, of La bontà in trionfo) (1817)
    2222-2210 timp perc str
    10'
    La gazza ladra (1817)
    2222-4210 timp perc str   [15]
     
    Armida (1817)
     
     
    Adelaide di Borgogna of Ottone, re d'Italia (1817)
     
     
    Mosè in Egitto (1818)
     
     
    Adina of Il califfo di Bagdad (1818)
     
     
    Ricciardo e Zoraide (1818)
     
     
    Ermione (1819)
     
     
    Eduardo e Cristina (1819)
     
     
    La donna del lago (1819)
     
     
    Bianca e Falliero (of Il consiglio dei tre) (1819)
     
    10'
    Maometto secondo (1820)
    2222-4230 timp perc str
    9'
    Matilde Shabran (Matilde di Shabran, of Bellezza e Cuor di Ferro) (1821)
    1222-2210 timp perc str
     
    Zelmira (1822)
     
    12'
    Semiramide (1823)
    2222-4230 timp perc str
     --
    Ugo, re d'Italia (1823/1824) 
    partituur grotendeels verloren
    8'
    Il viaggio a Reims (of L'albergo del giglio d'oro) (1825)
    3222-2240 timp perc str
    10'
    La siège de Corinthe (1826, herziene editie van Maometto secondo)
    3222-4240 timp perc str
     
     Moïse et Pharaon (of Le passage de la Mer Rouge)
    (1827, herziene editie van Mosè in Egitto)
     
     
    Le Comte Ory (1828)
     
    12'
    Guillaume Tell (Wilhelm Tell) (1829)
    2222-4230 timp perc str
     
    Rossini-ballet music   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Guillaume Tell (8') 2222-4230 str
     
    Rossini-arranged
    La Boutique Fantastique, Suite (18') 3322-4331      2+2+22-4331 pk 3perc hp cel str (Rossini arr.Respighi)
    Rossiniana (Rossini arr.Respighi) suite, P148 (1925) (25') after Rossini’s ‘Les Riens’ 3322-4331 timp perc hp cel str
    Soirées musicales (Rossini arr.Britten op.9 (1936) (11') after themes by Gioacchino Rossini 2222-4231 timp perc hp/pno str
    Matinées musicales (Rossini arr.Britten op.24, 1941) (13') [after themes by Gioacchino Rossini]  2222-2230 timp perc hp cel str  optional: 2222-4231
    Le roi des gourmets, Suite sinfonica (19') (in 2 parti)  1121-2210 timp perc
    Organico: 1.1.2.1. / 2.2.1.-. / Tp. Batt. Xf. Cmp.li Pf. / Archi
    tratta dal Divertimento omonimo sopra temi della Suite gastronomica per pianoforte.
    Elaborazione e orchestrazione di G.C. Brero
    I parte: Prologo - 1. Une sauté - 2. Les figues sèches - 3. Les noisettes - 4. Les anchois - 5. Impromptu tarantellisé - 6. Radis - 7. Beurre
    II parte: 1. Petite Valse ''l'huile de ricin'' - 2. Les raisins
     
    Rossini-choral music
    Stabat Mater- first version 1832, second version 1841
    Petite Messe Solennelle – 2 versions: 1864, 1867.

     
    Verdi, Giuseppe (1813-1901)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Verdi,
    Opera's.
     
    8'
    Oberto, Conte di San Bonifacio (1839) Teatro alla Scala, Milan
    Oberto Ouverture 2222-4231 pk perc str
    6'
    Un Giorno di Regno / Il Finto Stanislao (1840)
    Teatro alla Scala
    Il Finto Stanislao ouverture 2222-4231 pk perc str
    meer info
    8'
    Nabucco (1842) Teatro alla Scala
    Nabucco Ouverture 8' 2222-4231 pk perc str
    http://en.wikipedia.org/wiki/Va%2C_pensiero
     
    I Lombardi alla prima crociata (1843) Teatro alla Scala
     
    3'
    Ernani (1844)  Teatro La Fenice, Venice
    Ernani  Prelude 2222-4231 pk str
    ?
    I due Foscari (1844) Teatro Argentina, Rome
    I due Foscari prelude BBC CD
    7'
    Giovanna d'Arco (1845) Teatro alla Scala
    Giovanna d'Arco  Ouverture 2222-4231  pk perc str
    6'
    Alzira (1845) Teatro San Carlo, Naples. 
    Alzira Ouverture 3222-4231 pk perc str
    ?
    Attila (1846) Teatro La Fenice, Venice
    Attila Prelude BBC CD
    ?
    Macbeth (1847) Teatro della Pergola, Florence
    Prelude Act I
    10'
    Ballo Act III-1,2,3   2232-4240 pk perc str
    5'
    I masnadieri (1847) Her Majesty's Theatre, London
    I Masnadieri  Prelude 2222-4231 pk str
    ?
    Jérusalem (1847) Théâtre de l'Académie Royale de Musique, Paris, 1847 (revised version of I Lombardi)
    Prelude
    ?
    Jérusalem (1847) Théâtre de l'Académie Royale de Musique, Paris, 1847 (revised version of I Lombardi)
    Act 3. Ballet Music. Pas de quatre / Pas de deux / Pas solo / Pas d'ensemble
    ?
    Il corsaro (1848) Teatro Grande, Trieste
    Il corsaro Prelude
    8'
    La battaglia di Legnano (1849) Teatro Argentina, Rome
    La bataglia di Legnano Ouverture 2222-4231 timp perc str
    6'
    Luisa Miller (1849) Teatro San Carlo, Naples
    LuisaMiller Ouverture 3222-4231 timp perc str
    8'
    Stiffelio (1850) Teatro Grande, Trieste
    Stiffelio Ouverture 2222-4231 timp perc str
    2'39?
    Rigoletto (1851) Teatro La Fenice, Venice
    Rigoletto Prelude
    ?
    Il trovatore (1853)  Teatro Apollo, Rome
    Prelude
    27'
    Il trovatore (1853)  Teatro Apollo, Rome
    Ballabili Act III 2222-42+231 timp perc str
    meer info
    3'30
    La traviata (1853) Teatro la Fenice
    La Traviata preludio Act I 1122-4000 str
    3'30
    La traviata (1853) Teatro la Fenice
    La Traviata preludio Act III 1122-2000 str
    9'
    Les vêpres siciliennes&I Vespri Siciliani (1855)
    Théâtre de l'Académie Impérial de Musique, Paris&
    Teatro Regio, Parma
    I Vespri Siciliani  Ouverture 2222-44*31 pk perc str
    29'
    Les vêpres siciliennes&I Vespri Siciliani (1855)
     
    Ballabili (balletmuziek) Le Quattro Stagioni meer info
    2222-44*31 timp perc str Kalmus
     
    * Le trouvère (1857)
     Théâtre Impérial de l´Opéra, Paris, 1857 (revised version of Il trovatore with a ballet added)
    ?
    Simon Boccanegra (1857) Teatro La Fenice, Venice.
    Prelude
    9'
    Aroldo (1857) Teatro Nuovo, Rimini (revised version of Stiffelio)
    Aroldo Ouverture 2222-4231 pk perc str
    4'
    Un ballo in maschera (1859) Teatro Apollo, Rome
     Un ballo in maschera Preludio Act I  2222-4231 timp str
    ?
    La forza del destino (1882) Imperial Bolshoi Kamenny Theatre, St Petersburg
    La forza del destino Prelude BBc CD
     
    Macbeth (1865) Theâtre Lyrique, Paris, 1865 (revised version)
     Theâtre Lyrique, Paris, 1865 (revised version)
     
    Don Carlos (1867) Théâtre Impérial de l´Opéra Paris, 1867
    Act 2. Prelude
     
    Don Carlos (1867) Théâtre Impérial de l´Opéra Paris, 1867
    Act 3. Ballet Music, "La Pérégrina". Andante - Tempo di valzer - Allegro vivo - Finale. Prestissimo
    7'
    La forza del destino (1869) Teatro alla Scala, Milan, 1869 (revised version)
    Overture 2222-4231 timp perc 2hp str
    3'
    Aida (1871)  Khedivial Opera House Cairo.
    Aida, Act I Preludio 3' 3223-4230 pk str
    11' Aida (1871)   Aida Ouverture meer info
     
    Aida (1871)  
    12. Act I: Danza sacra delle Sacerdotesse
     
    Aida (1871)  
    17. Act II: Danza di piccoli schiavi mori
      Aida (1871)   25. Act II: Marcia
      Aida (1871)   26. Act II: Ballabile
      Aida (1871)   Act III Balletmuziek BBC CD
     
    Don Carlo (1872) (first revision of Don Carlos)
    Teatro San Carlo, Naples, 1872
     
    -
    Simon Boccanegra (1881)  Teatro alla Scala (revised 1857 version)
    In the 1881 version of Boccanegra there is no overture
     
    Don Carlo (1884) Teatro alla Scala, Milan, 1884 (second revision, 4 Act version)
     
     
    Don Carlo (1886)  Teatro Municipale, Modena, 1886 (third revision, 5 Act version)
     
    6'
    Otello (1887)  Teatro alla Scala
    Ballabili (balletmuziek), Act III
    3224-42+240 timp perc 2 hp str      meer info
     
    Falstaff (1893) Teatro alla Scala, 1893
     
    Verdi-overtures   surf
    Verdi-ballet music   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Aida, Marcia (triomfmars)
    Aida Ballet Music Kalmus
    Aida, Ballabile from Act II (4'30)
    Aida,
    Don Carlos, Ballo della Regina (17') 3224-4431 timp perc hp str (1=ophi)  15'-20'
    Macbeth, Ballo from Act III (10') 2232-4240 timp perc str  05'-10'
    Otello, Ballabili from Act III (6') 3224-4440 timp perc 2hp str (2tr+2ct)  05'-10'
    Il Trovatore Ballabili from act III (27') 2222-4431 timp perc str (2tr+2ct)   20'-30'
    I Vespri Siciliani Ballabili 'Le Quattro Stagioni' from act III (30') 2222-4431 timp perc hp str  (2tr+2ct)   20'-30'
    1. L'Inverno (6'53); 2. La Primavera (8'19); 3. L'estate (5'24); 4. L'Autunno (9'05).
    Verdi-opera choruses
     
    Verdi-other choral music
    Inno delle Nazioni 18' 2222-4331 timp perc 2hp str
    Quattro Pezzi Sacri
    Requiem (72’)
    Verdi-smaller works
    Ave Maria (5') S/T solo, str, no cb
    String Quartet in E minor (1873)
    Verdi,-arranged   surf
    Sei Canti S-solo arr. Leibowitz)
    Verdi-further reading
    http://en.wikipedia.org/wiki/Giuseppe_Verdi
     
    Ponchielli, Amilcare (1834-1886)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Ponchielli, Amilcare (1834-1886)
    La Gioconda
     
    Sgambati, Giovanni (1841-1914)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Sgambati,
    Symphony op.16 in D (40') 3222-4231 timp 2hp str Kalmus
    Cola da Rienzo Overture (1866)
    Piano Concerto in G minor, Op.15 (1878–1880)
    Symphony No. 1 in D major, Op. 11 (1880–1881)
    Symphony No. 2 in E flat (1883–1885)
     
    Boito, Arrigo (1842-1918)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Boito,
    Sinfonia in d minor (16') 3222-4240 timp str Zerboni
    Sinfonia in La minore per orchestra Partitura a cura di Agnieszka Przeslica Edizioni Boccaccini & Spada - BS 1568 - Pag. 84
    Boito-his only opera
    Mefistofele (1868/75) 3332-4231 timp perc 2hp str
    Prologo in cielo (the prologue to the opera) (6')
    Based on Goethe's Faust.
     
    Sgambati, Giovanni (1843–1914)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    In an age almost exclusively focused on opera, one of the pioneers in the revival of Italian instrumental music was the Roman musician Giovanni Sgambati (1841-1914), a darling of Liszt and Wagner as well as an excellent pianist, conductor and composer.
     
    Martucci, Giuseppe (1856-1909)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Martucci,
    Gian Francesco Malipiero (1882-1973) praised him as "a genius in every sense of the term." Among other things he wrote many subtle miniatures for piano  and several very beautiful ones for orchestra.
    Martucci-the 2 symphonies
    Symphony No. 1 in D minor, Op. 75 (1895) (39') 3223-4231 timp str (Kistner & Siegel)
    Symphony No. 2 in F major, Op. 81 (1904) (39') 3223-4230 timp perc str Ricordi
    Gian Francesco Malipiero said of Martucci's second symphony that it was "the beginning of the rebirth of non-operatic Italian music." (Wikipedia)
    Martucci - the 2 piano concerts and other solo&orchestra
    Piano Concerto No. 1 in D minor, Op. 40 (1878)
    Tema Con Variazioni in E-flat, Op. 58 (1882) (rev. 1900 & 1905) (orchestral arrangement by Martucci?)
    Piano concerto No. 2 in B-flat minor, Op. 66 (1885)
    Andante for Cello and orchestra, Op. 69, No. 2 (1888) (rev. 1907)
     
    Puccini, Giacomo (1858-1924)  Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Puccini,
    Centro studi GIACOMO PUCCINI http://www.puccini.it/cataloghi/musica.htm
    Schickling, Dieter, Giacomo Puccini – Catalogue of the Works, Bärenreiter 2003. ISBN 3-7618-1582-4
    Hoewel Giacomo Antonio Domenico Michele Secondo Maria Puccini (1858-1924) een deel van zijn belangrijke werken schreef aan het begin van de 20e eeuw behandelen wij hem toch bij de 19e eeuw. Hij was meer een voortzetter van de laatromantiek van Verdi en Wagner dan een exponent van de nieuwe 20e eeuwse muziek.
    Puccini-the 10 operas.
    1. Le Villi in one act,1884; second version in two acts, 1884; third version in two acts ,1885; fourth version in two acts, 1889).
    Le Villi, Preludio (3') 3222-4231 timp hp str   -05'
    Le Villi, Parte Sinfonica, Act II, L'Abbandono for chorus and orchestra (5'40) 3223-4431 timp perc hp str  05'-10'
    Le Villi, Parte Sinfonica, Act II, Tregenda (4') 3222-4231 timp perc hp str   -05'
    A sparkling short orchestral piece (D.A.)
    2. Edgar, in four acts, 1889; second version in four acts, 1891; third version in three acts, 1892; fourth version in three acts, 1905.
    Edgar, Preludio, Act III (4')
    3. Manon Lescaut (1893); second version (1893)
    Intermezzo, Act III (5'40) 3332-4331 timp perc hp str
    4. La bohème (1896)
    Che gelida manina (5') 3332-4330 timp perc hp str
    Addio di Mimi (3'18)  3332-4000 hp str solo S-solo
    O soave fanciulla (4'14) 3332-4330 timp hp str
    5. Tosca, libretto by Luigi Illica and Giuseppe Giacosa (premiered at the Teatro Costanzi, 14 January 1900)
       Vissi d'arte (3'16)
    6. Madama Butterfly, libretto by Luigi Illica and Giuseppe Giacosa (in two acts – premiered at La Scala, 17 February 1904)
    o second version (in two acts – premiered at the Teatro Grande di Brescia, 28 May 1904)
    o third version (premiered at Covent Garden, London 10 July 1905)
    o fourth version (premiered at the Opéra-Comique in Paris, 28 December 1906)
    o fifth version (premiered at the Teatro Carcano, 9 December 1920)
    7. La fanciulla del West, libretto by Guelfo Civinini and Carlo Zangarini (premiered at the Metropolitan Opera, 10 December 1910)
    o second version (premiered at La Scala, 29 December 1912)
    8. La rondine, libretto by Giuseppe Adami (premiered at the Opéra of Monte Carlo, 27 March 1917)
    o second version (premiered at the Opéra of Monte Carlo, 10 April 1920)
    o third version (1924); orchestration of the third act completed in 1994 by Lorenzo Ferrero (premiered at Teatro Regio di Torino, 22 March 1994)
    9. Il trittico (premiered at the Metropolitan Opera, 14 December 1918)
    9-I.    Il tabarro, libretto by Giuseppe Adami
    9-II.   Suor Angelica, libretto by Giovacchino Forzano
              Intermezzo from Suor Angelica (4') 2332-4200 timp perc cel hp str  -05'
    9-III. Gianni Schicchi, libretto by Giovacchino Forzano
    10. Turandot, libretto by Renato Simoni and Giuseppe Adami (incomplete at the time of Puccini's death, completed by Franco Alfano: premiered at La Scala, 25 April 1926; an alternative completion was commissioned from Luciano Berio in 2002)
    Puccini-3 orchestral works
    Preludio a orchestra in E minor/major (1876) (2'30) 3222-2231 timp str (Edited Michael Kaye) Carus  -05'
    Picc, 2 Fl, 2 Ob, 2 Cl in C, 2 Bsn, 2 Hn in E, 2 Tr, 3 Trbn, Oph, Timp in E-B, Strings. First modern performance: Lucca, 6 October 1999; autograph score: Lucca, Museo Casa natale, pp. 1-4, 7-122 (pp. 6-7 are lacking).
    Preludio Sinfonico op.1 in A major (1882) (8'46') 3222-2431 timp perc hp str   05'-10'
    Orchestral Score: Theodor Presser company, Bryn Mawr (U.S.A.), 1977. Peters. Instrumentation: Picc, 2 Fl, 2 Ob (first also Eng hn), 2 Cl in A, 2 Bn, 4 Hn in E, 2 Tpt, 3 Tbn, Oficleide, Timp in A, GC, Cymb, Harp, Strings.
    Capriccio Sinfonico (1883) (13') 3222-4231 timp perc hp str  10'-15'
    Orchestral Score (for hire): Milan, Ricordi, © 1975 (pl. no. 132341). Instrumentation: 2 Fl, 2 Ob (first also Eng hn), 2 Cl in B flat, 2 Bn, 4 Hn in F, 2 Tpt, Crt, 3 Tbn, Oficleide, Trg, Timp, GC, Cymb, Harp, Strings.
    Scherzo in D (1883) (4'57) string orchestra  -05'
    This music in origin was a Scherzo for a String quarte in a minor.
    Puccini-string orchestra
    Crisantemi (6')   05'-10'
    Tre Minuetti for string quartet
    Puccini-choral works with orchestra
    Messa (1880) 'Messa di Gloria'
    Inno a Roma (1919) (3'24') 1121-2210 timp perc harm str (orchestrated by Fiorda, edition Sonzogno 1923).
    T: Fausto Salvatori.
     
    Leoncavallo, Ruggiero (1858-1919)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Leoncavallo, Ruggiero (1858-1919)
    I Pagliacci 3333-4331 timp perc 2hp str soli (5) choir banda
     
    Mascagni, Pietro (1863-1945)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Mascagni,
    Cavalleria Rusticana (50') 4222-4231 timp perc  2hp org  str soli (5), choir, banda
     
    Busoni, Ferruccio (1866-1924)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Busoni,
    The letters BV (Busoni-Verzeichnis [Busoni Catalog]) followed by a number are used for identification of Busoni's original compositions.The BV numbers are based on the first comprehensive catalog of Busoni's unpublished as well as published works prepared by Kindermann: Kindermann, Jürgen (1980). Thematisch-chronologisches Verzeichnis der Werke von Ferruccio B. Busoni. Studien zur Musikgeschichte des 19. Jahrhunderts, vol. 19. Regensburg: Gustav Bosse Verlag. ISBN 3-7649-2033-5
    Symphonische Suite, for orch. Op.25(24?) (1883)
    Symphonic Suite No.2 BV 242 (1894-5, rev.1903)
    Eine Lustspielouverture (Comic Overture) op.38 (1897, rev.1904) (8') 3222-4200 timp perc str  
    05'-10'
    A sparkling piece in a classical style. (D.A.)
    Berceuse élégiaque (Des Mannes Wiegenlied am Sarge seiner Mutter). Poesie for small orchestra. op.42 (1909) (10') 3130-4000 hp cel gong str
    In the opinion of Antony Beaumont, biographer of Busoni, the brief Berceuse élégiaque is the composer's "most perfect work". It is an impressionistic extension and elaboration for small orchestra, made in 1909 following the death of his mother, of an earlier piano Berceuse penned two years before. The orchestral version is subtitled "A Man's Berceuse at the Bier of his Mother".
    Op.43. Nocturne Symphonique (Oct.1912-6.7.1913) (9') 3233-3000 timp perc hp cel str
    Gesang vom Reigen der Geister (Canto della Ronda degli Spiriti). Indianisches Tagebuch. Zweites Buch, for small orchestra. op.47 (1915) (7') 1111-0110 timp str
    Altoums Warnung. Zweiter Anhang zur Turandot-Suite Op.41 (1917)
    Tanz-Walzer Op.53
    Busoni-solo+orchestra
    Piano Concerto in C major, Op. 39 BV 247 (63') 4333-4331 timp perc str opt men cor
    Violin Concerto in D major, Op. 35a BV243 (20') 3222-4231 timp perc str
    Concertino for clarinet and orchestra op.48 (1918) (10') 0202-2000 perc str   clarinet&orchestra

    Divertimento for flute and orchestra op.52 in B flat (1921) (9') 0222-2200 timp perc str  
    flute&orchestra
    Fünf Goethe-Lieder
    Indian Fantasy (Indianische Fantasie) for piano and orchestra op.44 (30') 2222-3200 timp perc hp str
    Rondo arlecchinesco for orchestra and tenor solo op.46 (1915) (10') 2122-3230 timp perc str T-solo
    Busoni-stage music
    Suite aus der Musik zu Gozzi's Marchendrama Turandot (1905) BV 248 (1905) (45') 3333-4431 timp perc 2hp str opt wom cor
    Further reading: http://en.wikipedia.org/wiki/Turandot_Suite
    Busoni-opera
    Die Brautwahl (1912)
    Die Brautwahl Suite op.45 (1912) (35') 3333-4331 timp perc hp cel str trp.2tbne.perc
    1. Spukhaftes Stück [Ghostly Music]; 2. Lyrisches Stück [Lyrical Music]; 3. Mystisches Stück [Mystic Music]; 4. Hebräisches Stück [Hebrew Music]; 5. Heiteres Stück [Joyous Music].
    Turandot BV 273 (1917) (80') 2S2M6TBar7B-solo 2222-4230 timp 3perc hp cel str banda
    2S. 2Mez. 6T. Bar. 7B – choir: SSAATB – 2(picc).2(cor ang).2(B-clar).2(dble bsn) – 4.2.3.0. – timp.perc(3) – hp – cel – str – stage music: trp.2tbne.perc.
    A Chinese Fable in 2 acts 75 text: Busoni, Ferrucio
    Turandot is a 1917 opera with spoken dialogue and in two acts by Ferruccio Busoni. Busoni prepared his own libretto, in German, based on the play by Count Carlo Gozzi. The music for Busoni's opera is based on incidental music, and the associated Turandot Suite (BV 248), which Busoni had written in 1905 for a production of Gozzi's play. The opera is often performed as part of a double bill with Busoni's earlier one-act opera Arlecchino. (Wikipedia)
    Turandot: Verzweiflung und Ergebung BV 248a (5') 4333-4531 timp 3perc str
    Arlecchino BV 270 (1917) (Arlecchino, oder Die Fenster; Harlequin, or The Windows) (65') 2222-3230 timp 3perc str 88666 Banda: 2tr timp perc
    2 flutes (both doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet in C), 2 bassoons (2nd doubling contrabassoon); 3 horns, 2 trumpets, 3 trombones; timpani, 3 percussion (glockenspiel, triangle, tambourine, military drum, bass drum, cymbals, tam-tam, celesta); strings (8 violins I, 8 violins II, 6 violas, 6 cellos, 6 double basses). Stage music: 2 trumpets, timpani. http://en.wikipedia.org/wiki/Arlecchino_%28opera%29
    Rondo arlecchinesco for orchestra and tenor solo op.46 (1915) (10') 2122-3230 timp perc str T-solo
    Doktor Faust (1925)
    Op.51, Sarabande and Cortege from 'Doktor Faust'(1918-19)
    Busoni-arrangements
    Concertante suite from W. A. Mozart's opera 'Idomeneo' BV 85 (11') 2222-2230  timp str Br&H rent
     
    Perosi, Don Lorenzo (1872-1956)   Italy-19   Italy-17   Italy-18  Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Perosi, Don Lorenzo (1872-1956)
    List of compositions by Lorenzo Perosi according to Mario Rinaldi (1967)
    http://en.wikipedia.org/wiki/Don_Lorenzo_Perosi
    Time about his mental illness: http://www.time.com/time/magazine/article/0,9171,715459,00.html
    Perosi-26 orchestral works
    Adagio per orchestra (1931); Dormi non piangere; Gerusalemme; La festa del villaggio (1959); Le ore di Londra; Pastorale (1901); Scherzo (1901); Roma; Venezia; Firenze; Messina; Verona; Tortona; Milano; Torino; Genova; Napoli; Tema Variato (1901); Concerto per Grande Orchestra; Concerto per piccola orchestra (1901); Variazioni; Concerto per violino e orchestra no. 1 (1903); Concerto per violino e orchestra no. 2 (1916); Tema e variazioni per violino e orchestra; Concerto per Clarinetto e Orchestra (1928) ; Concerto per pianoforte e orchesta (1916)

    Italy-20  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    In the 19th century the Italian music production was dominated by opera. The giovane scuola ("young school") refers to a group of Italian composers (mostly operatic) who succeeded Verdi and flourished in the late 19th and early 20th century. The group all had close connections with the Milan Conservatory and included Puccini, Mascagni, Leoncavallo, Giordano, Cilea, Catalani and Franchetti as well as non-operatic composers such as Perosi, Don Lorenzo (1872-1956).
    The first generation of 20th century Italian composers is called La generazione dell'Ottanta while all of them were born in the '80's. They are the first generation after Puccini (1858-1924) and wrote mostly instrumental music. With them a great symphonic production started.: Ottorino Respighi (1879-1936), Franco Alfano (1875-1954), Ildebrando Pizzetti (1880-1968), Gian Francesco Malipiero (1882-1973), Alfredo Casella (1883-1947).
    Respighi became briefly associated in 1910 with the anti-establishmentarian Lega dei Cinque, an Italian “League of Five” (with Pizzetti, Malipiero, Giannotto Bastianelli, and Renzo Bossi) to balance the famous “Russian Five” of the preceding century. The League advocated, in Bastiandelli’s words, “the risorgimento of Italian music . . . which from the end of the golden eighteenth century until today has been, with very few exceptions, depressed and circumscribed by commercialism and philistinism.”   Later famous names: Giorgio Frederico Ghedini (1892-1965), Luigi Dallapiccola (1904-1975), Goffredo Petrassi (1904-2003) Luciano Berio (1925-2003) , Maderna, Bruno (1920-1973). 
    Antonio Bazzini Francesca da Rimini
    Gino Marinuzzi 1912 Sicamia
    Riccardo  Pick-Mangiagalli 1917 Poema sinfonico Sortilegi /
    Vittorio de Sabato 1919-25 Juventus, La Notte di Platon, Gethsemani
    Italy-20-composers.
    Alfano, Franco (1875-1954),
    Berio, Luciano  (1925-2003),
    Casella, Alfredo (1883-1947),
    Castelnuovo-Tedesco, Mario (1895-1968),
    Castiglioni, Niccolò (1932–1996),
    Cilea, Francesco (1866–1950),
    Dallapiccola, Luigi (1904-1975),
    Donatoni, Franco (1927-2000),
    Giordano, Umberto (1867–1948),
    Maderna, Bruno (1920-1973),
    Malipiero, Gian Francesco (1882-1973),
    Menotti, Gian Carlo (1911-2007),
    Monti, Vittorio (1868–1922),
    Morricone, Ennio (1928),
    Nono, Luigi (1924-1990),
    Perosi, Don Lorenzo (1872-1956),
    Petrassi, Goffredo (1904-2003)
    Pilati, Mario (1903-1938),
    Italo Montemezzi (1875–1952),
    Respighi, Ottorino (1879-1936),
    Rota, Nino (1911-1979),
    Salviucci, Giovanni (1907-1937),
    Tommasini, Vincenso (1878-1950),
    Vlad, Roman (1919*),
    Wolf-Ferrari, Ermanno (1876–1948),
    Zandonai, Riccardo (1883–1944),
    Andre Dolce Era (1877–1930),
    Stefano Donaudy (1879–1925),
    Ildebrando Pizzetti (1880–1968),
    Lualdi, Adriano (1885–1971),
    Carlo Giorgio Garofalo (1886–1962),
    Aldo Finzi (1897–1945),
    Vittorio Rieti (1898–1994),
    Giacinto Scelsi (1905–1988),
    Riccardo Malipiero (1914–2003),
    Camillo Togni (1922–1993),
    Aldo Clementi (born 1925),
    Franco Evangelisti (1926–1980),
    Antonio Braga (1929–2009),
    Sylvano Bussotti (born 1931),
    Azio Corghi (born 1937),
    Gian Paolo Chiti (born 1939),
    Salvatore Sciarrino (born 1947),
    Lorenzo Ferrero (born 1951),
    Luke Barbarino (born 1952),
    Ludovico Einaudi (born 1955),
    Carlo Pedini (born 1956),
    Marco Ambrosini (born 1964),
    Giovanni Verrando (born 1965),
    Paolo Longo (born 1967),
    Salvatore Di Vittorio (born 1967),
    Tiziano Bedetti (born 1976)
    Cilea, Francesco (1866–1950),
    Umberto Giordano (1867–1948),
    Monti, Vittorio (1868–1922),
    Perosi, Don Lorenzo (1872-1956),
    Alfano, Franco (1875-1954),
    Italo Montemezzi (1875–1952),
    Wolf-Ferrari, Ermanno (1876–1948),
    Andre Dolce Era (1877–1930),
    Tommasini, Vincenso (1878-1950),
    Stefano Donaudy (1879–1925),
    Respighi, Ottorino (1879-1936),
    Ildebrando Pizzetti (1880–1968),
    Malipiero, Gian Francesco (1882-1973),
    Casella, Alfredo (1883-1947),
    Zandonai, Riccardo (1883–1944),
    Lualdi, Adriano (1885–1971),
    Carlo Giorgio Garofalo (1886–1962),
    Castelnuovo-Tedesco, Mario (1895-1968),
    Aldo Finzi (1897–1945),
    Vittorio Rieti (1898–1994),
    Pilati, Mario (1903-1938),
    Dallapiccola, Luigi (1904-1975),
    Petrassi, Goffredo (1904-2003)
    Giacinto Scelsi (1905–1988),
    Salviucci, Giovanni (1907-1937),
    Menotti, Gian Carlo (1911-2007),
    Rota, Nino (1911-1979),
    Riccardo Malipiero (1914–2003),
    Vlad, Roman (1919*),
    Maderna, Bruno (1920-1973),
    Camillo Togni (1922–1993),
    Nono, Luigi (1924-1990),
    Berio, Luciano  (1925-2003),
    Aldo Clementi (born 1925),
    Franco Evangelisti (1926–1980),
    Donatoni, Franco (1927-2000),
    Morricone, Ennio (1928),
    Antonio Braga (1929–2009),
    Sylvano Bussotti (born 1931),
    Castiglioni, Niccolò (1932–1996),
    Azio Corghi (born 1937),
    Gian Paolo Chiti (born 1939),
    Salvatore Sciarrino (born 1947),
    Lorenzo Ferrero (born 1951),
    Luke Barbarino (born 1952),
    Ludovico Einaudi (born 1955),
    Carlo Pedini (born 1956),
    Marco Ambrosini (born 1964),
    Giovanni Verrando (born 1965),
    Paolo Longo (born 1967),
    Salvatore Di Vittorio (born 1967),
    Tiziano Bedetti (born 1976)
     
    Monti, Vittorio (1868–1922)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Monti,
    The Italian composer, violinist, and conductor is mainly remembered for his Csárdás (1904), his only famous work that is played by almost every gypsy orchestra.  Monti was born in Naples where he studied violin and composition at the Conservatorio di San Pietro a Majella. He wrote several ballets and operettas, for example Noël de Pierrot.
    Czardas (1904) (4'30) for Violin and Orchestra 2222-4230 timp hp str Kalmus  
    -05'  violin&orchestra
     
    Perosi, Lorenzo (1872–1956)
    Perosi is discussed in Italy-19: Perosi.
     
    Franco Alfano (1875-1954)  nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Alfano, Franco (1875-1954)
    http://www.tryphon.it/sakuntala/opere.htm
    Posillipo, dichtbij Napels. Tegenwoordig is hij waarschijnlijk het meest bekend van het completeren van Giacomo Puccini's onafgemaakte opera Turandot in 1926. Verder componeerde Alfano zelf een twaalftal opera's, de eerste twee in de verisme stijl hadden weinig succes. Met zijn derde opera Risurrezione voor het eerst opgevoerd in 1904, was hij wel succesvol. Verder componeerde hij ook nog Cyrano de Bergerac die in 1936 in Rome in première ging; de Franse uitvoering ging een week later in Parijs in première. (wikipedia)

    Wolf-Ferrari, Ermanno (1876–1948)   nations&periods
     Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Wolf-Ferrari, Ermanno (1876–1948)
     
    Tommasini, Vincenso (1878-1950)  nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Tommasini,
    Born in Rome, Tommasini studied philology and the Greek language at the University of Rome, at the same time pursuing equally intensive studies in music at the Academy of St. Cecilia. In 1902 he traveled extensively throughout Europe; during this time he studied under Max Bruch in Berlin. He first achieved note with a one-act opera, Uguale fortuna, which won a national competition. Tommasini's biggest success internationally was his 1916 arrangement of keyboard sonatas by Domenico Scarlatti for the Sergei Diaghilev ballet in The Good-Humoured Ladies (Le donne di buon umore). It was he and Arturo Toscanini who completed Arrigo Boito's unfinished opera Nerone. Tommasini was a leading figure in the revival of orchestral music in twentieth-century Italy. Among his other works are Paesaggi toscani (Tuscan Landscapes) for orchestra and a set of variations, also for orchestra, on the Carnival of Venice.
    The Good-Humoured Ladies, Suite arr. Tommasini (1916) (12') 2222-4200 timp perc hpsd str Chester
    The good humoured ladies : a choregraphic comedy / music by Domenico Scarlatti ; orchestrated and arranged by Vincenzo Tommasini. Diaghilevs ballet with music by Tommasini based on harpsichord sonatas by Domenico Scarlatti.
     
    Ottorino Respighi (1879-1936)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times   timetable
    Respighi,
    Snel overzicht.
    De P-nrs verwijzen naar P. Pedarra, ‘Catalogo delle composizione di Ottorino Respighi’
    triple woodwind or more      
    Feste Romane (1928) 3343-4431timp perc xyl glock bells pno org mand str 3 buccine/tr 23'  
    Pini di Roma (1923–1924)
     
    3333-4331 timp perc glock cel pno org hp str 6 buccine
    3333-4931
    20'
     
    Vetrate di chiesa (1925) 3333-4331 timp perc bells cel pno org hp str 27'  
    less than triple woodwind      
    La boutique fantasque (1919) complete ballet 3322-4331 timp 3perc hp cel str  (ww: 3*3*22   40'  
    La Boutique Fantastique, Suite (18') (Rossini/Respighi)
    3322-4331 timp 3perc hp cel str  (ww: 3*3*22)  
    18'
     
    Scherzo veneziano, ballet (1920)      
    Belkis, regina di Saba, ballet (1932)      
    Sinfonia drammatica (1913–1914)      
    Fontane di Roma (1915-1916) 18'
    3332-4331 timp perc carillon cel bells pno hp str  
    18'  
    Rossiniana, suite, P148, (1925)
    naar Rossini’s ‘Les Riens’
    3322-4331 timp perc hp cel str     
     
    25'
     
     
    Impressioni brasiliane (1928) 20' 3332-4321 timp perc cel bells pno hp str 20'  
    Gli Ucelli (1927) (20') 2122-2200 cel hp str    
    Trittico botticelliano (1927) (16') 1111-1100 tri, glock, cel, pno, hp str 16'  
    La Sensitiva      
    Respighi-orchestral works in chronological order
    Symphonic Variations (1900)
    Preludio, corale e fuga (1901)
    Aria for strings (1901)
    Suite for strings (1902)
    Suite in E major (Sinfonia) (1901 rev. 1903)
    Burlesca (1906)
    Ouverture carnevalesca (1913)
    Sinfonia drammatica (1914)
     (51') 3343-6331 perc hp org str 
    The Roman trilogy (three symphonic poems evoking Roman places and times of day)
    Fountains of Rome (1915–1916)
    Pines of Rome (1923–1924)
    Roman Festivals (1928)
    Ancient Airs and Dances
    Suite No. 1 (1917), based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of Galileo Galilei), and additional anonymous composers.
    Suite No. 2 (1923), based on pieces for lute, archlute, and viol by Fabrizio Caroso, Jean-Baptiste Besard, Bernardo Gianoncelli, and an anonymous composer. It also interpolates an aria attributed to Marin Mersenne.
    Suite No. 3 (1932), arranged for strings only and somewhat melancholy in overall mood. It is based on lute songs by Besard, a piece for baroque guitar by Ludovico Roncalli, lute pieces by Santino Garsi da Parma and additional anonymous composers.
    Ballata delle Gnomidi (Dance of the Gnomes) (1920) (15'02) 4343-4431 timp perc xyl carrillon 2hp str
    Based on a poem by Claudio Clausetti
    The basis of the orchestral work is a poem by Claudio Clausetti (1869 - 1943). Clausetti was a major figure in music publishing. A lawyer, he was also a director of the firm of G. Ricordi, then and since the biggest music publisher in Italy, with a near-monopoly on opera.
    In 1920, Respighi expressed an interest in making an orchestral poem out of the subject. Clausetti expanded his nine-stanza poem into a larger version, which Respighi placed as the preface to his score.
    The piece which is given most prominent billing on the CD cover, the Ballad of the Gnomes (the Italian title is Ballata delle gnomidi – and ‘ballata’ might as readily be translated as ‘Dance’ rather than ‘Ballad’) was written at much the same time as the more famous tone poems The Fountains of Rome (1918) and The Pines of Rome (1925). It was first performed in Rome in April 1920; both Toscanini and Reiner conducted later performances of the piece, though it was largely forgotten after that, until Geoffrey Simon played it in 1992 with the Sacramento Orchestra. It is a response to a strange – indeed perverse – poem by Carlo Clausetti (1869-1943), better known as the director of Ricordi - and a composer himself - rather than as a poet. His poem ‘The Ballad of the Gnomes’, of which a free translation - but not the original Italian - is provided in the booklet, is a rather disturbing piece which (obliquely) narrates a tale in which two female gnomes pick on a hapless male as part of some kind of ritual and drag him to a darkened bedroom for some sort of act of sexual predation, in the course of which he dies with a “ghastly scream”. Other gnomes wait outside, as his scream is succeeded by silence; at dawn the two she-gnomes carry his bloodstained corpse to a cliff above the sea and throw it over, amidst prayers which, we are told, sound more like curses. There follows a frenzied dance, led by the two murderers, a kind of Witches Sabbath. Such a scenario, it need hardly be said, offers Respighi plenty of musical scope for lavish orchestral effects and some driving rhythms. I’m not sure that the music ever amounts to much more than an orchestral showpiece … and not an especially glamorous one. There are some striking passages, but the whole lacks musical coherence; the supposedly abandoned dance which closes it sounds pretty tame alongside, say, The Rite of Spring or The Miraculous Mandarin. Useful as it is to have a vividly played and recorded performance available - this was a première recording - this strikes me as actually the least satisfying piece of music on the CD. Glyn Pursglove, MusicWeb International , ArkivMusik

    Rossiniana (1925) - free transcriptions from Rossini's Quelques riens (from Péchés de vieillesse)
    Vetrate di chiesa (Church Windows) (1925), four movements of which three are based on Tre Preludi sopra melodie gregoriane for piano (1919)
    Trittico Botticelliano (1927)
    Impressioni brasiliane (Brazilian Impressions) (1928)
    Metamorphoseon Modi XII: Tema e Variazioni (1930)


    Fontane di Roma (symphonic poem) (1916) (18') 3332-4331 pk perc carillon cel bells pno hp str   
    1. "La fontana di Valle Giulia all'Alba" (The Fountain of Valle Giulia at Dawn); 2. "La fontana del Tritone al mattino" (The Triton Fountain in the Morning); 3. "La fontana di Trevi al meriggio" (The Trevi fountain at noon); 4. "La fontana di Villa Medici al tramonto" (The Villa Medici Fountain at Sunset).
     
    Pini di Roma (1924) (20')   3333-4331 pk perc glock cel pno org hp str 6 buccine str (6 buccine)
    1. At Villa Borghese; 2. By a Catacomb; 3. On the Janiculum 6'44; 4.  On the Appian Way
    Quartetto Dorico, 1924)
       surf    
    Vetrate di chiesa (1925) (27')
       3333-4331 timp perc bells cel pno org hp str
    Trittico botticelliano (1927) (16') 1111-1100 tri, glock, cel, pno, hp str
    Impressioni Brasiliane (1928) (20') 3332-4321 timp perc cel bells pno hp str   
    1. Tropical Night (11'23); 2. Butantan (5'11); 3.Song and Dance (4'13).
    Song and Dance (4'13) could make a good encore. -05'
    Hij brengt de zomer van 1927 door in dat land en legt zich vast tot het componeren van een Suite Brasiliana die hij een jaar later belooft uit te voeren met het Filharmonisch orkest. Direct na terugkomst in Italie begint hij enthousiast aan het werk maar door allerlei andere verplichtingen ziet hij zich genoodzaakt om het uiteindelijk in te korten van vijf naar drie delen. In juni 1928 brengt hij zijn ‘Impressioni Brasiliane’ en het wordt met enthousiasme ontvangen. ‘Notte Tropicale’ heeft alle betoverende magie die de componist ervaart tijdens zijn reizen tussen Rio en Tijuca. ‘Butantan’ ligt net buiten Sao Paulo. In het daar gelegen instituut worden slangen gehouden vanwege hun serum. De muziek schildert eerst de omgeving waarna er een overgang komt naar een soort van draaiend, kronkelend slangenthema. ‘Canzone e Danza’ is een fraaie finale waarin elementen van Braziliaanse zang en dans terugkeren. 

    Lees meer : http://www.hifi.nl/recensies.php?id=1936#ixzz1619dulib
    Respighi-chamber orchestra
    Gli Ucelli (1927) (20') 2122-2200 cel hp str
    Dating from 1927, the work is based on music from 18th-century[1] and represents an attempt to transcribe birdsong into musical notation. The work is in five movements:
    "Prelude" (based on music of Bernardo Pasquini)
    "La colomba" ("The dove"; based on music of Jacques de Gallot)
    "La gallina" ("The hen"; based on music of Jean-Philippe Rameau)
    "L’usignuolo" ("The nightingale"; based on the folksong 'Engels Nachtegaeltje' transcribed by Jacob van Eyck)
    "Il cucù" ("The cuckoo"; based on music of Pasquini) (Wikipedia)

    Respighi-solo+orchestra
    Concerto gregoriano (1921) (30') for violin and orchestra  2332-4230 timp hp cel str
    Toccata for piano and orchestra (1928) (18')  3302-3000 str pno solo   
    Suite for Strings and Organ (1905) (22'30)
    Adagio with Variations for Cello and Orchestra (1920) (13'08)
    had its origins at much the same time as the Suite, as a piece for cello and piano, which Respighi revised and orchestrated in 1921, at the suggestion of the Bolognese cellist, composer and art collector, Antonio Certani. Indeed it is based on a theme by Certani ArkivMusic
    Il tramonto
    Respighi-opera
    Re Enzo (1905)
    Semirâma (1909)
    Marie Victoire (completed in 1913, but not produced until 2004)
    La bella dormente nel bosco (1922)
    Belfagor (1923)
    Overture Belfagor (7') 3343-4331 timp peerc xyl glock cel hp str
    La campana sommersa (1927)
    Maria egiziaca (1932)
    La fiamma (1934)
    Lucrezia (1937) (completed posthumously by his wife, Elsa, and his pupil Ennio Porrino)
     
    Respighi-ballet
    La boutique fantasque (1918) complete ballet (Chester) which borrows tunes from the 19th century composer Rossini. Premiered in London on 5 June 1919.
    La Boutique Fantastique, Suite (18') 2+picc.2+CA.22-4331 pk 3perc hp cel str (Rossini/Respighi) (Chester)
    Sèvres de la vieille France (1920)
    La Pentola magica (1920)
    Le astuzie de Columbina (1920)
    Scherzo veneziano (1920)
    Belkis, Regina di Saba (1930), his last work for ballet
     
    surf     naar Respighi-overzicht bezettingen

    Feste Romane (1928) (23') 3343-4431 pk perc xyl glock bells pno org mand str 3 buccine/tr
    Concerto a cinque (1933)  
    Rossiniana   naar Respighi-overzicht bezettingen    
    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
     
    Respighi-arrangements and orchestrations of works of other composers.
    Pastorale for violin and strings after Giuseppe Tartini (1908)
    * Chaconne, voor viool, orgel en strijkers (naar Vitali), P87, 1908
    * Sonata voor viool en continuo, P85 (naar J. S. Bach’s BWV 1023), 1909
    * Lamento d’Arianna, voor mezzosopraan en groot orkest (naar Claudio Monteverdi), P88, 1908
    * Antiche cantate d’amore, voor solostem en orkest, P113a, 1917 (naar Bernardo Pasquini en Marcello)
    * Antiche danze et arie per liuto, 3 suites voor klein orkest, P109, P138, P172, 1917-31
    * Se t m’ami (arietta), voor solostem, hobo en strijkers, P113c, 1918 (naar Giovanni Battista Pergolesi)
    * Concerto, voor cello en klein orkest, P139a, 1924 (naar Luigi Boccherini)
    * Preludio en Fuga in D, P158 (naar Bach’s BWV 532), 1930
    * Passacaglia, voor orkest, P159, [naar J. S. Bach’s BWV 582], 1930
    * 5 Études tableaux (naar Rachmaninoff’s op. 33 en 39), P160, 1931
    * Tre Corali, voor orkest, P167, 1930 (naar J. S. Bach’s BWV 62, BWV 10 & BWV 140)
    * Orfeo, voor groot orkest, P178, 1934 (naar Monteverdi)
    * Didone, cantate, voor sopraan en klein orkest, P179, 1938 (naar Marcello)
    * La boutique fantasque (ballet, o.a. naar Gioacchino Rossini’s ‘Quelques Riens’ en ‘Soirées musicales’), P120, 1919
    * Sèvres de la vieille France (ballet, gebaseerd op Franse 17de en 18de eeuwse thema’s), P128, 1920
    * La pentola magica (fiaba russa) (ballet gebaseerd op Russische volksmelodieën), P129, 1920
    * Rossiniana, suite, P148, 1925 (naar Rossini’s ‘Les Riens’)
    * Gli ucceli (naar Rameau, Pasquini, etc.), voor klein orkest, P154, 1927
     
    Rossini-further reading.
    1. Catalogus: P. Pedarra: ‘Catalogo delle composizione di Ottorino Respighi’, 2001
    2. E. Respighi: Ottorino Respighi: dati biografici ordinati (Milaan, 154; Engelse vertaling: 1962)
     
    Ildebrando Pizzetti (1880-1968)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Orchestral Music
    Symphony in A in celebrazione del XXVIo centenario della fondazione dell'Impero giapponese. 1940
    http://en.wikipedia.org/wiki/Japanese_Festival_Music
    * Incidental music, especially to plays by d'Annunzio
    * Harp concerto in E-flat (pub. 1960)
    * 3 Sonetti del Petrarca
    * Tre composizioni corali
    * Other vocal works, e.g. Epithalamium (1939? 1940, played at a Library of Congress concert in April 1940 and again in 1977)
    * Violoncello concerto in C (1933-4)
    * Violin concerto in A, 1944
    * Canti della stagione alta : concerto for piano and orchestra
    * Sinfonia del fuoco (from music for the silent film Cabiria)
    * Rondo veneziano (1929)
    * Concerto dell'Estate
    * Concerto dell'estate (1928)
    * I canti della stagione alta (1930)
     
    Malipiero Gian Francesco (1882-1973)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Malipiero,
    Malipiero, GF-the 17 symphonies
    His cycle of 17 symphonies constitutes one of his most notable achievements. It consists of 11 numbered symphonies and six others that bear no number, but have thematic designations, such as the "Sinfonia del mare" (1906).
    Malipiero-the 11 numbered symphonies.
    Malipiero waited until 1933, when he was 51, to actually call one of his orchestral compositions "First Symphony".
    Symphony no.1 "In quattro tempi, come le quattro stagioni" (1933) (23') 3322-4221 timp perc xyl carrillon cel hp str
    Symphony no.2 "Elegiaca" (1936) (20') 3222-4331 timp perc hp str
    Symphony no.3 "Delle campane" (1944-1945) (18') 2332-4231 timp 2perc glock hp pno cel str
    Symphony no.4  "In memoriam" (1946) (25') 3332-4331 perc str
    Symphony no.5 "Concertante in eco" (1947) (18') for 2 pianos and orchestra 3222-4200 perc hp str
    Symphony no.6 "Degli archi" (1947) (20') str
    I. Allegro (4'); II. Piuttosto lento (6'33); III. Allegro vivo (2'52); IV. Lento Ma Non Troppo - Allegro - Lento - Allegro - Molto Triste (9'18).
    Symphony no.7 "Delle canzoni" (1948) (20') 2222-4231 perc hp str
    Symphony no.8 "Symphonia brevis" (1964) (20') 3322-4200 timp perc xyl cel pno hp str
    Symphony no.9 "Dell'Ahimè" (1966) (14') 3322-4200 perc xyl cel pno hp str
    The bustling allegro finale of Malipiero's Ninth is interrupted by a drum roll over which the trumpets blare out an ominous two note figure. The word "AHIME" is printed at this point in the score. This "shamelessly naïve outburst" (as annotator John C.G. Waterhouse describes it) gives this quirky, dissonant, and unsettling score its enigmatic subtitle: "Dell'ahime" - or, in English, "Of the Alas". The highlight of the work is not this episodic finale, but rather the haunting middle movement which is dominated by an exotic and highly expressive English horn melody.
    Symphony no.10 "Atropo" (1966-1967) (12') 2222-4200 perc xyl cel pno hp str   10'-15'
    Symphony no.11 "Delle cornamuse" (1969) (11') 3212-4200  perc xyl cel pno hp str
    Malipiero-the 6 unnumbered symphonies.
    Sinfonia degli eroi (1905)  (Repudiated by the composer)
    Sinfonia del mare (1906) (30') 3333-4331 perc hp str
    Sinfonia del Silencio e della Morte (1910) Part I (8') 3303-4331 timp perc hp str Simrock
    Sinfonia del Silencio e della Morte (1910) Part II (8') 3332-3100 timp perc hp str Simrock
    Sinfonia del Silencio e della Morte (1910) Part III (10') 3333-4331 timp perc xyl hp str Simrock
    "Sinfonie del Silenzio e de la morte" has three movements - a collection of three individual Sinfonias rather than a cogently articulated whole: Danza tragica (the score bears a quote from Poe's Mask of the Red Death), Sinfonia del silenzio (hushed, with an undercurrent of agitation, somewhere between Wagner's Magic Fire Music and Debussy's La Mer, with a middle section in the form of an "antique Dance"), and il molino della morte (the Mill of Death), a kind of Dance of Death with echoes of Dukas (Sorcerer's Apprentice) and Mahler marches. The style is decidedly post-Romantic with whiffs of Debussy impressionism. Amateurs of the British late-Romantics (Bax, Brian and company) or Josef Suk/Franz Schmidt might find enjoyment here. But, despite nice and evocative touches of orchestration, it is not very distinctive. (Internet)
    Sinfonia dello Zodiaco "dalla Primavera all'Inverno" (1951) (43') 3322-4231 perc hp str
    Partita no.1 Spring (12'30); Partita no.2 Summer (10'30); Partita no.3 Autumn (10'); Partita no.4 Winter (10').
    More a suite than a traditional symphony, it consists of twelve short movements (none more than five minutes in length) arranged into four "partitas" representing the seasons of the year rather than any astrological phenomena. While the composer's inspiration does flag on more than one occasion in the course of this forty minute work, his descriptive powers, melodic invention, and gift for vividly colorful scoring all ensure that it is a generally satisfying musical experience. Memorable moments include an enchanting pastoral dialog for oboe and english horn at the beginning of Spring and the spooky ponticello string writing which sets the stage for winter.
    Sinfonia in un tempo (24') 3222-4231 perc hp str
    Sinfonia per Antigenida (20') 3322-4231 perc xyl cel hp str
    http://www.dbnl.org/tekst/wess008muzi01_01/wess008muzi01_01_0014.htm
    Malipiero-other orchestral
    Impressioni dal vero (1910–11) (1915) UE
    Part I. Each movement is based upon the sound of the birds wchich is mentioned in its title.
    1. Il capinero/The blackcap; 2.Il picchio/The woodpecker; 3. The owl.
    Part II (1915) (22') 3(pic)+pic.2+ca.2+bcl.2+cbn/4331/timp.perc/hp.cel/str Chester
    Part III (1922)
    Pause del silenzio I (13') 3333-4331 perc xyl glock hp cel str UE
    Pause del silenzio II (16') 3333-4331 perc hp cel str UE
    Gabrieliana (1971) (15') 1222-2200 str  Ricordi  10'-15'
    Vivaldiana (1952) (14'30) 2222-2000 str   10'-15'
    Vivaldiana (1952) was not merely a composition to be analyzed for its own strengths, but also as a piece representative of the interests, life, and work of Gian Francesco Malipiero. Known as a composer and musicologist, Malipiero, early in his career, studied musicians such as Monteverdi and later edited their compositions. Regardless of his level of involvement, Malipiero's editing career always came second to his work as a composer. In fact, Malipiero was in the process of editing several volumes of instrumental music for the publication of Vivaldi's complete works, when he paused to write Vivaldiana. Both projects were undertaken while Malipiero occupied the seat of director at the Istituto Italiano Antonio Vivaldi, which he had accepted in 1947. In Vivaldiana, Malipiero used and re-orchestrated actual portions from works by Vivaldi, including six concertos which were transcribed for classical orchestra. Subdivided by a change of character and tempo, each of the three double movements are displayed as creative compositional ventures from the editorial work Malipiero had been involved with at the time. © All Music Guide
    Cimarosiana, La (1921) (12') 3222-4200 timp perc str Chester 3=2+picc  10'-15'
    Cimarosa,
    Malipiero-solo&orchestra
    Variazioni senza tema, per pianoforte e orchestra (1923) (15') 3322-4200 timp perc xyl carillon cel hp str Ricordi
    Symphony no.5 "Concertante in eco" (1947) (18') for 2 pianos and orchestra 3222-4200 perc hp str
    Abracadabra (1962) (18') for Baritone und Orchestra 3322-0000 - Schl(3) - Hf, Cel, Klav - Str
    Malipiero-further reading
    Gian Francesco Malipiero (1882-1973): The Life, Times and Music of a Wayward Genius by John C. G. Waterhouse (1999)
     
    Alfredo Casella (1883-1947)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Casella,  UE
    Casella-3 symphonies and the concerto for orchestra
    Symphony no.1 op.5 (1906) in B minor (25') 3334-4331 timp perc str Salabert
    Symphony no.2 in c minor op.12 (1909) (46') 3334-4331 timp 5perc 2hp org str Ricordi
    3 (anche 3 Ott.). 3 (III anche Cor. i.). 3 (II anche Cl. b., III anche Cl. picc.). 4 (IV Cfg.). / 4.3.3.1. / Tp. Perc. (= 5 esec.) 2 A. Org. / Archi
    Sinfonia no. 3 op. 63 ('Symphonie no.3') (1940) (40') 3333-4331 timp 2perc pno UE
    Alfredo Casella's Sinfonia is actually his Third Symphony. It was written in 1939-40 for the Chicago Symphony, enjoyed a highly successful premiere, then vanished along with the composer's reputation in the political fallout following World War II. Like so many Italian composers of his generation, Casella was sympathetic to Mussolini's government, which went out of its way to patronize (and co-opt) the arts. It wasn't exactly the kind of thing that Hitler was doing in Germany, but it was close enough. Still, it didn't seem to hurt Respighi--but then he had Toscanini on his side and the good fortune to die in 1936, whereas Casella made it until 1947.
    Be that as it may, Casella was a finer composer than Respighi, by and large, and certainly a more interesting one. His Sinfonia is a magnificent work lasting some three-quarters of an hour. Although it employs traditional forms, it doesn't sound even remotely like anyone else, particularly in regard to its melodic idiom which is at once modern/tonal but remarkably personal. Brilliantly scored, atmospheric, and finely wrought, it should be at least as popular as, say, Shostakovich of the same period, and it's easily the finest 20th century symphony by an Italian composer.  David Hurwitz, ClassicsToday.com
    Concerto per Orchestra, Op. 61 (1937) (28') 3333-4331 timp perc pno str Ricordi  20'-30'
    Casella-orchestral works
    Italia, Rapsodia per Orchestra, op. 11 (1909) 3344-4431 perc 2hp str
    Suite in C major, Op. 13 (1909-10)
    Suite from the Ballet Le Couvent sur l'Eau (Il Convento Veneziano), Op. 19 (1912-3)
    Pagine di Guerra, Op. 23bis (1918)
    Pagine di guerra Op. 25. 4 Film musicali per pianoforte a 4 mani 1. Nel Belgio: Sfilata di artiglieria pesante tedesca 2. In Francia: Davanti alle rovine della cattedrale di Reims 3. In Russia: Carica di cavalleria cosacca 4. In Alsazia: Croci di legno
    Serenata for small orchestra op.46bis (1930) (21') 2122-2110 perc str UE
    I. Marcia: Allegro vivace e ritmico (4'17); II. Notturno: Lento, grave (6'14); III. Gavotta: Vivacissimo e spiritoso (3'12); IV. Cavatina: Adagio molto e sentimentale ma senza parodia (5'18); V. Finale: Vivacissimo, alla Napoletana (3'30).
    Alfredo Casella's Serenata for small orchestra, Op. 46bis of 1930, is an orchestral arrangement of the Serenata that he composed three years earlier for clarinet, bassoon, trumpet, violin, and cello (Op. 46 proper, a work upon which the Musical Fund Society of Philadelphia bestowed its First Prize in 1928). The only significant difference is that the orchestral version is in five movements, while the original is in six; Casella omitted the second movement of the original when making the chamber orchestra version. The Serenata hearkens back to the occasional serenades of the eighteenth century, with its concise dance movements and light, entertaining style; gracefulness, in true neo-Classical fashion, is here more important than cutting-edge musical narrative. All Music Guide
    Marcia Rustica, Op. 49 (1929)
    Pupazzetti, Op. 27bis (1920) (22') 4332-0100 timp perc pno str (4:2fl+2picc; 3:2ob+ca; 3:2cl+bcl)
    Elegia Eroica, Op. 29 (1916)
    Divertimento op. 65, Paganiniana, for orchestra (1942) (19')  2232-4211 timp perc str  15'-20'
    La Giara-Suite for orchestra op.41bis (1924) (18') opt. T-solo 2222-4210 timp 3perc str
    Introduzione, Aria e Toccata per Orchestra, Op. 55 (1933)
    Divertimento per Fulvia, Op. 64 (1940) (14') 2121- 2100 perc xyl glock cel str UE
    Casella-chamber orchestra
    Serenata for small orchestra op.46bis (1930) (21') 2122-2110 perc str UE
    I. Marcia: Allegro vivace e ritmico (4'17); II. Notturno: Lento, grave (6'14); III. Gavotta: Vivacissimo e spiritoso (3'12); IV. Cavatina: Adagio molto e sentimentale ma senza parodia (5'18); V. Finale: Vivacissimo, alla Napoletana (3'30).
    Alfredo Casella's Serenata for small orchestra, Op. 46bis of 1930, is an orchestral arrangement of the Serenata that he composed three years earlier for clarinet, bassoon, trumpet, violin, and cello (Op. 46 proper, a work upon which the Musical Fund Society of Philadelphia bestowed its First Prize in 1928). The only significant difference is that the orchestral version is in five movements, while the original is in six; Casella omitted the second movement of the original when making the chamber orchestra version. The Serenata hearkens back to the occasional serenades of the eighteenth century, with its concise dance movements and light, entertaining style; gracefulness, in true neo-Classical fashion, is here more important than cutting-edge musical narrative. All Music Guide
    Casella-string orchestra
    Concerto per Archi, Op. 40bis (1923-4)
    Casella-wind band
    Introduzione, Corale e Marcia, Op. 57 (1931-5) for Band, Piano, Double Basses and Percussion
    Casella-solo+orchestra   piano&orchestra    organ&orchestra
    A Notte Alta, for Piano and Orchestra, Op. 30bis (1921)
    Scarlattiana for piano and chamber orchestra (1926) (27') pno solo 2232-2110 perc 6v, 4va, 4vc, 3cb  piano&orchestra
    Scarlattiana (1926) is a jeu d’esprit of the highest order, light-hearted, cheerful music, quite Parisian and certainly Poulencian (Les biches with a substantial piano part rather than dining out on Stravinsky’s Pulcinella), skilfully using numerous keyboard sonatas of Domenico Scarlatti for skittish and pastoral effect. (Chandos).
    Drawing from as many as ninety of the hundreds of Scarlatti sonatas available to him, in the neoclassical Scarlattiana, Casella presents an abundance of melody, the work’s general light-heartedness effectively offset by such thoughtful episodes as the matching slow introductions to the opening Sinfonia and the Finale. (Internet).
    In seven movements (but originally for 33 rather than six instruments!), Scarlattiana was Casella's brilliant "divertimento" on "about 80" themes from Domenico Scarlatti's 545 keyboard sonatas. Often accused of imitating Stravinsky's Pulcinella, its ancestry can equally be traced in La Cimarosiana (1921) by Casella's friend Gian Francesco Malipiero. David Gallagher, 2000
    Combinations:
    Partita for Piano and Orchestra, Op. 42 (1924-5)
    Violin Concerto, Op. 48 (1928)
    Cello Concerto, Op. 58 (1934-5)
    Notturno e Tarantella for Cello and Orchestra, Op. 54 (1934)
    Concerto Romano for organ, brass, timpani, and strings, Op. 43 (1926) (33') 0000-0330 timp str  organ&orchestra
    I. Sinfonia (9'35); II. Largo (10'25); III. Cadenza e Toccata (12')
    Triple Concerto op.56 (1933) (25') v,vc,pno-solo 2232-2111 timp perc str 3 various&orchestra
    With Arturo Bonucci (cello) and Alberto Poltronieri (violin), Casella (piano) formed the Trio Italiano in 1930. This group played to great acclaim in Europe and America. His stature as a pianist and his work with the Trio gave rise to some of his best known compositions, including A Notte Alta, the Sonatina, Nove Pezzi, and the Six Studies, Op. 70, for piano. For the Trio to play on tour, he wrote the Sonata a Tre and the Triple Concerto.
    Concerto for piano, timpani, percussion and strings op. 69 (1943) (16') piano, timp perc  str (8-16 6-14 4-10 4-8 4-8)
    Casella-opera
    La Donna Serpente, Frammenti Sinfonici Seria I, Op. 50bis (1928-31)
    La Donna Serpente, Frammenti Sinfonici Seria II, Op. 50ter (1928-31)
    Casella-ballet
    La Giara op.41 (1924) , ballet after a story by Pirandello
    La Giara-Suite for orchestra op.41bis (1924) (18') opt. T-solo 2222-4210 timp 3perc str
    Ia. Preludio (4'50); Ib. Chiovu: Danza popolare siciliana (3:42); Iia. "La Storia Della Fanciulla Rapita Dai Pirati" T-solo (2'53); Iib. Danza Di Nela (1'12); Iic. Entrata Dei Contadini (0'22); Iid. Brindisi (0'40); Iie. Danza Generale; Iif. Finale (1'48).
    Casella wrote his ballet, the choreographic comedy La Giara (The Jar) in 1924 at the suggestion of Erik Satie, with whom he had had no contact for some time. In a letter of 1918 to the musicologist Henry Prunières, Satie had expressed privately his agreement with the latter's dislike of Casella's music at the time, which Prunières had felt to be lacking in sincerity and shifting too easily from the style of Fauré to that of Stravinsky. Satie adds that Casella's music is always lacking in intelligence, dressing his Romans as Cossacks. This was, of course, a judgement of Casella's second period and it must be presumed that Satie had now changed his mind. He himself was at work on Reláche (Respite), an instantaneous ballet with a cinematographic entr'acte and Queue de chien by Rene Clair, to a libretto and decor by the surrealist Francis Picabia and choreography by Jean Borlin for the Swedish Ballet of Rolf de Mare. Casella later discovered the reason for Satie's action. It seemed he had quarrelled with Les Six and in particular with Poulenc, as Casella records in his autobiography, and was anxious to avoid an invitation for a composition being extended to any of that group. The Ballets Suedois had been established by de Mare in Paris in 1920 and he had seemed to share with Dyagilev the ability to make use of contemporary artistic trends to serve his purpose. He now wanted an Italian ballet, as Casella discovered when he arrived in Paris, something to compete with Manuel de Falla's Three-Cornered Hat, with its characteristically Spanish plot, decor and music. La Giara was completed in 45 days and staged on 19th November 1924 at the Theatre des Champs-Elysées with choreography by Borlin and decor by Giorgio di Chirico. It was produced at the Rome Opera House in 1928 in tandem with Stravinsky's The Nightingale, the latter being coldly received. The score makes use of popular Sicilian tunes and combines the purely Italian element with the wider European, described by Castelnuovo-Tedesco as sharing equally rustic comedy and the old opera buffa. The suite derived from the score was dedicated to the conductor Willem Mengelberg, who was to serve on the Philadelphia jury that chose Casella's Serenata in 1928 and who conducted the first performance of the suite, which took place in New York.
    For the new ballet Casella took a story by Pirandello that his friend Mario Labroca had once intended to use as the basis for a comic opera, Pirandello's story, set in Sicily, concerns the litigious Lollò Zirafa and a great jar he has ordered to contain the oil from an olive-harvest, a jar chest-high and well-rounded. The jar breaks in two and to mend it he engages a man from a neighbouring village who has perfected a wonder-glue that will stick anything. Lollò Zirafa demands that the jar also be given additional reinforcement and this can only be done from inside the jar. Needless to say, once the work is complete, Uncle Dima Licasi is trapped inside and can only get out by breaking the jar again. Since Lollò does not want the jar broken, he pays Dima Licasi in the jar but is presented by his lawyer with a series of possibilities, since, if he does not release the prisoner, he may be charged with kidnapping and have to pay compensation to Licasi. Dima Licasi could, of course, buy the broken jar, but a dispute arises about the price to be set on it, since it was, in any case, broken when Licasi arrived. For the moment, though, the latter is happy to remain in the jar, smoking and drinking with the cheerful peasants, to Lollò's anger. Eventually, at the end of his tether, Lollò pushes the jar over and it rolls into an olive-tree and breaks.
    The score opens with an evocative Preludio that Prunières might unkindly have attributed to the influence of Fauré, veering more decidedly towards Stravinsky in the first vigorous interruption and still more in the echoes of the latter as the Danza popolare siciliana (Sicilian Folk-Dance) begins, although this idiom is intermittently softened as the dance continues.
    La storia della fanciulla rapita dai pirati (The story of the girl seized by pirates) offers a vocal interlude, gently lilting, Danza di Nela (Nela's Dance) provides a chance for witty allusion, before the heavy-footed Entrata dei contadini (Entrance of the Villagers) and the celebratory Brindisi (Drinking-Song), strongly rhythmic Danza generale (General Dance) and lively Finale. (Naxos).
    La Camera dei Disegni (1940) (14')  Ballet for children 2121- 2100 2perc cel str
     
    Giorgio Federico Ghedini (1892-1965)    nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Ghedini
    Marinaresca e Baccanale (19') (1933) 3333-4331 pk perc xyl glock cel opt org hp str
    Concerto dell’albatro (1945) (28') T: Melville, H. 1000-0020 pk 2 perc, str, v-solo, vc-solo, pno-solo, rec
    Combinatiemogelijkheid: Vaughan Williams, Sinfonia antartica
     
    Castelnuovo-Tedesco, Mario (1895-1968)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Castelnuovo-Tedesco,
    Italian Jewish composer, known as one of the foremost guitar composers in the twentieth century with almost one hundred compositions for that instrument, many of them written for Andrés Segovia. In 1939 he migrated to the United States and became a film composer for some 200 Hollywood movies for the next fifteen years.
    Castelnuovo-Tedesco-orchestral works
    Overture to A Midsummer Night's Dream (1940)
    Evening in Iowa (195?)
    Concierto in Re Op.99*
    Castelnuovo-Tedesco-
    solo+orchestra   guitar&orchestra
    Violin Concerto No. 1
    Violin Concerto No. 2, Op. 66 I Profeti (The Prophets) for Jascha Heifetz
    Concerto for Piano No. 1 in D major, Op. 46 (1927) (26')
    1. Allegro giusto (10'17); 2. Andantino alla romanza (7'48); 3. Vivo e festoso (7'31).
    Concerto no.2 in F, op.92 (1937) (28')
    The concerto was written in his home town of Florence shortly before the composer was forced to leave Italy with his family.
    1. Vivace e brilliante (9'53); 2. Romanza: tranquillo e meditativo (9'26); 3. Vivo e impetuoso (8'49).
    Guitar Concerto No.1 in D major, Op. 99 (1939)  
    Guitar Concerto No.2 in C major, Op. 160 (1953)
    Concerto for Two Guitars, Op. 201 (1962)
    Pilati, Mario (1903-1938)
    Pilati, Mario (1903-1938)
    Pilati was born in Naples, and his natural musical talent showed itself when he was very young. He entered the local Conservatoire at the age of fifteen, studying under Antonio Savasta. In 1925, he went to Milan, where he prospered until 1930, when he moved back to Naples, then to Palermo, and finally back to Naples, where he became ill and died just before the outbreak of World War II. His work continued to be popular for some time after his death, but gradually waned until its rediscovery in the 1950s, when his long-lost Sonata per flauto e pianoforte was published for the first time. His major work was Piedigrotta, an opera in Neapolitan dialect.
    Born in Naples in 1903, Mario Pilati belonged to the generation which included such disparate personalities as Petrassi, Dallapiccola, Salviucci, Rieti, Mortari, Scelsi and Rota. Pilati was a prolific composer of chamber, vocal and orchestral music. Like many of his contemporaries, he was drawn to the instrumental music of the past, especially that of his own country. An example of this is the Suite for Strings and Piano of 1925, which is neo-classical in style. His other love, that of folk music, is also evident in later works, such as the Concerto for Orchestra, with its ebullient finale ‘alla tirolese’. The attractive lullaby Alla culla comes from the very end of his short life. (Classics Online)
    Concerto for Orchestra in C
    1. Allegro cantabile, un poco maestoso (8'46); 2. Adagio (9'18); 3. Rondo alla tirolese: Allegro pesante e ben ritmato (7'43)
    3 Pieces for Orchestra
    1.Minuetto (4'18); 2. Habanera (5'); 3. Furlana (5'43)
    Suite for Strings and Piano
     
    Luigi Dallapiccola (1904-1975)    nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Dallapiccola,
    Dallapiccola-orchestral works
    Piccola Musica notturna (1954) (7') 2222-2200 timp perc hp cel str   05'-10'
    Partita, per Orchestra (1930-1932). Dedicata alla memoria di Ernesto Consolo.
    Variazioni (1954) (14') 2222-4231 timp 3perc cel xyl vibr hp str  (ww: fl-1&2 also picc-1&2; ob-2=cor anglais)
    Three Questions with two Answers (1962-1963)
    Dallapiccola-solo+orchestra  
    Piccolo Concerto per Muriel Couvreux (1941) (20') for piano and chamber orchestra  3121-2100 timp perc hp str   piano&orchestra  Carisch
    Tartiniana (1951) (16') 3143-2100 xyl hp 6va, 3vc, 2cb, v-solo  violin&orchestra
    Tartiniana Seconda (1956) (12') 3231-1100 timp perc cel xyl, vibr, glock, hp, 4va, 4vc, v-solo   violin&orchestra  Zerboni
    I. Pastorale (2'16'); II. Tempo di Bourrée (1'33); III. Presto, leggerissimo (1'48); IV. Variazioni: Decisamente (0'30); IV. Variazioni: Maestoso (0'54); IV. Variazioni: Tranquillo (1'09); IV. Variazioni: Doloroso (Canon per Augmentationem, Contrario Motu) (1'41); IV. Variazioni: Alla Sarabanda (Canon Cancrizans) (0'59); IV. Variazioni: Deciso, duramente (Canon ad Hypodiapason); Con gagliardia (0'59).
    Luigi Dallapiccola was spurred to write his Tartiniana seconda, for violin accompanied by either piano or orchestra, by violinist Sandro Materassi; hoping for a sequel to Dallapiccola's well-received first Tartiniana, Materassi came to him with numerous photocopies of Giuseppe Tartini's works to use as source material. In the earlier venture, Dallapiccola had manipulated Tartini's diatonic themes as a serial composer would manipulate tone rows, while managing to preserve both emotional character and instrumental color. Tartiniana seconda was written according to the same plan and achieved a similar level of popular success after it appeared in 1956.
    This music really does sound like Baroque music, but with modern contrapuntal sensibilities. The opening theme of the first movement (Pastoral) sounds lyrical and sad, and it intertwines with portions of itself (sometimes modified), making the theme seem private and dramatic at the same time. The following Bourree has an appropriately decisive rhythm and the full complement of Baroque violin ornaments; the third movement (Presto leggierissimo) scampers and frolics, even as the tone row-style manipulations of the theme (inversion, transposition, etc.) become more and more complicated.
    The most ambitious movement is the last ("Variations"), which originally appeared as an independent work called Improvisation (after Tartini). Here, Dallapiccola stretches the limits of thematic manipulation by taking a set of variations from Tartini's Sonata in A minor and counterposing them. Tartini's ninth variation becomes Dallapiccola's main theme for the movement, while Tartini's others appear in variously manipulated guises. The second Dallapiccola variation superimposes the 18th Tartini variation on the 17th; the final variation features Tartini's ninth accompanying the tenth. The ingenious fourth variation uses Tartini's eighth variation in a crab canon. All of this works astonishingly well, both in this movement and throughout the work -- an appropriate "tribute from one Istrian to another." ~ Andrew Lindemann Malone, Rovi
    Literature.
    Phipps, Graham H. - The Music of Luigi Dallapiccola. Rochester, NY: University of Rochester Press, 2003. [ISBN 1-58046-078-X.]
    Mario Ruffini, L'opera di Luigi Dallapiccola: Catalogo Ragionato [Milan: Edizioni Suvini Zerboni, 2002]
    Dietrich Kamper, Gefangenschaft und Freiheit: Leben und Werk des Komponisten Luigi Dallapiccola. [Köln: Gitarre + Laute Verlag, 1984])
    http://muse.jhu.edu/login?uri=/journals/notes/v061/61.1phipps.html 
     
    Goffredo Petrassi (1904-2003)  nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Petrassi,
    Partita and 8 Concerti for orchestra.    
    Partita (17') (1933) 3332 sop.sax, a.sax 4330 pno str  3332 2sax 4330
    Concerto no.1 (20') (1934) 3333 a.sax 4331 pno str
    Concerto no.2 (17') (1951) 2222-2200 timp str
    Concerto no.3 / 'Recreation Concertante'18' (1952-53) 2222-2110 2perc str no cb
    Concerto no.4 24' (1954) str
    Concerto no.5 25' (1955) 3332-4330 timp 4perc hp str
    Concerto no.6 / Invenzione concertata 14' (1956-67) 0000-4321 timp 4perc str
    Concerto no.7 'invenzione concertata' 14' (1961-64) 3233-4431 timp 4 perc xylorimba hp str
    Concerto no.8 (1970-72) 22' 4444-4440 2timp perc xyl xylorimba str
    Petrassi-solo+orchestra    solo+orchestra    Petrassi
    Concerto for flute and orchestra 16' 0022-4330 5perc hp gtr 8vc, 6cb, fl-solo 
    Petrassi-ballet
    La follia di Orlando, Suite from the ballet (20') 3333-4331 timp 2perc xyl hp cembalo str
    Ritratto di Don Chisciotte, suite dal balletto (1947) (19') 2121-2110 timp perc str UE
    Petrassi choral music with orchestra.  
    Coro Dei Morti (1941) (17') male voices, brass, three pianos, five double-basses and percussion 0000-4431 3 pno 4perc.5 db
     [Tp., Tamb., Gc., Pt., Tt.]
    Coro di morti; madrigale drammatico per voci maschili, tre pianoforti, ottoni, contrabassi, e percussione. 1953, Milano,: Edizioni Suvini Zerboni. Introduzione analitica di Massimo Mila. Text based on verses from Giacomo Leopardi's Dialogue between Frederico Ruysch and the mummies. Duration: 17 min.]
    Goffredo Petrassi, in Rome at the same time, was able to follow up the first movement of Stravinsky's Symphony of Psalms in his ''Coro di Morti,'' similarly concerned with making a small melodic rise, and somewhat similarly scored, though for a reduced ensemble of men's chorus with pianos, percussion, brass and double basses.
    Noche Oscura (1951) (22') 3333-4431 timp 2perc hp str mix cor
    Orationes Christi (1975),
    ... is likely to remain beyond the powers of all but a few highly experienced choruses.  (John CG Waterhouse, The Guardian,2003).
     
    Salviucci, Giovanni (1907-1937)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Salviucci, Giovanni (1907-1937)
     
    Menotti, Gian Carlo (1911-2007)  nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Menotti,
    Menotti-orchestral works
    Apocalypse (Apocalisse) (1951) (24') 3333-6431 timp perc cel 2hp pno str
    Goya: Suite (1987) (25') 3332-4331 timp perc hp str
    Introduction, March, and Shepherd’s Dance (from “Amahl and the Night Visitors,” for orchestra) (1951) (7') 1211-1100 perc hp pno str
    Triplo concerto a tre (1970) (20') 2222-2231 timp perc pno hp str Schirmer  9-various&orchestra: I: Pf.Hp.Perc II: Ob.Cl.Bn III: Vn.Va.Vc
    Menotti's Triplo Concerto à Tre is a three-movement work in which nine soloists are divided into three concertino groups. The instruments are ingeniously manipulated to keep the work constantly shifting between chamber and orchestral textures. This is a splendid piece with a playful, thoroughly neo-Classical opening Allegro. The centerpiece of the work is a beautiful slow movement based on a lovely, haunting melody that, once heard, refuses to leave your head. This is one of Menotti's most satisfying scores. Schirmer, Richard Burke, Fanfare
    Symphony No. 1 in A Minor “The Halcyon” (1976) (30') 3332-4231 timp perc hp pno str 
    Pastorale (1933) (8') pno str 
    Menotti-choral works with orchestra
    Amahl and the night visitors for chorus and orchestra 1211-1100 perc hp pno str
    Introduction, March, and Shepherd’s Dance (from “Amahl and the Night Visitors,” for orchestra) (1951) - 7' 1211/1100/perc/hp.pf/str
    Shepherd's Dance (from Amahl and the Night Visitors) () -
    Arranger / Editor Lloyd Conley
    Instrumentation string orchestra
    The Death of the Bishop of Brindisi, dramatic cantata for chorus, children's chorus, SB-soli and orchestra (30') 3232-4331 timp perc hp 2pnp str cor Schirmer
     
    Rota, Nino  (1911-1979) schreef de muziek bij vele Fellini films.   surf
     
    Roman Vlad (1919*)     nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Vlad,
    Vlad is an Italian composer, pianist, and musicologist of Romanian birth. He studied with Titus Tarnawski and Liviu Russu in Romania earning a piano diploma. He moved to Rome in 1938 to study at the University of Rome and later the Accademia Nazionale di Santa Cecilia. He eventually became an Italian citizen in 1951.
    Vlad-solo+orchestra
    Musica Concertata / Concert Music for harp and orchestra ''Sonnet to Orfeo'' (25') 3333-4331 timp 2perc str   harp&orchestra
    1. Liberamente-Tempo giusto 2). Maestoso-Allegro 3. Adagio 4. Vivace
    Listen: YouTube: Clelia Gatti Aldrovandi, arpa ; Orchestra della RAI di Torino, direttore Mario Rossi (live in concert recorded)
     
    Maderna, Bruno  (1920-1973)   nations&periods   A-Z    search instrumentation  search ww-instrumentation    timetable
    Maderna, Bruno (1920-1973)
    Concerto per due pianoforti e strumenti (1948)
    Influenced by the music of Bartók.
    Studi per il Processo di Franz Kafka for speaker, soprano and orchestra (1949)

    Nono, Luigi (1924-1990)
       nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Nono, Luigi (1924-1990)
    Der rote Mantel, Suite 29' (1954) 3242-4320 timp perc 2hp cel str SBar-solo, mix cor
    http://www.mayertjes.nl/Harry/artikelen/nono.htm
     
    Luciano Berio (1925-2003)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Berio,
    Boccherini/Berio, Ritirata notturna di Madrid (1975) (10') 3333-4431 pk perc hp str   (ww:3*3*3*3*)
    Berio-solo+orchestra 
    Folksongs (23') 2131-1110 (3=2+bc)l perc hp str mez-solo  1voice&orchestra
    Sinfonia (1969) (20’) 4343 alt-sax ten sax 4431 perc hp pno el.org str 8 solo voices el hpsd  Score: U.E. f.s.
    Sinfonia-internet&further reading.
    http://en.wikipedia.org/wiki/Sinfonia_%28Berio%29
    Osmond-Smith, David (1985), Playing on Words: A Guide to Luciano Berio's Sinfonia, London: Ashgate, ISBN 0947854002
    Berio-arrangements of compositions of other composers
    Schubert-Berio, Rendering
    Mahler, Fünf frühe Lieder, arr. Luciano Berio (1986) (13') Five Early Songs for Male Voice and Orchestra   1voice&orchestra
    In opdracht van het Mahler Festival (1986) 2*2*3*3*-3211 hp cel pk perc str 13’  2233-3211
    Mahler, Sechs frühe Lieder, arr. Luciano Berio (1986) Six Early Songs for Baritone and Orchestra
    In opdracht van het Toscanini Symphony Orchetra in Parma
    Voor beide series van orkestraties van liederen voor zang en piano putte Berio uit de 14 Lieder und Gesänge aus der Jugendzeit (1880–1890) op teksten uit Des Knaben Wunderhorn en teksten van Volkmann-Leander en Lenau.

    Franco Donatoni (1927-2000)  nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  

    Morricone, Ennio (1928)   nations&periods  Italy-17   Italy-18  Italy-19   Italy-20   nations&periods   A-Z    ww-brass  ww   times  
    Morricone, Ennio (1928)
    Morricone is considered one of the most prolific and influential film composers of his era.
    Film music.
    Morricone has composed and arranged scores for more than 500 film and TV productions.
    Concert works.
    http://www.enniomorricone.it/uk/concert_works.htm

    Braga, Antonio (1929–2009)

    Bussotti, Sylvano (1931),

    Castiglioni, Niccolò (1932–1996)

    German-Viennese late/post-romantic    German-Viennese late/post-romantic-20
    German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Composers.
    Rott, Hans (1858-1884); Mahler, Gustav (1860-1911); Zemlinsky, Alexander von (1871-1942); Schoenberg, Arnold (1874-1951); Schreker, Franz (1878-1934); Webern, Anton (1883-1945); Berg, Alban (1885-1935); Korngold, Erich Wolfgang (1897-1957)  search instrumentation   
     
    Rott, Hans (1858-1884)   German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Rott,
    Symphony No. 1 in E major (1880) ( 65') 2223-4330 (2 bassoons; counter-bassoon) 3 timpani; triangle; strings
    "It is completely impossible to estimate what music has lost in him: His genius soars to such heights even in this first symphony, written at the age of twenty. It makes him - without exaggeration - the founder of the new symphony as I understand it." (Gustav Mahler on Hans Rott).
    Orchestral Prelude in E major (Orchestervorspiel E-Dur) (1876) (3'30)
    A Prelude to "Julius Caesar" in B major (Ein Vorspiel zu "Julius Cäsar" B-Dur) (1877) (7'45)
    Internet
    Internationale Hans Rott Gesellschaft Vienna: http://www.hans-rott.de/indexe.htm
     
    Mahler, Gustav (1860-1911) German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Mahler,
    Frühe Lieder-arranged
    Fünf frühe Lieder, arr. Luciano Berio (1986) Five Early Songs for Male Voice and Orchestra (13’) 2233-3211 hp cel timp perc str   voice&orchestra
    In commission of the Mahler Festival (1986) 2*2*3*3*-3211
    Sechs frühe Lieder, arr. Luciano Berio (1986) Six Early Songs for Baritone and Orchestra   voice&orchestra
    In commission of the Toscanini Symphony Orchetra in Parma
    For both cycles of orchestrations of songs for voice and piano Beriomade a selection from 14 Lieder und Gesänge aus der Jugendzeit (1880–1890) on texts from Des Knaben Wunderhorn and texts by Volkmann-Leander and Lenau.
    Symphonisches Präludium (1876) (11') 2222-4231 timp, Bk, Harfe, Streicher arr Gürsching, Albrecht  2(Picc),2,2,2(KFag)
    Das Klagende Lied (1880) “Urfassung”/original version (3 movements).
                                      (1898) Revision: only movements 2&3 (40’) 3333-4431 pk 3perc 2hp SAT-soli koor; banda: 3240 4200 perc
    Lieder eines fahrenden Gesellen (25’) 3232-4230 pk perc hp Bar-solo  
    1voice&orchestra
    Symphony no. 1 in D major (1888) (50’) 4443-7441 2pk 3perc hp str   40'-50'   
    Blumine (6') 2222-4100 timp hp str  Presser
      05'-10'
    The original 5th movement of symphony-1.Read: http://www.mahlerfest.org/mfXIX/blumine_notes.pdf
    Symphony no. 2 in C minor (80’) 4454-10.841 2pk 4perc 2hp org SA-soli mix cor 
    60'-90'
    Todtenfeier (1888/94) (20') 3333-4331 timp 2perc hp str 
    15'-20'
    Symphonic poem, early version of the 2nd Symphony's first movement.
    Symphony no. 3 in D minor (1896) (94’) 4454-8441 2pk 4perc 2hp A-solo boy & female choir, posthorn  90'-120'
    Des Knaben Wunderhorn (1888-1899)
      1voice&orchestra
    Das irdische Leben 2322-3100 01 str 2’    
    Wer hat dies Liedlein erdacht? 2222-2000 01 str 2’ 
    Rheinlegendchen (3’) 1111-1000 00 str   
    Wo die Schönen Trompeten blasen 2220-4200 00 str 7’  
    Des Antoniu van Padua fischpredigt 2223-4000 12 str 3’
    Verlorene Müh’ 2223-2000 01 str 3'
    Lob des hohen Verstandes 2232-4111  11 str 4’  
    Symphony no. 4 in G major (1901) (50’) 4333-4300 pk 4perc hp S-solo (oorspronkelijk 5-delig)  40'-50'   
    Symphony no. 5 in C sharp minor (1902) (70’) 4333-6431 pk 4perc hp   
    60'-90'
    10 Rückert Lieder  
    1voice&orchestra
    Kindertotenlieder 1904 (Rückert) 3333-4000 timp perc 2hp cel   
    voice&orchestra
    Symphony no. 6 in A minor (1904) (80') 5565-8641 pk perc 2hp cel
    Symphony no. 7 in E minor 1905 (80’) 5454-4331 bar horn timp perc 2hp gtr mand
    Symphony no. 8 in E flat major 1905 (90’)  6565-8871 pk 3perc 2hp cel harm pno mand org 8 soli, boy&mix cor  
    Das Lied von der Erde (1908) (63’) 4353-4331 pk perc glock mand 2hp cel T&A/Bar   
    Symphony no. 9 in D major (1910) (75’) 5454-4331 pk perc 2hp  
    Symphony no. 10 (1910) in F sharp minor, First movement: Adagio (22') 3333-4431 hp str
    voltooïngen : Cooke (74’) 4444-4441 pk perc hp  
    Mahler-arrangements of works by other composers.
    Mahler-internet
    http://www.gustav-mahler.org/english/
    Zemlinsky, Alexander von (1871-1942)  German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Zemlinsky, (Universal Edition; Ricordi)
    Zemlinsky-orchestral music
    Symphony in E minor (1891) - two surviving movements only
    Symphony No. 1 in D minor (1893) (40') 2222-4230 timp str
    Symphony No. 2 in B-flat major (1897) (40')
    2222-4231 timp, str UE
    Drei Ballettstücke. Suite from Der Triumph der Zeit (1902)
    Die Seejungfrau (The Little Mermaid), fantasy after Hans Christian Andersen (1903, Vienna 1905) (45')
    4343-6341 timp 2perc 2hp str
    This work, premiered in 1905 in the same concert as Schoenberg's Pelleas und Melisande, was considered 'lost' until 1984, since when it has become one of Zemlinsky's most frequently performed scores. (Wikipedia)
    Sinfonietta, Op. 23 (1934, Prague 1935) (22')
    2222-4330 timp perc hp str   20'-30'
    The three-movement Sinfonietta written in 1934, admired by Schoenberg and Berg, is written in a style comparable to contemporary works by Paul Hindemith and Kurt Weill. (Wikipedia)
    Zemlinsky-solo&orchestra
    Six Songs to Poems by Maurice Maeterlinck op. 13 (1913/21) (16') 4231-2330 timp perc glock hp cel harm pno str med solo
    Original title: Sechs Gesänge after poems by Maurice Maeterlinck.
    Symphonische Gesänge for baritone or alto and orchestra op. 20 (1929)
    T: from Afrika singt. Eine Auslese neuer afro-amerikanischer Lyrik, 1929)
    Lyric Symphony (
    Lyrische Symphonie) op.18 (1923) (45’) 4343-4331 perc hp cel harm str SBar-soli 
    His only (Mahlerian, Das Lied von der Erde-like) cantata-symphony after poems by Rabindranath Tagore. 
    Zemlinsky-8 operas
    Sarema
    Vorspiel zu "Sarema" für Orchester Picc. 2. 2. Eh. 2. 2. / 4. 2. 3. 1. / Pk. Schlzg. Hf. / Streicher Dauer: 4'
    Es war einmal
    Vorspiel zu "Es war einmal" für Orchester / Vorspiel der Urfassung Orchesterbesetzung: siehe Oper Dauer: 5'
    Der Traumgörge
    Kleider machen Leute
    Eine florentinische Tragödie 
    Der Zwerg
    Der Kreidekreis
    Der König Kandaules
    Zemlinsky-ballet
    Ein Tanzpoem (1901-04) Ballettmusik nach dem 2. Akt von "Der Triumph der Zeit" von Hugo von Hofmannsthal
    3 (alle auch Picc.). 3 (3. auch Eh.). 3 (3. auch Bkl). 3. / 4. 3. 3. 1. / Pk. 3 Schlzg. / 2 Hf. / Streicher
    Bühnenmusik: 4 Hr. 8 Tr. Dauer: 35' (darf nur szenisch als Ballett aufgeführt werden)
    Cymbeline (1913-15) Bühnenmusik zu "Cymbeline" von William Shakespeare Auftragswerk des Nationaltheaters Mannheim, nicht aufgeführt.
    Aus den vorliegenden 11 Musiknummern wurden 5 von Antony Beaumont zu einer Suite für Tenor und Orchester zusammengestellt. 4 weitere Sätze sind in Vorbereitung. 3 (3. auch Picc.). 3 (3. auch Eh.). 3 (3. auch Bkl.). 3. / 4. 3. 3. 1. / Hf. Cel. / Pk. Schlzg. / Streicher hinter der Szene: 3 Tr. Dauer: 18'
    UA: Hamburg, Musikhalle, 13.10.1996
    Zemlinsky-choral works
     
    Schoenberg, Arnold (1874-1951)   German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Schoenberg,
     orkestwerken (vanaf 3333; excl. een aantal vocale werken)    surf
    Kammersinfonie nr.1 op.9b (Schoenbergs orchestral version of his Kammersymfonie op.9a for 15 players) 3333-3230  26’    
    Violin Concerto op.36 (33’) 3334-4331 pk perc xyl str  
    violin&orchestra
    Fünf Stücke für Orchester op.16 orig. (20’) 4464-6341 pk perc hp cel (d-cl; cb-cl)    versie 2 (20’)
    4343-4331 pk perc hp cel   [25]
    Moderne Psalmen oip.50c (7’) 3332-2210 perc (spr, 4st. koor)
    Gurre-Lieder 8575-10.771 perc 4hp cel str etc (130')  
    Pelleas und Melisande op.5 (40’) 4454-8451 perc 2hp     
    Pelleas und Melisande op.5 (40’) reduced version (40’) 3333-4331 perc 2hp?
    Theme and Variations op.43b (1944) (14’) 3333-4331 timp perc 
    10'-15'
    Variationen für Orchester op.31 (23’) 4454-4341 pk perc hp cel mand   
    A survivor from Warsaw (11’) spkr male cor-TB 
    2222-4331
    Schoenberg-wind band
    Theme and Variations op.43a (1943)  (14’) 3262 4sax 4651 timp perc db
    2+pic.2.3+Ebcl+acl+bcl.2asx+tsx+barsx.2/4.2+2cnt+2flg.3+bar+euph.1/timp+perc/db
    The Theme and Variations for wind band, Op. 43a (1943) is one of the signal products of Schoenberg's "American" period. He undertook the work at the request of his American publisher, G. Schirmer, Inc., which claimed, in Schoenberg's words, that "the great number of [wind bands] had an important influence on the development of love for music in America, but unfortunately there are only a small number of good original compositions available." The firm apparently asked for a piece which would satisfy bandleaders, who wanted "as many different characters and moods in one piece as possible." The Theme and Variations was thought to be too difficult for high school bands at the time; Schoenberg transcribed it for orchestra, in which form it received its premiere, by the Boston Symphony Orchestra under Serge Koussevitsky in 1944. The original version was finally premiered by the Goldman Band under its leader, Richard Franko Goldman, in 1946. Since that time, it has become a staple of the wind band repertoire.
     
    Schreker, Franz (1878-1934)   German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Schreker,
    Schreker-orchestral works
    Romantische Suite op.8 (1900) (35’) 2332-4231 perc hp str
    Intermezzo (3rd movement from the "Romantic Suite") op. 8 (6') for string orchestra
    1st vln(10), 2nd vln(10), 3rd vln(8), 4th vln(8), 1st vla(8), 2nd vla(8), 1st vc(6), 2nd vc(6), cb(10)
    Ekkehard, Symphonic overture op. 12 for large orchestra and organ (ad lib.) (1903) (14')  2333-4331 timp, perc, hp, org ad lib, str
    Phantastische Ouvertüre für Orchester, opus 15 Fantastic Overture (10’) (1904) 3333-4231 perc 2hp
    Festwalzer und Walzerintermezzo(1908) (8') 2222- 4230 timp perc(5), hp, org, str
    Kleine Suite for chamber orchestra (1928) (20')  1222-2121 timp, perc(6), hp, cel, pno, sax, str
    In 1927 the German Radio commissioned a number of composers to write works specifically for radio. The first in the series was Schreker's Kleine Suite (Little Suite), premiered in a nationwide broadcast from Breslau. The work, scored for chamber orchestra and written specifically with the limitations of the microphone in mind, is a fascinating distillation of the iridescent Schreker style familiar from his Vorspiel zu einem Drama. (Universal Edition).
    Valse lente (
    Weißer Tanz) for small orchestra (1908) (5')  2111-0000 glock, tr, hp, str (at least 6 4 2 2 2)
    Vier kleine Stücke (11’) 3333altsax 4331 pk perc 2hp pno
    Schreker-the Kammersymphonie
    Kammersymphonie (1916) (25') 1111-1110 hp, cel, harm, pno, timp perc str (4232)
    In 1 movement |for 7 winds, 11 strings, harp, celesta, harmonium, piano, timpani and percussion 1 1 1 1 - 1 1 1 0 - timp, perc, hp, cel, harm, pno, vln(4), vla(2), vc(3), cb(2)
    Schreker-solo+orchestra
    Vom ewigen Leben for soprano and orchestra (1927) (20') 2332-4230 timp, perc(3), hp, cel, harm, sax, str
     T: "Leaves of Grass", Walt Whitman
    Vom ewigen Leben reduced version (arr.Gösta Neuwirth) 1111-1110 timp, perc(4), hp, cel, pno, sax, solo-str (1 1 1 1 1)
    Schreker-10 operas
    1. Flammen opus 10 (1902)
        Gebet der Agnes | from the opera "Flammen" op. 10 for soprano and orchestra (1902) (3') 2 3 3 2 - 4 2 3 1 - timp, hp, str
        Gesang der Irmgard from the opera "Flammen" op. 10  for soprano and orchestra (1902) (4') 3332-4331 timp(2), perc, hp, str
    2. Der ferne Klang (1910)
    3. Das Spielwerk und die Prinzessin (1912)
    4. Die Gezeichneten (1915) (150')
    4453-6431 timp perc(3), hp(2), cel, pno, str
        Die Gezeichneten (reduced version) arr. George Stelluto 3 3 3 2 - 4 3 3 1 - timp, perc(3), hp, cel, pno, str
        Die Gezeichneten, Vorspiel (9’) 4453-6431 timp perc 2hp cel pno
        Vorspiel zu einem Drama "Die Gezeichneten" (1913) (22’) 4453-6431 pk perc 2hp cel pno str
    Vorspiel zu einem Drama für Orchester: Erweiterte Konzertfassung des Vorspiels aus: Die Gezeichneten (1913)
    5. Das Spielwerk (1915)
        Das Spielwerk, Vorspiel (5’) 3333 altsax 4331 pk perc 2hp cel
    6. Der Schatzgräber (1918)
        Der Schatzgraber, Zwischenspiel (10’) 3333 4331 perc 2hp cel
        Himmelfahrtslegende | from the opera "Der Schatzgräber" | for tenor and orchestra
        Wiegenlied der Els from the opera "Der Schatzgräber" for soprano and orchestra (1918) (4') 3 3 3 1 - 4 3 0 0 - timp, perc, hp(2), cel, str
    7. Irrelohe (1922) 3 3 4 3 - 6 4 3 1 - timp(2–3), perc(9), hp(2), cel, cemb, guit, mand, str
    8. Der singende Teufel (1928) (210') 3 3 3 3 - 4 3 3 1 - timp(2), perc(2), hp, cel, str; stage music: 2 0 1 1 - 2 1 0 1 - perc(4), pno, org
    9. Christophorus (1929)
    10. Der Schmied von Gent (1932)
    11. Vorspiel zu einer großen Oper "Memnon" for large orchestra Subtitle "Memnon" (1933) (21')  3333altsax 4331 - timp, perc(10), hp(2), cel, str
    „A great, boisterous piece of music with all the stops of the orchestra pulled out." This is how Schreker described to his wife his Prelude to a Large Opera. Written in Estoril during the summer of 1933 after he had been suspended from his post at the Prussian Academy of the Arts and was facing the likelihood of emigration, it was to be his last work. (Univeral Edition).
    Schreker-3 ballets
    1a. The Birthday of the Infanta (Der Geburtstag der Infantin), original version (1908) (32') 2222-2200 timp, perc(1-2) hp str
    A pantomime based on the story by Oscar Wilde.
    1b. The Birthday of the Infanta (Der Geburtstag der Infantin), Suite (1923) (20’) 3333-4331 perc 2hp cel 1-2gtr 4mand str
    1c. (=1b revised) Spanisches Fest - Ballett für Orchester (1927)
    2a. Rokoko - Ein Tanzspiel für Orchester (1909)
    2b. (=2arev. and arr.) Kleine Suite im alten Stil / Tanzsuite für Orchester (1920)
    3. Spanisches Fest - Ballett für Orchester (1908,1924) (30')
    3333-4331  timp, perc(8), hp(2), cel, guit(1-2), mand(4), str
    (Rev. von: Der Geburtstag der Infantin - Pantomime für Streichorchester 1908 / gleichn. Suite für Orchester (1923?)
     
    Webern, Anton (1883-1945)  
    Webern, UE
    German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Webern-31 works with opus numbers: orchestral.
    Passacaglia op. 1 (1908) (11’) 3333-4331 timp perc hp str
    Passacaglia op. 1 (1908) (11’) arr. Henri Pousseur for small ensemble: 1 1 1 1 - 1 0 1 0 - perc, vib, synth, vln, vla, vc, cb
    Instrumentation details: flute (+picc); oboe; clarinet in Bb; bassoon; horn in F; trombone; vibraphone (+xylorimba); percussion; synthesizer; violin; viola; violoncello; contrabass
    Six Pieces (Sechs Stücke) for large orchestra op. 6 (1909, rev.1928) (12')
    Six Pieces op. 6 (12’) (1909 version) 4453-6661 3 timp perc glock 2 hp cel str  10'-15'
    Six Pieces op. 6 (12’) (1928 version) 2232-4441 timp perc glock hp cel str 
    10'-15'
    Six Pieces op. 6 (12’) (1920 version) for chamber orchestra  fl, ob, cl - perc(3) - pno, harm- vln.1, vln.2, vla, vc, cb
    Five Pieces for orchestra op.10 (1913) (5') 3343-4331 harm hp gtr cel  (Fünf Stüche für Orchester)
    Five Pieces for orchestra (1913) - related to op. 10, first pub. 1971, edited by Friedrich Cerha, see works without opus numbers
    Symphony (1928) op. 21 for chamber ensemble Instrumentation details: cl(Bb), bass cl(Bb), 2 hn(F), hp, vln.I, vln.II, vla, vc Duration (min): 10
    Variations for orchestra op. 30 (1940) (8') 1120-1111 timp hp cel str 
    05'-10'
    Webern-31 works with opus numbers: solo
    Vier Lieder for voice and orchestra (1914–18) op. 13
    Webern-31 works with opus numbers: strings.
    Five Movements for string quartet op. 5 (1909);
    Five Movements for string quartet op. 5, version for string orchestra (1929)
    Webern-31 works with opus numbers: choral
    Zwei Lieder  op. 19 (1926) for mixed choir, celesta, guitar, violin, clarinet and bass clarinet, on poems by Johann Wolfgang Goethe
    Das Augenlicht op. 26 (1935) for mixed choir and orchestra, on a poem by Hildegard Jone
    Op. 29, Cantata No. 1 for soprano, mixed choir and orchestra, on a poem by Hildegard Jone (1938–39)
    Op. 31, Cantata No. 2 for soprano, bass, choir and orchestra, on a poem by Hildegard Jone (1941–43)
    Webern-works without opus numbers.
    Im Sommerwind (1904) (12’) 3342-6200 timp perc 2hp str 
    10'-15'
    Idyl for large orchestra after a poem by Bruno Wille.
    Langsamer Satz (Slow Movement) for string quartet (1905) (9')
    Five Pieces for orchestra (1913) - related to op. 10, first pub. 1971, edited by Friedrich Cerha
    Three Songs for voice and orchestra (1913–14)
    Webern-arrangements.
    Arbeiterchor by Franz Liszt, arranged for bass solo, chorus, and orchestra (1924)
    Inspired by his contact with the rebels, Liszt even composed an Arbeiterchor ("Workers' Chorus") for male voices. The text urges the workers to rally to the spade and shovel, and reminds them that 'freedom remains a mighty hammer that will nevermore be allowed to fall from the hand'. Franz Liszt: The Weimar years, 1848-1861 by Allan Walker.
    Deutsche Tänze (German Dances) by Schubert (1824), orchestrated by Webern (1931)
    Ricercare from Bach's "Musical Offering" (1935) (9') 1221-1110 pk hp str (9’)  
     
    Berg, Alban (1885-1935)    German-Viennese late/post-romantic-20  Germany-Austria-19  Austria-20  Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Berg,
    Drei Orchesterstücke op.6 (19’) 4454-6441 pk 2 perc 2 hp cel  
    Fünf Orchesterlieder nach Ansichtkarten-Texten von Peter Altenberg op.4 (10’) 3343 4341 pk perc glock xyl hp cel pnp harm
    Wozzeck: Drei Bruchstücke (20’) 4454-4441 pk perc hp cel S-solo  
    Wozzeck: Drei Bruchstücke red.sc. (20’) 3333-4331  
    Lulu: Suite (32’) 3343 sax 4331 pk perc vib-ad lib. hp S-solo ad lib. 
    Concerto for Violin 224*3-4221 perc pk hp str (27')  (4* ook alto-sax)  1solo-violin&orchestra
    Sieben frühe Lieder 2233-4120 pk perc hp cel adlib str 18'
     
    Austria-20
    Austria-20
    Schmidt, Franz (1874-1939),
    Kreisler, Friedrich 'Fritz' (1875-1962),
    Wellesz, Egon Joseph (1885-1974),
    Berger, Theodor (1905-1992),
    Einem, Gottfried von  (1918-1996),
    Gulda, Friedrich (1930-2000),
     
    Schmidt, Franz  (1874-1939)   Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times  
    Schmidt,
    Austrian composer, cellist and pianist of Hungarian descent and origin.
    Schmidt-the 4 symphonies
    Symphony No. 1 in E major (1896/99) (40') 3223-4331 timp str
    Written in 1896 at age 22. The scherzo of this precociously accomplished symphony (which shows a mature absorption of Bruckner and Richard Strauss) is especially noteworthy, while Schmidt demonstrates his contrapuntal skills in the Finale.
    Symphony No. 2 in E flat major (1913) (56') 4353-8431 timp perc str
    Written in 1913 in a style strongly reminiscent of Strauss and Reger. This is Schmidt's longest symphony in terms of duration and employs a huge orchestra. The central movement (of three) is a highly ingenious set of variations, which are grouped to suggest the characters of slow movement and scherzo. The complex scoring of this magnificent symphony renders it a considerable challenge for most orchestras.
    Symphony No. 3 in A major (1928) (50') 2222-4230 timp str
    A sunny, melodic work in the Schubert vein (although its lyricism and superb orchestration do much to conceal the fact that it is one of the composer's most harmonically advanced works). Winner of the Austrian section of the 1928 International Columbia Graphophone Competition, it enjoyed some popularity at the time (1928).
    Symphony No. 4 in C major (1933) (46') 2333-4331  timp 3perc 2hp str
    1. (14'51); 2.
    Written in 1933, this is the best-known work of his entire oeuvre. The composer called it "A requiem for my daughter". It begins with a long 23-bar melody on an unaccompanied solo trumpet (which returns at the symphony's close, "transfigured" by all that has intervened). The Adagio is an immense ABA ternary structure. The first A is an expansive threnody on solo cello (Schmidt's own instrument) whose seamless lyricism predates Strauss's Metamorphosen by more than a decade (its theme is later adjusted to form the scherzo of the symphony); the B section is an equally expansive funeral march (deliberately referencing Beethoven's Eroica in its texture) whose dramatic climax is marked by an orchestral crescendo culminating in a gong and cymbal crash (again, a clear allusion to similar climaxes in the later symphonies of Bruckner, and followed by what Harold Truscott has brilliantly described as a "reverse climax", leading back to a repeat of the A section).
    Schmidt-concerti Piano Concerti
    Concertante Variations on a Theme of Beethoven for Piano (left hand alone) with orchestral accompaniment (1923) 2222-4230 - Pk, Schl, Str
    Written for Wittgenstein in 1923; premiered Vienna 2 February 1924.
    Two-handed arrangement by Friedrich Wührer (1952)
    Piano concerto no. 2 in E flat major (for left hand alone) (1934) (38') 2222-4200 timp str
    1st perf.: Vienna 1935; Two-handed version by Friedrich Wührer (1952). UE.
    Schmidt-various orchestral works
    Carnival music and Intermezzo from the Opera Notre Dame; comp.: 1902-03; 1st perf.: Vienna 1903
    Variations on a Hussar Song for orchestra (1931) (25') 2332-4331 - Pk, Schl - Hf - Str
    Chaconne in C sharp minor; comp.: completed 1931; Manuscript)
    Schmidt-oratorio
    Das Buch mit sieben Siegeln for SATB-soli, Chorus-SATB, Organ and Orchestra (1937) (110') 5565-4331 - timp, perc, org, str UE
    Text after the Revelation of St John; comp.: 1935-37; 1st perf.: Vienna, 1938
    Hallelujah for mixed choir SATB and organ
    Schmidt-the 2 operas
    Notre Dame (1906)
    Zwischenspiel und Karnevalsmusik (15'30) 3223-4330 timp perc 2hp str
    Fredigundis (1921)
    Schmidt-Music for Organ and Trumpet
    Variations and Fugue on an original Theme in D major (King's Fanfare from Fredigundis);
    4. Arrangement for 14 Trumpets, Kettledrum and Organ; comp.: 1925, 1st perf.: Vienna 1925
    Choral overture "God preserve us" for Organ with ad libitum processional Trumpet-chorus; comp.: 1933, 1st perf.: Vienna 1933
    Solemn Fugue (Fuga solemnis) (1937) (20') for Organ with Entrance of 6 Trumpets, 6 Horns, 3 Trombones, Bass Tuba and Kettledrums; 0000-6631 timp org UE
    The Fuga Solemnis for organ, brass and percussion is an enduring testament to Schmidt’s originality, inventiveness and mastery of counterpoint. (Naxos)
     
    Kreisler, Friedrich 'Fritz' (1875-1962)    Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times
    Kreisler, Friedrich 'Fritz' (1875-1962)
     
    Wellesz, Egon Joseph (1885-1974)   Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times
    Wellesz, UE
    Wellesz was Austrian-born with Hungarian Christian parents of Jewish extraction. After the Anschluss he left his country to become a British composer.
    Wellesz-the 9 symphonies
    'An Austrian symphonist in Britain' .Hans Redlich, in his article for the Music Review (vol 7, 1946)
    Symphony No. 1 in C op. 62 (1945) (42') 3332-4331 timp perc str   40'-50'  Schott
    I Largo · Allegro energico; II Allegro agitato, quasi presto (8'48); III Molto adagio, sostenuto (12').
    Hans Redlich, in his article for the Music Review (vol 7, 1946) about the Molto adagio sostenuto Finale: "a worthy offspring of Anton Bruckner's cathedral-like slow movements".
    http://www.musicweb-international.com/wellesz/wellesz.htm
    Symphony No. 2 op. 65 (1948) (47') 'The English' 3332-4331 timp perc str  Dob
    Wellesz's Second Symphony (1948) demonstrates the Bruckner influence at its most acute.
    Symphony No. 3, op. 68 (1951) (39') 2222-4331 timp perc str Dob
    Symphony No. 4 op. 70 'Austriaca' (1953) (26') 3332-4331 timp perc str  Sik
    Symphony No. 5, op. 75 (1956) (35') 2332-4331 timp perc str Sik
    Symphony No. 6, op. 95 (1965)  (25') 3333-4331 timp perc hp cel str Dob
    Symphony No. 7, op. 102 (1968), Contra torrentem (18') 3343-4331 timp perc hp cel str  Dob
    Symphony No. 8, op. 110 (1970) (21') 3333-4331 timp 3perc hp str  Dob
    Symphony No. 9, op. 111 (1971) (27') 3333-4331 timp perc xyl str   Dob
    Wellesz-other orchestral
    Heldensang, op. 2 (1905), symphonic prologue for large orchestra
    Vorfrühling, Poema sinfonico per grande Orchestra, Op. 12 (1911) (10') 3333-4330 - Schl - Hf, Cel - Str UE
    Suite, op. 16 (1913), for orchestra
    Prosperos Beschwörungen, op. 53 (1934–36), five symphonic works for orchestra after William Shakespeares The Tempest
    Divertimento, op. 107 (1969) (12') for small orchestra 1121-1100 timp perc hp cel str (2: cl, bcl)
    Symphonic Epilogue, op. 108 (1969)
    Wellesz-solo&orchestra
    Piano Concerto, op. 49 (1933)
    Amor Timido, op. 50 (1933), aria for soprano and small orchestra, text: Pietro Metastasio
    Lied der Welt, op. 54 (1936–38), for soprano and orchestra. Text: Hugo von Hofmannsthal
    Leben, Traum und Tod, op. 55 (1936–37), for alto and orchestra. Text: Hugo von Hofmannsthal
    Violin concerto op. 84 (1961) (31') 3222-2231 hp timp perc str 
    violin&orchestra
    Dedicated to the violinist Eduard Melkus. Recorded by David Frühwirth in 2010 on CD.
    Four Songs of Return, op. 85 (1961), for soprano and chamber orchestra, after texts byElizabeth Mackenzie
    Ode an die Musik, op. 92 (1965) for baritone or alto and chamber orchestra, text: Pindar, in free adaptation of works by Friedrich Hölderlin
    Vision for soprano and orchester, op. 99 (1966), text: Georg Trakl
    Wellesz-choral works
    Mitte des Lebens, op. 45 (1931–32), cantata for soprano, choir, and orchestra
    Schönbüheler Messe C-dur, op. 58 (1937), for choir, orchestra, and organ
    Duineser Elegie, op. 90 (1963) for soprano, choir, and orchestra after Rainer Maria Rilke
    Mirabile Mysterium, op. 101 (1967) for soloist, choir, and Orchester
    Canticum Sapientiae, op. 104 (1968) for baritone, choir, and orchestra after texts from the Old Testament

    Berger, Theodor
    (1905-1992) 
    Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times
    Berger, Th, Sikorski
    Berger studied with Franz Schmidt and worked in Vienna and Hamburg.
    Rondino Giocoso op.4 (1933) for strings (6'19) YouTube
    Malinconia op.5 (1933) for strings (17') 25 separate string parts
    Concerto Manuale (1951) (13'23) Pk, Tamb, Marimba, Metallophon, 2 Klav, Streicher
    La Parola (1954) (12') 3(Picc),3(Engl Horn),3,3 - 4,3,3,1 - Pk, 2 Schl (Trgl, Tamb, gr.Tr, Bk,Tam-t) Harfe, Streicher
    Sinfonia Parabolica (1956) (25') 3,3,3,3 - 4,3,3,1 - Pk, Schl, Harfe, Streicher
    Symphonischer Triglyph "Drei Fenster", Metamorphosen für Orchester über Motive von Franz Schubert (1957) (14')
    3(Picc),3(Engl Horn),3,3 - 4,3,3,1 - Schl (Pk, Trgl, Zymbeln, Bk, Tam-t, Glsp), Streicher
    Frauenstimmen (1959)
    Concerto for Violin and Orchestra (1964)
    Hydromelos (1965)
    Divertimento (1970) for male choir TTBBBBB, winds and percussion
    Malinconia 2 (1979)
    Fonofolium (1986)
    Berger-ballet
    Homerische Symphonie. (1948) Ballett in 12 Bildern aus der 'Odyssee'
    Textdichter: Hanka, Erika (Libretto)
    Homerische Symphonie Concert Version (1952) (50') 4,4,5,4 - 8,4,4,1 - 2 Pk (6), Schl (Glsp, Xyl), 2 Harfe, Cel, Streicher, Alt- und Bariton-Solo (vom Band, ad lib.)
    Symphonie "Jahreszeiten" (1957) (32') 3,3,3,3 - 4,3,3,1 - Pk (4), Schl, Harfe, Streicher. Sinfonie in 4 Sätzen
    Berger-wind band
    Rondo Ostinato (1955) (15') 3 3 3 3 - 4 4 3 1 - Schl(4-5) UE
    Sawallisch preceded this piece with Berger's , a piece for winds, brass and percussion that chattered busily as it built energetic instrumental coming and going. The energy paused midway, to clarify the ideas, then plunged into insistent patterns that had the force of logic.
    Einem, Gottfried von (1918-1996)   Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times
    Einem, Boosey
    Concerto for Orchestra op. 4 (1943) (21') 3222-4331 timp str
    3(III=picc).2.2.2-4.3.3.1-timp-strings
    Einem-solo+orchestra
    Piano Concerto No.1 op. 20 (1955) (22') 2222-4220 timp str   piano&orchestra
    Arietten (Piano Concerto No.2) op. 50 (1977) (24') 2222-2210 timp str
    Violin Concerto op. 33 (1966) (33') 2222-4220 timp perc str  
    violin&orchestra
    1. Andante (12'44); 2. Allegro, ma non troppo (7'41); 3. Presto (6'); 4. Adagio (13'04). 2(II=picc).2.2.2-4.2.2.0-timp.perc:bongos-strings
     
    Gulda, Friedrich (1930-2000)   Germany-Austria-19   Austria-20   Germany-20  nations&periods   A-Z    ww-brass  ww   times
    Gulda,
    Concerto for cello and windorchestra (1980) (30') 1221-2211 guit cb (classical) cb (jazz) perc   cello&orchestra
    1. Ouverture (5'); 2. Idylle (7'30); 3. Cadenza (6'22); 4. Menuett (3'40); 5. Finale alla marcia (7'12). Besetzung: Solo-Violoncello, 1 Flöte/Piccolo-Flöte, 2 Oboen. 2 Klarinetten in Bb, 1 Fagott, 2 Trompeten in Bb, 2 Hörner in F, Posaune, Tuba, Gitarre, 1 Kontrabass (Klassik), 1 Kontrabass (Jazz), Schlagzeug. Mikrophonverstärkung wird vorausgesetzt für Violoncello, Gitarre und Kontrabass (Jazz)
    http://www.gulda.at/english/projekt/text.htm

    Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    The 4 most famous Czechian composers are
    Smetana, Bedrich (1824-1884), Dvořák, Antonín (1841-1904),
    Janáček, Leoš (1854-1928)Martinu, Bohuslav (1890-1959).
    Composers.
    Heinrich Ignaz Franz von Biber (1644- 1704);
    Jan Dismas Zelenka (1679-1745);
    Jan Václav Antonín Stamic (generally known as Johann Wenzel Anton Stamitz ; 1717-1757); František Benda (aka Franz Benda; 1709-1786); * Franz Xaver Richter (1709-1789);
    Christoph Willibald Gluck (for whom Czech was the first language) (1714-1787);
    Jiří Antonín Benda (aka George Benda; brother of Franz Benda; 1722-1795);
    František Xaver Pokorný (1729-1794); Florian Leopold Gassmann (1729-1774); František Xaver Dušek (1731-1799); František Brixi (1732-1771); Josef Mysliveček (1737-1781); 
    Jan Křtitel Vaňhal (1739-1813);
    Georg Druschetzky 1745-1819; Karel Stamic (generally known as Carl Stamitz; son of Jan Stamic/Johann Stamitz; 1745-1801);
    Josef Fiala (1748-1816);
    Antonio Rosetti (born Anton Rössler) (circa 1750-1792);
    Franz Krommer (1759-1831; born in Moravia as František Kramář);
    Antonín Vranický (1761-1820); Jakub Jan Ryba (1765-1815);
    Antonín Rejcha (generally known as Reicha, Anton (1770-1836);
    Hummel, Johann Nepomuk (1778-1837);
    Dvořák, Antonín (1841-1904),
    Fibich, Zdeněk (1850-1900);
    Janáček, Leoš (1854-1928)
    Foerster, Josef Bohuslav (1859-1951);
    Novák, Jan (1921-1984); Fučík, Julius (1872-1916);
    Suk, Josef (1874-1935);
    Alois Hába (1893-1973);
    Schulhoff, Ervin (1894-1942);
    Jaromír Weinberger (1896–1967);
    Ullmann, Viktor (1898–1944);
    Haas, Pavel (1899-1944);
    Krása, Hans (1899-1944);
    Klein, Gideon (1919–1945)
    Pauer, Jiří (1919–2007);
    Eben, Petr (1929–2007)
     
    Kubelík, Jeroným Rafael (Býchory bij Kolín, 29 juni 1914 – Kastanienbaum, Luzern, 11 augustus 1996)
    Klusak, Jan (1934)
    Variations on a Theme by Gustav Mahler
    (1962) (21') Picc. · 2 · 2 · Engl. Hr. · Es-Klar. · 2 · 2 - 4 · 3 · 3 · 1 - P. S. (Glsp. · Beck. · Tamt. · Rührtr. · gr. Tr.) (3 Spieler) - Hfe. · Cel. - Str
    Variazioni su un tema di Gustav Mahler per grande orchestra Introduzione - Tema (Mahler, Symphonie Nr. 5, 4. Adagietto) - Var. I-Var. XXI
    Orchestra instrumentation: .
    Publisher: Schott Music Panton
    Prague Symphony Orchestra FOK conducted by Libor Pesek
    Licensed by Supraphon Music a.s. P 1968
     Born in Prague on 18 April 1934 into a Czech-Jewish family. He studied composition at the Prague Academy of Music with Jaroslav Ridky and Pavel Borkovec (1953–1957). Since then he has pursued the career of professional composer, occasionally venturing into acting and literature. His compositional style has changed several times; his first works had a Neo-Classical sound and were clearly influenced by Stravinsky, Prokofiev, and Isa Krejci. Autumn 1959 saw the beginning of his association with the Chamber Harmony and its conductor Libor Pesek. This encouraged him to move away from his previous style of composition in the direction of New Music and the leading west-European avant-garde composers. He wrote several works for Chamber Harmony, including Images for Twelve Wind Instruments, Four Small Vocal Exercises to Texts by Franz Kafka and his First Invention. These were increasingly influenced by twelve-tone and serial compositional techniques. The first mature synthesizing work, one which evoked a major response at the time and is still one of the most representative orchestral works of Czech music in the second half of the twentieth century, was Variations on a Theme by Gustav Mahler (1962). During the 1960s Klusak played a role in the so-called New Wave of Czech cinema, not only as a composer of film music but also as an actor. After the Soviet occupation in 1968, Klusak found himself increasingly ostracised by the neo-Stalinist regime. He reacted to official restrictions by developing his compositional style even more intensively, and a watershed in some ways was his 5th String Quartet (1975). Klusak made his living from film music and the occasional commission from Czechoslovak Television. After the fall of the Communist regime in 1989 he again started to play a full part in public life, becoming chairman of the music section of the revived Umelecka beseda cultural association and vice-chairman of the Czech Music Council, among others. He was elected to the advisory commission of the Prague Spring music festival and became repertoire advisor to the National Theatre. In 1995 he received the prestigious award "Classic 1995" for his compositions in general and his 5th String Quartet in particular
     
    I started contemplating the composition of orchestral variations on a prominent theme from the Adagietto of Mahler’s Fifth Symphony in the Spring of 1960. I imagined a piece of music whose fabric would disintegrate and atomize in the manner of Webern and his followers, and yet something universally musical and familiar would constantly emerge from it. It would be very hard to discern traces of some ordinary music fading away before our very eyes. It would be like someone drowning and resurfacing every so often to yell for help, after which there would just be the roar of water and other sounds of nature. Or like some creature battling death and trying to say or do something meaningful in its final throes, but with no strength left. Incoherence, hesitation, suffusion with blood were intended to be part of the composition from the outset, and I really do think they are present. Or like when we find a fragment of something that had once been part of a whole, and now we strenuously piece it together; I say strenuously because strenuousness and laboriousness, and particularly vain and abortive laboriousness, were also part of the programme of the Variations from the outset.
     
    So what sort of composition are the Variations?
    They are Jewish, above all: on account of their Old Testament, existentialist and unransomed attitude, also their Mahleresqueness, as well as their overall atmosphere, which I can’t rationally substantiate, but you can feel; also because they are connected with my father, and finally because they are arranged according to numbers that are significant in the Kaballah (this wasn’t intentional, however, I only discovered it afterwards) (...) Another characteristic of the Variations is that they are to do with content; I’d almost call them a programme composition in the Berliozian, Brucknerian, Mahlerian or Schoenbergian sense, because apart from being music, they also have an extra-musical significance – they have their own ideology. During the first days after finishing the score I wrote down a number of headings: Variations I-II – longing for ideal beauty, a bit ostrich-like; a little glass castle, fairy tale. Variation IV– levity, profligacy; whereas the previous two variations hid themselves from reality, this one is flightily reconciled with it and lives in it without a care or remorse; cynicism. Variation VI – word of command, signal. Variations VII-VIII – mysterious stampede. Variations IX-X – imminent storm. Variation XII – horror of life, and sadness that most people have no notion of such a thing. Variation XIII – extreme hysteria. Variation XIV – beneath the wheels of the world. Variation XV – faint rustles of objects; the impenetrability of things. Variation XVI – extreme loneliness. That probably suffices. It’s obvious, I hope, that the Variations on a Theme of Mahler are a romantic work and they are to be performed romantically (...) I also regard them as a Secessionist and Expressionist composition, written sixty years after the period when those styles were current.
     
    Reicha, Anton (1770-1836)
    Reicha,
    Reicha is mainly remembered for his contribution to the wind quintet literature. But his also wrote symphonies (at least 12), Concertos for Piano, Violin, Cello and Clarinet; Overtures (at least 12).
    Reicha catalog.
    Two principal work lists exist: one by Olga Šotolová in her book Antonín Rejcha: A Biography and Thematic Catalogue and another by Peter Eliot Stone in his article for the Grove Dictionary of Music and Musicians. The former list contains a number of errors; these were corrected by Stone in his list.
     
    Hummel, Johann Nepomuk (1778-1837)
    Hummel,
    Hummel-no symphony
    The conspicuous lack of a symphony among Hummel's works may perhaps be explained by the fact that he could not follow Beethoven's innovations in that field, although that does not explain why he didn't compose a symphony in, say, the style of Haydn. (Wikipedia
    Hummel-solo+orchestra
    8 piano concertos                                 
    Hummel wrote eight in all; the first two are early Mozartesque compositions (S. 4/WoO 24 and S. 5) and the later six were numbered and published with opus numbers (Opp. 36, 85, 89, 110, 113, and posth 1).
    Wind concertos.
    Trumpet Concerto in E flat major (18') 1222-2000 timp str  trumpet+orchestra
    Hummel-catalog of works.
    Zimmerschmied, Dieter Thematisches Verzeichnis der Werke von Johann Nepomuk Hummel Hofheim am Taunus : Friedrich Hofmeister, 1971. ISBN : 3-87350-000-0
    Sachs, Joel (Jun. 1974). "A Checklist of the Works of Johann Nepomuk Hummel". Notes (Second Series) 30 (4): 732-754.
     
    Czecho-Slovakia-19&20    nations&periods   A-Z    search instrumentation  search ww-instrumentation    times
     
     
    Smetana, Bedrich (1824-1884)
    Smetana,
    B. numbers are from the catalogue by František Bartoš. T. numbers are from the 1893 catalogue by Karel Teige.
    Má vlast (My Country, My Motherland) (80'): 1.Vyšehrad (14'); 2.Vltava (12'); 3.Šárka (10'); 4.Z českých luhů a hájů (11'); 5.Tábor (13'); 6.Blaník (14')
    Má vlast (traditionally translated as My Country or more literally My Motherland) is a set of six symphonic poems composed between 1874 and 1879.
    While it is often presented as a single work in six movements (80'), and outside of Vltava almost universally recorded that way, the individual pieces were conceived as a set of individual works. In these works Smetana combined the symphonic poem form pioneered by Franz Liszt with the ideals of nationalistic music which were current in the late nineteenth century. Each poem depicts some aspect of the countryside, history, or legends of Bohemia.(wikipedia)
    1.Vyšehrad (The High Castle) (1874) (14') 3222-4231 timp perc 2hp str
    In the score two harps are required to perform the opening arpeggios. (Wikipedia)
    2.Vltava (The Moldau, Die Moldau) (1874) (12') 3222-4231 timp perc hp str
    The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer's wedding is celebrated, the round dance of the mermaids in the night's moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St. John's Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe (or Elbe, in German). (Wikipedia)
    3.Šárka (1875) (10') 3222-4231 timp perc str
    Šárka is named for the Amazon warrior Šárka from the ancient Czech legend of the Maidens' War. She ties herself to a tree as bait and waits to be saved by the prince Ctirad, claiming to be an unwilling captive of the rebelling women. She gets his comrades drunk on mead, and when they are asleep she persuades Ctirad, who quickly fell in love with her, to sound a hunting horn. This is an agreed signal for the other women, and the poem ends with all the men being murdered. (Wikipedia)
    4.Z českých luhů a hájů (From Bohemia's Woods and Fields) (1875) (11') 3222-4231 timp perc str ;
    It depicts the beauty of the Czech countryside. It tells no real story, but after a section evoking the grandeur of the forest, a village festival in full swing can be heard. (Wikipedia)
    5.Tábor (1878) (13') 3222-4231 timp perc str;
    Tábor is named for the city of Tábor in the south of Bohemia founded by the Hussites and serving as their center during the Hussite Wars. The theme for the piece is quoted from the first two lines of the Hussite hymn, "Ktož jsú boží bojovníci" ("Ye Who Are Warriors of God"). (Wikipedia)
    6.Blaník (1879) (14') 3222-4231 timp perc str
    It is named for the mountain Blaník inside which a legend says that a huge army of knights led by St. Wenceslas sleep. The knights will awake and help the country in its gravest hour (sometimes described as four hostile armies attacking from all cardinal directions).
    Musically, Blaník begins exactly as Tábor ends, "hammering" out the motto which was left unresolved, but now continuing on, as if in the aftermath of the battle. Thus these last two tone poems of the cycle form a cohesive pair, as do the first two; the High Castle's theme returns as the Vltava's river journey triumphantly reaches that same destination, and again returns triumphantly at the end of Blaník. Once again, the Hussite hymn used in Tábor is quoted, though this time it is the third line which rings out in the march at the end of the piece. The original lyrics to this line in the hymn are "so that finally with Him you will always be victorious," a reference to the eventual victorious rise of the Czech state. (Wikipedia)
    Smetana-other orchestral
    Doctor Faust, Overture to a puppet play B123 /T91(1862) (7') 0020-2110 timp perc pno str
    Smetana-from the operas
    Prodana Nevesta=Verkaufte Braut
    Ouverture (7’) 3222-4230 pk   
    Polka and furiant (7’) 3222-4230 timp str   
    Three Dances (11’) 3222-4230 timp str  
     
    Dvořák, Antonín Leopold (1841-1904)
    Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Dvořák,
    In the instrumentation of the Dvořák-symphonies double ww is the standard, except often a third flute player forthe piccolo and the famous cor anglais solo in no.9.
    Dvořák-symfonieën
    Symphony no. 1 c-klein «Zlonické zvoni (De klokken van Zlonice)», op.3 39' (1865) 3322-4230 timp str    
    Symphony no. 2 Bes-groot, op. 4 (1865) 46' 3222-4230 timp str  
    Symphony no. 3 Es-groot (1873) (oorspronkelijk op. 10) 35' 2222-4230  timp perc hp str  
    Symphony no. 4 d-klein (1874) (oorspronkelijk op. 13) 38' 2222-4230  timp perc hp str  
    Symphony no. 5 F-groot, op. 76 (1875), (oorspronkelijk op. 24) 39' 2222-4230 timp perc str  
    Symphony no. 6 D-groot, op. 60 (1880) (oorspronkelijk op. 58) 40' 2222-4231 timp str   
    Symphony no. 7 d-klein, op. 70 (1885) 37' 2222-4230  timp str  
    Symphony no. 8 G major 'English' op. 88 (1889) (36’) 2222-4231 timp str   
    30'-40'
    Symphony no. 9 in e-klein "Uit de Nieuwe Wereld", op. 95 (1893) (38’)
    2322-4231 timp perc str
    Symphonic Variations (21’) 2222-4230 timp perc str
    Dvořák-overtures and small orchestral works
    In Nature's Realm (Amid Nature) B168 op.91 (13') 2332-4231 timp perc str  10'-15'
    Carnival Overture op.92 (9') 3322-4231 timp perc hp str
    Dimitrij Overture (15') 2222-4231 timp perc hp str
    Czech Suite op.39 (23') 2322-2200 timp str
    Dvořák-Slavische Rhapsodieën
    op.45, nr.1 in D (11’) 3222-4230 timp perc   
    op.45, nr.2 in g (13’) 2222-4230 timp perc hp
    op.45, nr.3 in As (40’) 2222-4230 timp perc hp
    Dvořák-Slavonic Danses and other dance music
    op. 46, I nr.1-4 (19’) 3222-4230 timp perc 
    No. 1 in C major (Furiant); No. 2 in E minor (Dumka); No. 3 in A-flat major (Polka); No. 4 in F major (Sousedská)
    op. 46, II nr.5-8 (17’) 3222-4230 timp perc  
    No. 5 in A major (Skočná); No. 6 in D major (Sousedská); No. 7 in C minor (Skočná); No. 8 in G minor (Furiant)

    op. 72, I nr. 9-12 (18’) 3222-4230 timp perc   
    No. 1 (9) in B major (Odzemek); No. 2 (10) in E minor (Starodávny); No. 3 (11) in F major (Skočná); No. 4 (12) in D-flat major (Dumka)
    op. 72, II nr.13-16 (17’) 3222-4230 timp perc  
    No. 5 (13) in B-flat minor (Špacírka); No. 6 (14) in B-flat major (Starodávný ("Ancient"); No. 7 (15) in C major (Kolo); No. 8 (16) in A-flat major (Sousedská)
     
    Legends, Op.59, B.122, (Czech: Legendy) 2222-4200 perc hp str
    1. Allegretto non troppo, quasi andantino (in D minor) (3'30); 2. Molto moderato (in G major) (4'30); 3. Allegro giusto (in G minor) (4'02); 4. Molto maestoso (in C major) (5'30); 5. Allegro giusto (in Aflat major) (4'); 6. Allegro con moto (in Csharp minor) (5'); 7. Allegretto grazioso (in A major) (3'20); 8. Un poco allegretto (in F major) (3'51); 9. Andante con moto (in D major) (2'41); 10. Andante (in B♭ minor) (4'17).
    Legends is a cycle of ten small-scale pieces by the Czech composer Antonín Dvořák. The work was composed originally for piano duet, but later was arranged also for a reduced orchestra. On 15 October, 1880, the day before finishing the score of his sixth symphony, Dvořák wrote to his publisher Fritz Simrock about his plans for the near future saying he hoped to finish a piano duet cycle, "Legends," in the next month.[2] He did not, however, begin to sketch the work until 30 January, 1881. The definitive shape of the piano version was created from 12 February to 23 March, 1881, partly in Prague and partly in Vysoká u Příbrami. Dvořák dedicated the composition to the critic Eduard Hanslick, who praised the cycle with great enthusiasm.[2] The piano duet version was printed by the German publishing house Simrock in summer, 1881. In that same year Dvořák arranged the cycle for orchestra. The orchestration differs in every individual piece.[3] The work was premièred in 1882, at the concert of the Prague Conservatory (part 1, 3, 4), under the baton of Antonín Bennewitz. Three more of the "Legends" (Nos. 2, 5, 6) were premièred at a concert of the Vienna Philharmonic on 26 November, 1882, conducted by Wilhelm Jahn.
    Dvořák-
    solo+orchestra
    Violin Concerto op.53 in a (32’) 2222-4200 timp str  
    violin&orchestra
    Celloconcert op. 104 in b (40’) 2222-3231 pk perc 
    Concerto for violoncello in A, op. posth. (30') 2222-4200 timp str (Raphael) Breitkopf
    Biblical Songs for solo voice and orchestra op.99 (31') 2020-2200 timp perc hp str A/Bar solo  orchestral songs
    Dvořák-
    arranged
    5 Bagatelles arr. Russell-Davies (20') 1212-2000 str   1.2(ca).1(bcl).2-2000 str  (Br&H)
     
    Fibich, Zdeněk (1850-1900)   Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable   Fibich,
    Symphony no.1 in F major op.17 (1883) (30') 3222-4231 timp 2hp str
    Symphony No.2 in E flat  Major op.38 (1893)
    II. Adagio (7'13);
    Symphony No.3 in E Minor op.53 (1898) (34') 3332-4231 timp str
    I. Allegro inquieto (10'55); II. Allegro con fuoco. Adagio (7'25); III. Scherzo. Vivo e grazioso. Andante con moto (7'37); IV. Allegro maestoso. Allegro vivace (11'14).
    Idyll (V Podvecer) (Am Abend) op.39 (15') 3332-4000 timp perc hp str
     
    Janáček, Leoš (1854-1928)   Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Janacek-catalog
    JW = Janáček's Works: a Catalogue of the Music and Writings of Leoš Janáček by Nigel Simeone, John Tyrrell, Alena Němcová
    Janáček-orchestral works    Janáček,
    Suite for Orchestra (1891) JW 6/6 (14') 2222-3300 timp perc hp str
    Jealousy (Žárlivost), overture for orchestra (1894) (7') 2332-4231 timp perc hp str
    The original Jenufa ouverture.
    The Fiddler's Child (Šumařovo dítě) (1912) (12') 2232-3231 timp perc hp str (ballade for orchestra)
    Antonin Dvorak ended his career as a symphonic composer with a series of tone poems from Czech folk tales of magic (the term "fairy tale" has connotations that are too gentle for these mostly grisly stories). Janacek's "The Fiddler's Child" ("Sumarovo dite") comes from a similar source, though the poetic version that directly inspired Janacek was by Svatopluk Cech, one of his favorite writers.
    This tone poem is particularly notable in the evolution of Janacek's music in that it represents the full emergence of his mature compositional and orchestral style. The early operas from Sarka to Fate (and including Jeji pastorkyna or Jenufa) typically took a long time to compose, and remain at heart late-romantic works. The long gestation of the first part of The Excursions of Mr. Broucek (1908-1917) represented a struggle by Janacek over his material and culminated in a new, highly individual sound as Janacek's reluctant hero found himself on the Moon.
    Janacek's new sound involves the use of very short melodic elements (which allow for a fast-paced sort of musical structure), clear and separated orchestral textures featuring prominent instrumental solos, and, sometimes, unusual mixes of lean orchestral sonorities.
    Janacek uses this new palette to create an eerie effect. The tone poem closely follows the tale.
    The sad opening section seems to picture the life of an old itinerant fiddler who used to go around the countryside playing for coins. He had his child with him. The old man dies, and the child is given to an old woman to raise. She also keeps his fiddle.
    One night she dreams that she hears the strange music of the fiddler and sees him standing by the bedside of the child, trying to call the youngster to him with his music. When she awakens, she finds that the child has died and the violin is missing.
    The story inevitably requires some prominent violin solo passages. Using a typical device of his maturity, Janacek mostly writes concise melodies over whirring ostinato figures, but at the emotionally appropriate time unites these short themes and broadens them into a flowing and arching melodic statement.
    In this work, that moment is when the fiddler appears and plays his melodies, making the solo part quite rewarding for the orchestra's concertmaster (leader).
    The short and breathless melodies return to depict the old woman's discovery of the dead child's body, and propel the twelve-minute tone poem to an effective conclusion. © All Music Guide

    Dunaj (Danube) Symphony (1923–25) (18')
    4333-4331 timp perc cel hp str
    Symphonic poem, JW 9/7 (fragments, 2 versions: 1. arranged by Osvald Chlubna; 2. completed by O. Chlubna and by M. Stredron & L. Faltus.
    In March 1923 Janáãek visited Bratislava to hear the first performance of his opera Kát’a Kabanová. It was during the days he spent in the capital of Slovakia that he resolved to write a symphonic poem on the Danube, a river that he regarded as Slav, passing as it did through four Slav states. For such a project Smetana had provided a precedent in his Vltava, linking episodes in the history of his country. Janáãek, however, was to treat the subject in his own idiosyncratic way, representing the Danube, according to his pupil Osvald Chlubna, as a woman with all her passions and instincts. At Janáãek’s death in 1928 sketches for four movements of what might have been intended as a five-movement symphonic poem were found, and these were later arranged by Osvald Chlubna, who had studied with Janáãek in Brno, and have hitherto been known in that version. The present recording returns to the original, orchestrated sketch of the work, transcribed, and adjusted, where necessary by Leo‰ Faltus, Milan ·tûdroÀ and Otakar Trhlik. The first movement is based on the poem Lola by Alexander Insarov, the story of a prostitute who passes from a life of pleasure and gaiety to a search for her lost palace and final destitution, cold and hungry. To this Janáãek added his own ending, as Lola drowns herself in the river. The second movement, possibly the first to be written, takes as its source a poem The Drowned Girl by Pavla KÞíÏková. Here again a young girl, observed by a strange boy as she bathes, throws herself into the river and drowns. As so often in Janáãek’s music, melodic outlines are suggested by the intonation and rhythm of words, the viola motif, imitated by instrument after instrument, an accurate embodiment of the line: "But an hour had passed since he saw her." A scherzo movement follows, perhaps a representation of Vienna, introducing a soprano vocalise. It leads to a tragic and intense fourth movement, the drowning motif that had been heard in the second movement now re-appearing in a clarinet version, marking Lola’s final despair before the abruptly dramatic conclusion. Keith Anderson
    Ballade of Blaník (Ballada blanická) (
    1920) (8') 3232-3331 timp perc 2hp cel str (symphonic poem)   05'-10'
    The brief tone poem Ballad of Blanik is among the lesser-known orchestral works of Leos Janácek. It comes at the end of a decade during which time Janácek was more concerned, in his art, than usual with the Czech national independence movement. He had written the opera Excursions of Mr. Broucek, the space-and-time-travel opera based on a novel by Svatopluk Cech; its second act depicts a trip to Prague during the heroic fight for religious and national independence by Jan Huss and his followers. Then he wrote the three-part tone poem Taras Bulba, after Nikolai Gogol's Russian novel; again, the subject is an independence struggle.
    The name of Blanek (or Blanik) will be known to devotees of Czech music from Zdenek Fibich's opera of that name and, more widely, Bedrich Smetana's set of tone poems, Ma Vlast (My Country). The movement "Blanik" ends that cycle of orchestral poems, and its theme prove, in retrospect, to be the main unifying motive of the whole cycle.
    The significance of Blanek is that in Czech legend it is the resting place of Saint Wenceslas (Vaclav) and his knights. In common with other Slavic countries -- and this legend also has its parallels in many other parts of the world -- Czech folklore holds that these great hero-warriors from the past (bohatyrs) are but sleeping in their chamber under the mountain, ready to rise and free their people in their hour of greatest need.
    Janácek's homeland was finally liberated from centuries of Hapsburg rule by the defeat of Austria in World War I, and became part of Czechoslovakia. (Since then it has been occupied, successively, by the Nazi Germans and the Soviet Russians. After the end of Czechoslovak Communism and the departure of the Red Army, the country has split into the Czech and the Slovak Republics.)
    Janácek was inspired by Czech independence to write this tone poem about the new nation's legendary guardians. The tone poem took its shape and its loose programmatic content from a literary treatment of the legend by Jaroslav Vrchlicky.
    Jiri, a peasant, walks up Blanek on a Good Friday. He sees a mysterious light. The rocks open, and he follows the light into the interior of the hill. The horns and harp majestically yet quietly depict what he sees: St. Vaclav and his knights, mounted and in armor, asleep yet ready to defend the people.
    Jiri falls asleep. When he awakens, the knights are still there, but their weapons have been changed into tools. He emerges from the cavern and, seeing his reflection, realizes that he, too, has been under the spell of Blanek, for years have passed and he is now an old man. The rapid figuration that opened the seven-minute tone poem is now slowed, obviously representing the aged Jiri.
    Ballad of Blanik is relatively gentle and romantic-sounding. The orchestral colors are more blended and less pointed than in most of Janácek's mature scoring, perhaps the reason for its relative lack of popularity. ~ Joseph Stevenson

    Srbské kolo (Serbian Dance) (c.1899) (2') 2002-0000 str
    Taras Bulba (1918) (23’) (1915-18-27) 3323-4331 pk perc 2 hp org (3 versies: 1915/1918/1927)   
    De originele versie uit 1915 mocht destijds niet worden uitgevoerd, omdat Oostenrijk-Hongarije in oorlog was met Rusland.
    http://en.wikipedia.org/wiki/Taras_Bulba 
    Sinfonietta (1926) (25’) 4242-4.14.4.3 (4242-4.12+2bastr.4.1+2ten.tu) pk perc hp str  
    Sinfonietta (1926) (25') (reduced scoring arr. Keilberth Joseph) 3333-4431 timp 1perc hp str
    Janáček-orchestral danses
    Lachian Dances (Lašské tance) (1924) (18’) 2332-4230 pk perc hp org  str
    Named after the district of  Janáčeks birth.
    Moravian Dances (Moravské tance) JW 6/7 (11’) 2222-4230 pk perc   
    1. Kozich. 2. Kalamajka. 3. Trojky. 4. Silnice. 5. Rozek
    Hanakian Dances (Hanácké tance) JW 6/8 (1890)
    Czech Dances, Suite I (České tance, 1. Suita) JW 6/9 (1893)
    JW 6/11 1899 Požehnaný Požehnaný (Lachian Dance)
    JW 6/12 1899 Kozáček Kozáček (Russian Dance)
    JW 6/13 c.1899 Srbské kolo Srbské kolo (Serbian Dance)
    Janáček-string orchestra
    Zvuky ku památce Förchtgotta-Tovačovského JW 6/1 (1875) for string orchestra
    Suite for Strings JW 6/2 (1877) (19')
    Idyll JW 6/3 (1888) (21') for string orchestra
    Janáček-solo+orchestra
    Violin Concerto “Pilgrimage of the Soul” (Putování dušičky) (1928) (12') 6463-4442 timp bass drum, cymbals, rattle, cel hp str  solo-violin&orchestra
    2 piccolos, 3 flutes, alto flute, 3 oboes, English horn, 3 B-flat clarinets, 2 E-flat clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, bass trumpet, 4 trombones, tenor tuba, bass tuba
    Janáček composed the material for this work in 1927-28, but instead of presenting it in concerto form then he adapted parts of it for use in his opera From the House of the Dead; the Concerto was reconstructed in its present form by Leoš Faltus and Miloš Štědroň in 1988 and was given its premiere on September 29 of that year
    Janáček-choral works with orchestra
    Zelené sem seła (1892) folk song arrangement for chorus and orchestra
    Keď zme šli na hody (1893) folk song arrangement for chorus and orchestra
    Na Soláni čarták (1911) (6') male choir 3322-4000 timp perc hp org str
    The Eternal Gospel (Věčné evangelium) (1914) (21') ST-solo mix 3333-4331 timp perc hp org str
    Amarus (1897, 1901/06) (28') STB-solo mix 3333-4231 timp perc hp str
    Funeral March (Smuteční pochod) JW 3/6 (1898)
    Epilogue from the cantata Amarus.
    Glagolitic Mass (M'sa Glagolskaia) (1929) (45') 4333-4331 1 timp 1 perc 2 hp celesta org str
    4 (1,2,3 also piccolo).3 (2ob+1ca).3 (3 also bcl).3 (3 also cfg)-4.4.3.1  
    Janáček-ballet
    Rákós Rákóczy (1891), Prague). Ballet. Cor ST-solo 50'
    Janáček-incidental music
    Schluck und Jau (1928) (10') 4343-4331 3perc hp str   2 Sätze (Andante; Allegro) aus der Musik zu Gerhart Hauptmanns Schauspiel
    1st flute (+picc); 2nd flute (+picc); 3rd flute (+picc); 4th flute (+picc); 1st oboe; 2nd oboe; cor anglais; clarinet in Eb; 1st clarinet in Bb; 2nd clarinet in Bb; bass clarinet in Bb; 1st bassoon; 2nd bassoon; 3rd bassoon (+cbsn); 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; 3rd trombone; tuba; percussion(3); harp; violin I; violin II; viola; viola d'amore; violoncello; contrabass
    Janáček-from the 9 operas.
    Leoš Janáček counts among the first opera composers who used prose for his libretti, not verse. He even wrote his own libretti to his last three operas. His libretti were translated into German by Max Brod.
    Šárka, libretto by Julius Zeyer (1888) (67') 2333-4231 timp str perc hp str 
    J's  first attempt at opera, and of interest for that fact alone. Janáček himself had a great fondness for the score and revised the work several times before it was first performed at his 70th birthday celebrations in Brno in 1925. (Internet). As far as I know no Symphonic Suite from the opera hads been made. (DA)
    The Beginning of a Romance (Počátek Románu), libretto by Jaroslav Tichý after Gabriela Preissová (1894)
    Jenůfa (Její pastorkyňa, Her Stepdaughter), libretto by the composer after Gabriela Preissová (1904)
    There are 2 versions of the opera: the Brünner Fassung and the Prager Fassung.
    Zárlivost (1895) Introduction to the opera Jenůfa JW 6/10 (1894) (5') 2332-4231 - timp hp glcksp str 
    Jenufa-Rhapsody (1894 / 1903) arr. Max Schönherr (1940) (25') 2222-4231 timp perc hp str
    Osud, "Destiny", libretto by Fedora Bartošová (1904)
    The Excursions of Mr. Broucek (Výlety pana Broučka) (1920), libretto by Viktor Dyk and František Sarafínský Procházka (1920)
    The Excursions of Mr. Broucek (1920), Suite arr. Jaroslav Smolka (1997) (23') 4333-4341 timp perc hp org str 
    * Káťa Kabanová, "Katya Kabanova", libretto by Vincenc Cervinka, after Aleksandr Ostrovsky's The Storm (1921)
    The Cunning Little Vixen (Příhody lišky Bystroušky; Das schlaue Füchslein) libretto by the composer (1924)
    There are 3 Symphonic Suites from The Cunning Little Vixen: Frantisek Jilek, Václav Talich and Charles Mackerras.
    The Cunning Little Vixen, Suite arr. Frantisek Jilek (15') 5334-4331 timp 3perc hp cel str
    František Jílek (May 22, 1913 – September 16, 1993) was a Czech conductor, known especially for his interpretation of Leoš Janáček's works.
    http://en.wikipedia.org/wiki/Franti%C5%A1ek_J%C3%ADlek
    The Cunning Little Vixen, Suite arr.Václav Talich (1937) (16’) 4333-4331 timp perc xyl hp cel  str
    Václav Talich was a Czech violinist (for a short period the concertmaster of the Berlin Philharmonic under Arthur Nikisch), conductor (from 1919-1941 he was the chief conductor of the Czech Philharmonic) and pedagogue (Charles Mackerras was one of his students). (Wikipedia)
    The Cunning Little Vixen, Suite arr.Charles Mackerras (22') 4333-4331 timp perc xyl hp cel  str
    2 Symphonic Fragments (1923)  from the opera The Cunning Little Vixen arr. Willfort Manfred (1956) (18') 3333-4331 timp perc hp cel str
    The Makropoulos Affair / The Makropoulos Case (Věc Makropulos; Die Sache Makropulos), libretto by the composer, after Karel Čapek (1926)
    The Makropoulos Affair, Symphonic Suite (arr. José Serebrier, 1995) (31') Besetzung: 4333-4331 timp perc hp str (banda: 2c, 2tr, timp)
    From the House of the Dead (Z mrtvého domu; Aus einem Totenhaus), libretto by the composer, after Fyodor Dostoyevsky (1927)
    Overture to the opera From the House of the Dead (1927) (6') 4333-4331 timp perc hp cel btr str
    From the House of the Dead (Aus einem Totenhaus), Suite arr. Frantisek Jilek (22’) 4333-4331 pk 3perc hp btr str
    From the House of the Dead, Suite arr .Harold Byrns (25') 4333-4331 timp 4perc hp cel btr str 
     
    Foerster, Josef Bohuslav (1859-1951)
    Foerster,
    Foerster-5 symphonies
    no.1 in d
    no. 2 in F op. 29 (1898)
    no. 3 in D "Život (Life)", op. 36 (1895)
    no. 4 in c "Veliká noc (Easter Eve) op. 54 (1905) 
    no. 5 in d op. 141 (1929)
    Josef Bohuslav Foerster (1859-1951) is one of those unlucky composers, who despite a very fruitful and active career, and an extremely long life, still hover on the very fringes of the whole musical establishment. A highly educated man, he was a master of his métier, also being drawn towards literature and printing, apart from being a prolific writer for German and Czech language newspapers. He was also a diligent teacher and Mahler's confidant and loyal counsel.
    Unfortunately, Foerster's fame as a composer suffered as a result of the Mahler connection and his music still languishes in almost total neglect. Apart from his 4th symphony, "Easter Eve" and a couple of other orchestral works, his other output hardly gets a look-in on the concert platform, so this MD&G issue, coupled with that of the 1st and 2nd symphonies (MDG6321491-2) is of the utmost importance to the Foerster cause, this year being also the 150th from his birth.
    The Third was written in 1894, at the beginning of his stay in Hamburg, and although the piece is basically intimate and inward looking, its many hidden subtleties are wrapped up in a massive brass structure. The symphony also contains a wide range of moods; from the humorous to the dramatic; from a songful tenderness to a despairing loneliness.
    The 4th dates from 1904 and Foerster started its composition precisely on Good Friday of that same year. The work evokes the Saviour's walk to Calvary, the seasonal Spring breezes, primroses and shepherd's song, a sorrowful yet magical prayer and the glory of the Risen Christ together with the joy of this momentous event. A masterly "darkness to light" journey filled with moments of outstanding musical beauty.
    Baumer and his German counterparts perform magnificently; their vivid accounts do full justice to this quite exceptional music. Excellent notes and sound complete an inspiring addition to the still all too lean Foerster discography.
    Copyright © 2009, Gerald Fenech
     
    Foerster-solo+orchestra
    Violin Concerto no.1
    Violin Concerto no.2 in d op.104
    Cello Concerto
     
    Novák, Vítězslav (1870-1949)
    Novák, V,
    Serenade op.9 in F major (35') 2222-4000 str
    Serenade op.36 (26') 2222-4000 hp str
    Slovacka Suita op.32 (28') 2222-3000 hp opt. org str
     
    Fučík, Juliu(1872–1916)
    Fučík, Julius (1872-1916)
     
    Suk, Josef (1874-1935)
    Suk, Josef (1874-1935)
     
    Martinu, Bohuslav (1890-1959)  
    Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Martinu,
    The H-numbers refer to the catalogue of works by the Belgian musicologist Harry Halbreich (1931*):
    Bohuslav Martinů Werkverzeichnis und Biographie. Mainz: Schott, 2007 (579 pages). (ISBN 3795705657)
    Symphonies 1-6 (Boosey and Hawkes)
    Symphony Nr. 1 (1942) H 289 (35') 3333-4331 timp perc hp pno str
    Symphony Nr. 2 (1943) H 295 (24') 3332-4331 timp perc hp pno str
    Symphony Nr. 3 (1944) H 299 (30') 3332-4331 timp perc hp pno str
    Symphony Nr. 4 (1945) H 305 (34') 4432-4331 timp perc pno str
    Symphony Nr. 5 (1946) H 310 (27')
    4333-4331 timp perc pno str
    Symphony Nr. 6 (1953) H 343 (25') 3333-4331 timp perc str (Symphonic Fantasies)
    Martinu-other orchestral afmaken
    Ballade Villa by the Sea, Symphonic dance No. 4 H. 97  (1915) (15') 2332-4031-timp.-gr.c.-pf.-archi
    Jazz, A Movement for Orchestra H. 168 (1928)  (5') 1020 3sax 0220 timp perc banjo pno str (Sax: 2 A, 1 T)
    The Frescoes of Piero della Francesco for large orchestra H. 352 (1955) (19') 4333-4331 timp perc hp str
    The Parables English subtitle: for large orchestra H. 367 (1958) (21') 3334-4331 -timp.-batt.-ar.-archi
    1. The Parable of a Sculpture: Andante pastorale 2. The Parable of a Garden: Poco moderato 3. The Parable of a Navire: Poco allegro
    The Rock, symphonic prelude for large orchestra H. 363 (1957) (13') 3333-4331 timp perc hp str
    Martinu-chamber orchestra
    Jazz Suite for small orchestra H. 172 (1928) (9') 0111-0220-pf.-archi (quartetto solo)
    Toccata e Due Canzoni H. 311 ((1946) (27') 1211-0100 timp perc pno str
    Concerto Grosso, for chamber orchestra, H. 263 (1937) (14') 1330-2000 2pno str
    Serenade for chamber orchestra  H. 199 (1930) (12') 1212-2210  2 violins-solo str
    Borova (Czech Dance no.1) for small orchestra H. 195A (1931) (?) 0120-0200 pf., archi
    Divertimento (Serenade No. 4) for chamber orchestra H. 215 (1932) (7'30) vl.-vla soli, 0200-0000 pno str
    Tre Ricercari for chamber orchestra H. 267 (1938) (14') 1202-0200 2perc  pno 3 vl.-3 vcl.
    Sinfonietta La Jolla in A for piano and chamber orchestra H. 328 (1950) (20') 2222-2100 timp perc pno str
    Overture for orchestra H. 345 (1953) (8') 2222-4200 timp str
    Listed by the Martinu Institute under Works for Large Orchestra, but very nice for chamber orchestra (D.A.)
    Martinu-solo+orchestra
    Martinu-8 works for piano&orchestra
    Piano Concerto No. 1 in D, H. 149 (1925) (22') 2222-2210 str
    Piano Concerto No. 2,         H. 237 (1934) (23') 3222-4230 timp perc str
    Piano Concerto No. 3,         H. 316 (1948) (25') 2222-4231 timp perc
    Piano Concerto No. 4 "Incantations", H. 358 (1956) (19') 3222-4230 timp 2perc hp xyl str
    Piano Concerto No. 5 "Fantasia concertante" in B major, H. 366 (1958) (20') 3222-4230 timp 3perc str
    Divertimento (Concertino) in G for left-hand piano and small orchestra, H. 173 (1928) (20') 1212-1000 str
    Concertino for Piano and Orchestra, H. 269 (1938) (22') 2222-4220 timp perc str
    Sinfonietta Giocosa for piano and chamber orchestra, H. 282 (1940) (32') 2202-1000 str pno-solo
    Martinu-violin&orchestra
    Concerto da Camera for violin and string orchestra with piano and percussion, H. 285 (1941) (24') 0000-0000
    Violin Concerto no.1  H. 226 (1933) (25')  2222-4230 timp perc str   
    violin&orchestra
    Violin Concerto no.2  H. 293 (1943) (28')  2222-4331 timp perc str  
    violin&orchestra
    Czech Rhapsody for violin and orchestra, H. 307 A [see H. 307] (1945 Cape Cod, South Orleans, Mass.)
    Suite Concertante for Violin and Orchestra in D major, H. 276 I (1939), H. 276 II (1944) (22'40) 2222-4231 timp perc str
    Martinu-
    the 3 concerts for cello&orchestra
    Concertino in c for violoncello, winds, piano and battery H.143 (1924) (14') 1221-1110 timp perc pno (no strings)
    Edition: Panton Prag, P 535, 1973
    Concerto for violoncello and orchestra no.1 H. 196 I   (1930) (27') 1121-1100 pno str (version-1)
    Concerto for violoncello and orchestra no.1 H. 196 II  (1939) (27') 2222-4231 timp perc str (version-2)
    Concerto for violoncello and orchestra no.1 H. 196 III (1955) (25') 2222-4230 timp perc str (version-3) 
    The long historical record of the Concerto No.1 for Cello and Orchestra is filled with changes. In essence, the original concept of the "concerto grosso" gradually became a monumental solo concerto with large orchestra. The first version of the piece was written by Martinů in Polička and Paris in 1930, and he dedicated the concerto to Gaspar Cassadó, who premiered it in Berlin in 1931. Nine years later, unhappy with the chamber instrumentation, Martinů resumed work on the piece and transformed it into a work for large orchestra. However, this version would also not be the final one. In 1955, Martinů heard it on Parisian radio and he was literally appalled by its dense orchestration. He consequently re-orchestrated it and revived the solo part. This version, in his own words, "correct and final", was then dedicated to Pierre Fournier, with whom Martinů had consulted for the changes in the solo instrument.
    The overall conception of the concerto follows the typical order of the movements of this genre: fast, slow, fast. The introductory Allegro moderato, full of life and energy, sets up the space for a solo violoncello. The out-reaching character of the first movement is in a sharp contrast with the central Andante, which is deep, appealing, and even nostalgic. A rich melodic quality is characteristic for the sections of inner calamity and tension, the main stress of which lies on the solo violoncello, while the orchestra is only accompanying. The final fast movement's central section is andante and has a solo cadence reminiscent of the second movement. The third movement’s melodic line, meanwhile, is similar to the first one. Due to the syncopated rhythm, frequent staccatos and a wide, dynamic surface, the music is rich in vitality, and it is in this atmosphere that the concerto finally ends.
    Sandra Bergmannová, Bohuslav Martinu Institute:
    Concerto for violoncello and orchestra no.2 (20') 2221-2220 perc pno str  cello&orchestra
    Sonata da Camera for Violoncello and Chamber Orchestra H. 283 (1940) (26'30) 1122-2000 str (10.12.4.4.2)
    Variations on a Slovak Folk Song for violoncello, string orchestra and piano (harp) H. 378A (10') 0000-0000
    Arr. 2004 by J.Teml of the Variations on a Slovak Folk Song for violoncello and piano.
    Martinu-3 other concertos for solo+orchestra  Martinu,
    Concerto for harpsichord and small orchestra, H. 246 (1935) (17'30) 1001-0000 pno str (3 vl, va, vc, cb)  harpsichord&orchestra
    Rhapsody Concerto, for viola and orchestra, H. 337 (1952) (18') 2222-4200 timp tmb-rull str  viola&orchestra
    Concerto for oboe and small orchestra H. 353 (1955) (14') 2021-2100 pno str ob-solo 
    oboe&orchestra
    Martinu-multiple instruments: 2 various&orchestra
    Concerto for Flute, Violin and Orchestra in G H. 252 (1936) (19') 1222-2100 pno str
    Concerto for Two Violins and Orchestra No. 2 in D major, H. 329 (1950) (19') 2222-4231 timp perc str
    Concerto for Violin, Piano, and Orchestra, H. 342 (1953) (29'30) 2222-4231 timp.-batt.-archi
    Duo Concertant for Two Violins and Orchestra H. 264 (1937) (16') 2222-2210 timp ptti pno str
    Martinu-
    multiple instruments: 3 various&orchestra
    Concerto for Piano Trio (Violin, Cello and Piano) and String Orchestra H. 231 (1933) (21')
    Concertino for Piano Trio (Violin, Cello and Piano) and String Orchestra, H. 232 (1933) (20')
    Duo Concertante (Concerto No. 1) for Two Violins and Orchestra, H. 264 (1937 Nice) (17') 2222-4231 timp perc str
    Concerto for Two Pianos and Orchestra, H. 292 (1943) (26') 2222-2200 perc str
    Martinu-multiple instruments: 4 various&orchestra 
    Concerto for String Quartet and Orchestra, H. 207 (1931) (18'30) 2222-2220 timp perc str 
    Sinfonia Concertante No. 2 in B-flat major (Violin, Cello, Oboe, Bassoon and Orchestra), H. 322 (1949) (18') 0020-2000 pno str (with 4 winds)
    Sinfonia Concertante No. 2 in B-flat major (Violin, Cello, Oboe, Bassoon and Orchestra), H. 322 (1949) (18') 0000-0000 pno str (without winds)
    The winds are ad libitum.
    Martinu-string orchestra
    Partita (Suite No. 1) for string orchestra H. 212 (1931) (11') Schott
    Double Concerto for Two String Orchestras, Piano, and Timpani, H. 271 (1938) (21')
    Martinu's composition for more or less the same instrumentation as Bartók's Music for Strings, Percussion and Celesta (1936).
    Rhytmic etudes for string orchestra H. 202A (1958) (5'30)
    String sextet (arrangement for string orchestra) H. 224A ((18'15)
    Martinu-15 operas
    Comedy on the bridge (1935), Little Suite (6') 1111-2110 perc pno str
    Martinu-14 ballet scores
    Martinu-choral with orchestra
    Česká Rapsodie (Czech Rhapsody), cantata for baritone, mixed chorus, orchestra and organ, H. 118 (1918 Polička)
    For its part, Martinů’s Czech Rhapsody does nothing to hide its indebtedness to Smetana. The composer’s manifestation of his patriotic feelings was not limited to his quote of the illustrious melody of the Wenceslavian chant; it was still enhanced by the work’s dedication to the then generally recognized spokesman of the nation’s aspirations, the author Alois Jirásek; and in its texts: namely, Psalm 23, Jaroslav Vrchlický’s poem, Bohemia, and the words of the Wenceslavian Chant itself. The cantata opens on an orchestral overture giving prominence to the composition’s principal subject, the Wenceslavian Chant (“a suffering, a struggle”, wrote Martinů in his commentary on the work). This is followed by a choral setting of Psalm 23 (“prayer of the entire nation”), initially a cappella, and in the second part taking on organ accompaniment. The orchestra (“a motif of freedom, victory, in the horns at their full blast”) provides a bridge leading to the third and final part, where an introductory harp passage gives way to a large-scale baritone solo to the text of Vrchlický’s poem (“a hymn to the beauty of homeland and to faith in victory”), gradating with help from the choir and organ, all the way up to a robust, broadly worked out rendition of the Wenceslavian Chant into which is incorporated in a baritone solo the closing part of Vrchlický’s poem (“the return of Duke Wenceslas of Bohemia, and the advent of a new future, the ardently awaited Freedom”). (Prague State Opera Program Note)
    Martinu-internet
    The Bohuslav Martinu Institute in Prague has an essential website with a complete work list:  http://www.martinu.cz/english/novinky.php
     
    Czecho-Slovakia-19&20    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
     
     
    Schulhoff, Ervin (1894-1942)  
    Schulhoff,
    Symphony No. 6 "Svobody" for chorus and orchestra (1940)
    solo+orchestra
    Double concerto for flute, piano and strings (1927) (20')   2 various&orchestra
     
    Ullmann, Viktor (1898–1944)
    Ullmann, Viktor (1898–1944)  Ullmann,
    Symphony no.1 (19') 3 (3. auch Picc.) · 3 (3. auch Engl. Hr.) · 3 (2. auch Es-Klar., 3. auch Bassklar.) · 3 (3. auch Kfg.) - 4 · 3 · 3 · 1 - P. S. (Trgl. · hg. Beck. · Beckenpaar · Tamt. · Tamb. · Rührtr. · kl. Tr. · gr. Tr. · Woodbl. · Rute · Glsp. · Xyl.) (3 Spieler) - Mand. · Hfe. · Cel. - Str.
    Instrumentation after the 5th piano sonata: Bernhard Wulff (1994) Subtitle: "Von meiner Jugend"
    Symphony in D D major (1944) (23') 3 (2. und 3. auch Picc.) · 3 (3. auch Engl. Hr.) · 3 (2. auch Es-Klar., 3. auch Bassklar.) · 3 (3. auch Kfg.) - 4 · 3 · 3 · 1 - P. S. (Trgl. · hoher Gong · hg. Beck. · Beckenpaar · Tamt. · Rührtr. · kl. Tr. · gr. Tr. · Kast. · Xyl.) - Hfe. · Cemb. (auch Cel.) - Str.
    Instrumentation after the 7th piano sonata by Bernhard Wulff (1989)
    Die Weise von Liebe und Tod des Cornets Christoph Rilke (1944) (25') 3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 2 · 3 · 1 - P. S. (Trgl. · Röhrengl: · ant. Zimb. · 3 hg. Beck. [h/m/t] · 3 Tamt. [h/m/t] · kl. Tr. · Mil. Tr. · Rührtr. · gr. Tr. · Glsp.) (3 Spieler) - Hfe. · Klav. (auch Cel.) - Str.
    Zwölf Stücke aus der Dichtung Rainer Maria Rilkes für Sprecher und Orchester
    Nach dem Particell und Partiturfragmenten rekonstruiert und instrumentiert von Henning Brauel
    Don Quixote tanzt Fandango Ouvertüre für Orchester (1944) (15') 3333-4331 timp 3perc hp hpsd str
    Picc. · 2 (2. auch Picc.) · 3 (3. auch Engl. Hr.) · 3 (2. auch Es-Klar., 3. auch Bassklar.) · 3 (3. auch Kfg.) - 4 · 3 · 3 · 1 - P. S. (Trgl. · hg. Beck. · Tamb. · Rührtr. · kl. Tr. · gr. Tr. · Kast. · Glsp. · Xyl.) (3 Spieler) - Hfe. · Cemb. - Str.
    Nach dem Particell instrumentiert von Bernhard Wulff (1994)
    Concerto für Klavier und Orchester, op. 25
    Premiere: April 28, 1992 Stuttgart, Stuttgarter Kongreßzentrum, Hegel-Saal (D) · Konrad Richter, Klavier · Conductor: Israel Yinon · Staatsphilharmonie Brünn
    Orchestra instrumentation: 3 (3. auch Picc.) · 2 · Engl. Hr. · 3 (3. auch Es-Klar.) · Bassklar. · 2 · Kfg. - 4 · 3 · 3 · 1 - P. S. (Trgl. · hg. Beck. · Beckenpaar · tiefes Tamt. · Tamb. · kl. Tr. · gr. Tr. m. Beck. · Kast. · Glsp.) (3 Spieler) - Tenorbanjo · Hfe. - Str.
    Publisher: Schott Music
    Duration: 19' 0''
    Year of composition: 1939
    Slawische Rhapsodie für Orchester und obligates Saxophon, op. 23 (18') Altsax. in Es - 3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 · 3 · 1 - P. S. (Trgl. · hg. Beck. · kl. Tr.) (1 Spieler) - Hfe. - Str.
    Variationen, Phantasie und Doppelfuge über ein Klavierstück (op. 19/4) von Arnold Schönberg, op. 3b (1934) (13') 2222-3210 timp hp str
    2 (2. auch Picc.) · 1 · Engl. Hr. · 2 (2. auch Bassklar.) · 2 (2. auch Kfg.) - 3 · 2 · 1 · 0 - P. - Hfe. - Str.
     
    Haas, Pavel (1899-1944)
    Haas, Pavel (1899-1944) Bote &Bock
    In 1941, Haas was deported to the Theresienstadt concentration camp (Terezín). He died in Auschwitz-Birkenau.
    Zesmutnělé scherzo Scherzo triste for orchestra op.5 (1921) (71') 3331-4331 timp perc 2hp cel str
    Předehra pro rozhlas (Overture for Radio) for solo voices and orchestra op.11 (1931) (10') 1111 a-sax 2211 timp perc hp pno str TTBB-soli
    Sinfonia (1940/1941) for orchestra; unfinished; orchestration completed by Zdeněk Zouhar. Boosey
    3.2picc.3.corA.3.bcl.3.dbn-8.6.4.1-timp.perc(2)-2harps-pft-cel-strings
    Haas' large-scale symphony, which he began prior to his deportation to Theresienstadt, remained unfinished, but the surviving torso was orchestrated by Zdeněk Zouhar in 1994. Listen: YouTube
    I. Meditativo; II. Allegro vivace e risoluto energico; III. Misteriosamente
    The orchestration of the Symphony he had begun to write in 1940 could not be completed because of his deportation to Theresienstadt. (Completed by Zdenek Zouhar, it was premiered in Weimar in 1998.) Of the at least eight works Haas wrote at Theresienstadt up to October 1944, three have survived. The Four Songs to Words of Chinese Poetry for bass (or baritone / mezzo soprano) and piano (1944) are, in their grief-stricken and desperate as well as immensely powerful expressiveness, one of the most impressive of his ‘late’ works. It is also the last existing piece he wrote. Al Sefod (”Do not mourn”) is a piece for male choir to words by David Shimoni (1942), and the Study for String Orchestra (1943) is one of his most frequently played works today. It survived thanks to the initiative of the conductor Karel Ancerl, who was also interned at Theresienstadt and had performed the work several times in the camp. Although the scores were lost, Ancerl managed to find the orchestral parts in the camp after the war. Together with the composers Hans Krása and Viktor Ullmann, Pavel Haas was deported to Auschwitz in October 1944 where he was killed in the gas chambers.
    Variace pro klavír a smyčcový orchestr (Variations for Piano and String Orchestra)
    Studie pro smyčcový orchestr (Study for String Orchestra) (1943)
    The Study for String Orchestra which was premiered in Theresienstadt under the Czech conductor Karel Ančerl and is probably Haas' best-known work today. The orchestral parts were found by Ančerl after the liberation of Theresienstadt and the score reconstructed.
    op.14 1936 Šarlatán The Charlatan opera in 3 acts; libretto by the composer
    – 1933 Život je pes Life Is a Dog music for the film
    – 1934 Mazlíček The Little Pet music for the film
    – 1937 Kvočna Mother-Hen music for the film
    Krása, Hans (1899-1944)
    Krása, Hans (1899-1944)
    4 Orchesterlieder op. 1 for voice and orchestra (1920) (8') (T: Christian Morgenstern) 4333-4241 timp 1perc hp cel str
    1. kleine Flöte; 2. kleine Flöte; 1. Flöte; 2. Flöte; 1. Oboe; 2. Oboe; Englischhorn; 1. Klarinette in B; 2. Klarinette in B (+ Kl.(Es)); Bassklarinette in B; 1. Fagott; 2. Fagott; Kontrafagott; 1 perc: Xylophon, Becken, Tam-tam, kleine Trommel, große Trommel. 1. Geiß und Schleiche; 2. Nein!; 3. Der Seufzer; 4. Galgenbruders Lied an Sophie, die Henkersmaid.
    Symphonie für kleines Orchester (1923) for alto and orchestra (1923) (17')  3 0 4 2 - 2 2 0 0 - Schl, Hf, Cel - Str
    Text: Arthur Rimbaud; Translator: Max Brod
    Die Erde ist des Herrn (The Earth is the Lord's) (1931) (20') - cantata for soloists SATB, chorus SATB and orchestra. 3 3 3 3 - 4 3 2 1 - timp, perc(3), hp, str UE
    Text Source: Bibel
    Instrumentation details: piccolo; 1st flute; 2nd flute; 1st oboe; 2nd oboe; cor anglais; 1st clarinet in Bb; 2nd clarinet in Bb; bass clarinet in Bb; 1st bassoon; 2nd bassoon; contrabassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; bass tuba; harp; timpani; percussion(3): xylophone, triangle, cymbals, tam-tam, snare drum, bass drum; violin I; violin II; viola; violoncello; contrabass
    Overture for small orchestra (6') (1943) 0020-0200 2cl-2tpt-pft-strings Schott 
    -05'
     
    Klein, Gideon (1919–1945)
    Klein, Gideon (1919–1945)
    Gideon Klein was deported to Theresienstadt concentration camp where he was organizer of cultural life. Later he was transported to Auschwitz and then to Fürstengrube in October 1944, less than two weeks after completing his string trio. He died under unclear circumstances during liquidation of the Fürstengrube camp in January 1945. On his list of works is mainly chamber music. The only orchestral work is the arranged Partita.
    Partita (Trio for Violin, Viola and Cello in arrangement for chamber orchestra by Vojtěch Saudek)
     
    Pauer, Jiří  (1919–2007)
    Pauer, Jiří (1919–2007)
    Sinfonia (1964) for orchestra (30') Picc. · 2 · 3 (3. auch Engl. Hr.) · Es-Klar. · 2 · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Beck. · Tamt. · kl. Tr. · gr. Tr. · Legno · Peitsche · Gl.) (4 Spieler) - Hfe. · Cel. - Str. (20 · 16 · 16 · 16 · 14 oder 16 · 14 · 12 · 12 · 10) (Schott)
    Scherzo (8'45) Picc. · 2 · 2 · 2 · 2 - 4 · 3 · 3 · 1 - P. S. (Beck. · Trgl. · kl. Tr. · gr. Tr.) - Str.
    Sinfonia for strings (1980)
    Panychida (1969) (15') 2 · 2 · 2 · 2 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Beck. · Gong · Bong. · kl. Tr. · gr. Tr. · 3 Woodbl.) (3 Spieler) - Cel. - Str.
    Festive Preludes Canto festivo Slavnostní predehra(1971) Picc. · 2222-4331 - P. S. (Trgl. · Beck. · gr. Gl. · kl. Tr. · gr. Tr. · Tempelbl.) (4 Spieler) - Str.
    Initialen (Symphonic movement for large orchestra) (17') 3222-4440 timp 3perc Trgl. · Beck. · kl. Tr. · gr. Tr. · Legno · Peitsche · Glsp. · Xyl. · Vibr.) hp pno str Schott
    Symphony for strings (1980) (25')
    Concerto for trumpet and orchestra (1972) (20') 2222-2000 - P. S. (Trgl. · 2 Bong. · Beck. · Peitsche) (1 Spieler) - Klav. - Str. Schott
    Canto triste Three songs for medium voice and orchestra 2 (2. auch Picc.)222-2000 - P. S. (Trgl. · tiefer Gong · Beck. · Gl. · Glsp.) (2 Spieler) - Hfe. - Str.
    Text: Gaspar Stamp German edition: Adolf Langer
     
    Eben, Petr (1929–2007)
    Eben, Petr (1929–2007)
     
    Novák, Jan (1921-1984)
    Novák,
    Jan Novák (1921-1984) was a popular Czech composer of classical music. Novák was primarily active in the 1960s and composed the music for several films of Karel Kachyňa. Novák also composed music for the films of animators Jiří Trnka and Karel Zeman, the leading figures of the Czech animated film.
    Capriccio for cello and orchestra (1958) (16') 0020 2sax 0220 timp perc pno str  cello&orchestra
    I. Allegro moderato (7'55); II. Andante (4'52); III. Rondo: Allegro con spirito (6'20). An attractive jazzy swinging concerto with a brassy orchestral part. (D.A.)
     
    Scandinavia-19&20  Scandinavia-19&20   nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    In a strict sense only Norway, Sweden and Denmark belong to Scandinavia , but we also include Finland and Iceland. There are 3 great names: Grieg, Sibelius, Carl Nielsen (1865–1931)
    Berwald, Svendsen

    Norway    nations&periods  
    composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    There is in fact only one well-known Norwegian composer, Grieg, but there are some other composers with an international reputation.
    Bull, Ole Bornemann (1810-1880);
    Svendsen, Johan Severin (1840-1911);
    Grieg, Edvard Hagerup (1843-1907);
    Sinding, Christian August (1856-1941);
    Sæverud, Harald Sigurd Johan (1897-1992);
    Nystedt, Knut (1915)
     
    Bull, Ole Bornemann (1810-1880)  Bull,
    Bull was a Norwegian violinist, often called Norway's first international star (Wikipedia).
    Violin Concerto (1841)
    Nocturne for Violin and Orchestra, Op. 2 (1842)
    A Mountain Vision
    Adagio Religioso
    The Herdgirls' Sunday
    Polacca Guerriera
    Adagio sostenuto
    El agiaco cubana: Grand March (1844)
    Preghiera dolente e rondo ridente (1839)
    La mélancolie (1850)
    Andante maestoso
    Fjeldstuen: Sigrid's Song
    Barcarolle
    Fantasy on Scottish Folk Melodies "Homage to Edinburgh" (1837)
    Andante cantabile
    Cantabile
    In Moments of Solitude
    Saeterjentens Sendag
    The best known of Ole Bull's composition, Saeterjentens Sendag (The Herd-girl's Sunday), is a work that originally formed part of a Fantasy for strings composed in 1848. Sadly Bull's Violin Concerto from 1841 was of such technical difficulty that it deterred subsequent violinists, the only movement remembered being the central Romance, which the composer arranged for violin and piano. La Mélancolie has existed in many different formats, so popular did it become in Norway.
    Solitude in the mountain (arr.Johan Svendsen) (3') str orchestra Kalmus
    Svendsen, Johan Severin (1840-1911)   Svendsen,
    Svendsen maybe is best remembered for his Romance for violin and orchestra which is often performed in the violin-piano version..
    Svendsen-2 symphonies (a third Symphony No.3 in E major (1882-1883) was destroyed).
    * Symphony No.1 in D major Op.4 (1865-67; Christiania, 12 October 1867) 2222-4230 timp str
    * Symphony No.2 in B-flat major, Op.15 (1874; Christiania, 14 October 1876)
    * Sigurd Slembe, Symphonic Prelude, Op.8 (1871; Leipzig, 12 December 1871) 2222-4231 timp str
    * Carnival in Paris, Episode, Op.9 (1872; Christiania, 26 October 1872)
    * Funeral March, On the Death of King Carl XV, Op.10 (1872; 26 October 1872)
    * Zorahayda, Legend, Op.11 (1874, rev. 1879; Christiania, 3 October 1874, rev. 11 May 1880)
    * Festival Polonaise, Op.12 (1873; Christiana, 6 August 1873)
    * Coronation March (for the Coronation of King Oscar II), Op.13 (1873; Trondheim, 18 July 1873)
    * Norwegian Artists' Carnival, Op.14 (1874; Christiania, 17 March 1874)
    * Norwegian Rhapsody No. 1, Op.17 (1876; Kristiania, 25 September 1877)
    * Romeo and Juliet, Fantasia, Op.18 (1876; Christiania, 14 October 1876)
    * Norwegian Rhapsody No. 2, Op.19 (1876; ??)
    * Norwegian Rhapsody No. 3, Op.21 (1876; Paris, January ??, 1879)
    * Norwegian Rhapsody No. 4, Op.22 (1877; Paris, 1 February 1879)
    * Polonaise, Op.28 (1882)
    Romeo und Julia op.18 (28') 2222-4231 timp str
    Svendsen-solo+orchestra
    Romance for violin and orchestra op.26 in G (1881) (8') 1122-2000 timp str
    Violin Concerto, Op.6 (1868-70; Leipzig, 6 February 1872 2222-2200 timp str Kalmus
    Cello Concerto, Op.7 (1870; Leipzig, 16 March 1871)
    Svendsen-string orchestra
    2 Swedish Folk Melodies, Op.27 (1876, 1878) (10')
    2 Icelandic Melodies, Op.30 (1874) Kalmus
    Ifjol gjætt' e gjeitinn (Last year I was tending the goats), Op.31 (1874)
     
    Grieg, Edvard Hagerup (1843-1907)    Scandinavia-19&20
    Grieg,
    Grieg's orchestral music is special because he wrote it reluctantly. As a composer, Grieg focused on smaller works like songs and piano pieces, partly because he didn't think he could compete with the work of his colleague Johann Svendsen, the first Norwegian symphonist. Grieg highly admired his idol's gifts, declaring, "Svendsen has precisely all that which I don't have: mastery of the orchestra and its large classical forms." For that reason, Grieg limited himself to composing just 15 orchestral works.
    Grieg-orchestral works.
    Zug der Zwerge op. 54 No.3 (7') 3222-4231 timp 1perc hp str
    Symphony in C minor (41') 2222-2230 timp Peters
    Few symphonies can have been the subject of so many reservations as the 20-year-old Grieg’s ‘forbidden’ Symphony in C minor of which the composer himself wrote, on the score, ‘must never be performed’. Though hardly typical of Grieg, with its links to Beethoven, Mendelssohn, Schumann and the Danish composer Niels Gade, this is a remarkably assured work filled with positive, youthful energy, and many fresh musical ideas.
    Concertouvertüre "I Høst" (In Autumn), op. 11 (1867) (10') 3222-4231 timp perc str
    Two symphonic pieces Op. 14 for piano 4h
    1. Adagio cantabile; 2. Allegro energico
    Peer Gynt, Incidental Music op.23 (1902) (90')
    1. Forspill. I bryllupsgården
    2. Brudefølget drar forbi
    3. a. Halling og b. springardans (??) solo-violin
    4. Forspill, Bruderovet. Ingrids klage
    5. Peer Gynt og seterjentene 5. Peer Gynt and the Herd-Girls (4'04)
    6. Slutningen av scenen med ”Den Grønnkledte”
    7. I Dovregubbens hall;
    8. In the hall of the Mountain King (2'51) with choir
    8. Dans av Dovregubbens datter
    9. A. Peer Gynt jages av troll
    10. B. Scene med Bøygen
    11. Forspill. Dypt inne i barskogen
    12. Solveigs sang
    13. Åses død
    14. Forspill. Morgenstemning
    15. 14. Tyven og heleren
    16. Arabisk dans
    17. Anitras dans
    18. Peer Gynts serenade
    19. Peer Gynt og Anitra
    20. Solveigs sang; 19. Solveig's song (5')
    21. Forspill. Peer Gynts hjemfart
    22. Solveigs sang i hytten
    23. Nattscene
    24. Kirkefolk synger på skogsstien
    25. Solveigs vuggesang

     
    Peer Gynt Suite nr.1 Op. 46 (1875-1888) (17’) 3222-4231 timp perc str   
    o 1 Morgenstemning o 2 Åses Død o 3 Anitras Dans o 4 I Dovregubbens Hall
    Peer Gynt Suite nr.2 Op. 55 (1875-1892) (18’) 3222-4231 timp perc hp str   
    o 1 Bruderovet - Ingrids Klage o 2 Arabisk Dans o 3 Peer Gynts Hjemfart o 4 Solveigs Sang

    Symphonic Danses op. 64 (1898) (31’) 3222-4231 timp hp    
    Grieg based the first symphonic dance on a Scottish theme, with energetic sections that recall the sinister sound of "In the Hall of the Mountain King" from his incidental music for "Peer Gynt." The other three dances are all hallings, a dance style that comes from the Hallingdal region of Norway. Each is based on a Scottish reel and they're written in double time.
     
    Grieg-solo+orchestra
    Pianoconcerto Op. 16 in a (29’) 2222-4230 timp str
    Den bergtekne (The Mountain Thrall) op. 32 (1878/95) (6'34) Bar-solo 0000-2000 str
    Edition Hansen 1882. T: Old Norwegian, Danish, German.
    http://books.google.nl/books?id=3coWeMy2wZYC&pg=PA118&lpg=PA118&dq=Den+bergtekne&source=bl&ots=xQV30PFW8u&sig=rXhTZyuhilOvUzGTP1xWGPZGTBM&hl=nl&ei=m1tWSoOjCMne-QaznuTQDw&sa=X&oi=book_result&ct=result&resnum=7
     
    Vom Monte Pincio op. 39 Nr. 1 (1884)-für Gesang und Orchester-
    Order number EP 2825C
  • 1884 Romanser (Romances), voor zang en piano, op. 39
    1. Fra Monte Pincio (Bjørnstjerne Bjørnson)
    2. Dulgt kjærlighet (Bjørnstjerne Bjørnson)
    3. I lien høyt der oppe (Jonas Lie)
    4. Millom rosor (Kristoffer Janson)
    5. Ved en ung hustrus båre (O. P. Monrad)
    6. Hører jeg sangen klinge (Nordahl Rolfsen)

  • Gesang, Orchester Gesang, Flöte (2), Klarinette (2), Fagott (2), Horn (2), Harfe, Triangel, 1. Violine, 2. Violine, Viola, Cello, Kontrabass
    T: Bjørnson, Bjørnstede
  • Vor der Klosterpforte op. 20
    Performance material
  • Orchestration
    1 Partitur, 1 Klavierauszug, 1 Sopran 1, 1 Sopran 2, 1 Alt 1, 1 Alt 2, 2.2.2.2 Holzbläser, 4.2.0.0 Blechbläser, 1.0 Pauken, Schlagzeug, 1 Orgel, 1 Harfe, 8.7.6.5.4 Str
    Edition
    Leihmaterial
    Playing time
    12 minute

    # 1876-1895 Seks dikt (Zes gedichten), voor zang en orkest, op. 25 - tekst: Henrik Ibsen

    1. Spillemenn
    2. En svane
    3. Stamboksrim
    4. Med en vannlilje
    5. Borte!
    6. En fuglevise

     

    Grieg-choral with orchestra
    Landkjenning (Landsighting) Op. 31 (1881) (7') 2222-4231 timp str opt org Bar solo, TTBB (T: Bjørnson) Peters
    (Original version for baritone solo, TTBB harmonium/organ)
    Autum Leaves / Herbststurm  2222-4230 timp perc 3' SATB
    Foran Sydens Kloster op. 20 (1870) for SA-solo female choir and orchestra -
    T: Bjørnstjerne Bjørnson

    Grieg-opera, incidental music, melodrama
    Peer Gynt (Henrik Ibsen) Op. 23 (1874/75) 5 S, Bar, 2 B
    Vocal score Peters EP 8713 € 36.80  Study score € 38,- Score Edvard Grieg Gesamtausgabe, Band 18 EP 8518A 164,-
    1 Prelude til 1. akt: I Bryllupsgården; 2 Brudefølget drager forbi; 3 Halling og Springdans;4 Prelude til 2. akt: Bruderovet - Ingrids Klage; 5 Peer Gynt og Sæterjentene; 6 Den grønklædde; 7 I Dovregubbens Hall; 8 Dans av Dovregubbens Datter; 9 Peer Gynt forfulgt av Trollene; 10 Prelude til 3. akt; 11 Solveigs Sang; 12 Åses Død; 13 Prelude til 4. akt: Morgenstemning; 14 Tyven og mottageren; 15 Arabisk Dans; 16 Anitras dans; 17 Peer Gynts Serenade; 18 Solveigs Sang; 19 Prelude til 5. akt: Peer Gynts hjemfart ;20 Solveigs Sang (Uakompagnert); 21 Nattscene; 22 Kor; 23 Solveigs Vuggesang;
    Bergliot, op. 42 (1871) (35') narr 3222-4231 timp perc str Peters rent melodrama, T: Bjørnson
    Olav Trygvason Op. 50 (unfinished opera, only 3 scenes) 30' 3222-4231 timp perc hp str SAB solo, SATB Peters
    Ragnar Søderlind made a complete 3 hour opera incorporating the 3 Grieg fragments. On 26 September 2000, the opera Olav Tryggvason was first performed in the Grieg Hall in Bergen: http://www.mic.no/mic.nsf/printstory/art2002092014173851392996
    Suite from "Sigurd Jorsalfar", op. 56 (1872-1892) (35')
    The suite is in nine parts three of which are more widely known than the remainder. 1. Fanfare of Horns; 2. Prelude to act 1; 3.Borghild's Dream; 4. The Matching Game; 5. Northern Folk; 6. Homage March; 7. Interlude 1; 8. Interlude 2; 9. The Kings' Song (Wikipedia). The first complete recording of Sigurd Jorsalfar (about 35 minutes of incidental music) was in 1979 (Record Guide Productions)
    Three Orchestral Pieces from "Sigurd Jorsalfar", op. 56 (1872-1892) (11') 2222-4331 timp perc hp str Peters/Kalmus
    Sigurd Jorsalfar is an orchestral suite by Edvard Grieg, celebrating King Sigurd I of Norway compiled in 1872 from incidental music to a play by Bjørnstjerne Bjørnson; it was revised by the composer in 1892. The work was first performed in Christiania in 1872 (Wikipedia)
    1. Prelude: In der Königshalle - Allegretto semplico; 2. Intermezzo: Borghilds Traum - Poco Andante; 3. Huldigungsmarsch: Allegro molto.
    Sigurd Jorsalfar op. 22 -2 Songs (6')Bar solo TTBB 2222-4231 timp perc str
    Grieg-string orchestra
    Fra Holbergs tid (Holberg Suite) Op. 40 (1884-1885)
    o 1 Prelude o 2 Sarabande o 3 Gavotte o 4 Air o 5 Rigaudon
    Two Elegic Melodies for str orch, op. 34 (1880) (10')
    1. Hjertesår (Den Særde) (Herzwunden): Allegretto espressivo; 2. Våren (Letzter Frühling): Andante.
    Two melodies for Strings Op. 53 (after songs) (5')
    1. Norsk; 2 Det første Møte.
    * 1895 Twee Noorse melodieën, op. 63;
     
    Grieg-orchestrations of his piano / vocal music
    Norwegian Dances op. 35 (1883) (orch. Hans Sitt, 1888) (17') 3222-4231 timp perc hp str
    1. (6'08); 2. (2'42); 3. (3'48); 4. (5'16).
    Grieg originally wrote his Norwegian Dances for piano duet. He had hoped French composer Eduard Lalo would orchestrate them, but instead Hans Sitt, a member of the Brodsky Quartet, did the honors in 1888. The Norwegian Dances (4), Op. 35, (1883) of Norwegian composer Edvard Grieg (1845-1907) are for the most part based on tunes he found in Ludvig Mathias Lindemans' folk song collection Mountain Melodies Old and New. Like many sets of national dances from the nineteenth century—Brahms' Hungarian Dances and Dvorák's Slavonic Dances, for example —Grieg's Norwegian Dances were originally scored for piano duet to satisfy demand for music to be played in the home. They were later orchestrated by the Czech-born conductor Hans Sitt and it is in this guise that they are best known to later audiences. © All Music Guide. Hans Sitt (1850-1922) see: Wikipedia.
    Hochzeitstag auf Troldhaugen op. 65/6
    Orchestration: 1 Partitur, 1 Klavierauszug, 2.2.2.2 Holzbläser, 4.2.3.0 Blechbläser, 1.1 Pauken, Schlagzeug, 1 Harfe, 8.7.6.5.4 Str
    Einsame, Der op. 32 -Bariton und Orchester-
    Orchestration: 1 Partitur, 1 Klavierauszug, 2.0.0.0 Blechbläser, 8.7.6.5.4 Str
    Edition: Leihmaterial
    Op. 6 Humoresker Vier Humoresken (arr. Riege)(12') 2222-2230 timp perc glock/vibr xyl hp str
    1 Tempo di valse/ 2 Tempo de Menuetto ed energico/ 3 Allegretto con grazia/ 4 Allegro con burla Sikorski
    Lyric pieces, book I Op. 12
    1. Arietta; 2. Vals; 3.Vægtersang; 4. Elverdans; 5. Folkevise; 6. Norsk; 7. Stambogsblad; 8. Fædrelandssang.
    Ballade Op. 24 (orch.Geirr Tveitt) (19:35)
     
    Op. 68: Lyriske stykker, Hefte IX 1. Matrosenes oppsang 2. Bestemors menuett 3. For dine føtter 4. Aften på høyfjellet 5. Bådnlåt 6. Valse mélancolique
    Gammelnorsk romanse med variasjoner (Old Norwegian Melody/Romance with Variations), Op. 51 1900 (version for orchestra): Poco tranquillo
     
    2 Lyrische Stücke aus op. 68
    Performance material
    Orchestration 1 Partitur, 1 Klavierauszug, 0.1.0.0 Holzbläser, 1.0.0.0 Blechbläser, 8.7.6.5.4 Str
    Edition Leihmaterial
    Playing time 6 minutes
    Lyric Suite op. 54 nos.1-4 (21') 3222-4231 timp perc hp str
    The six Lyric Pieces contained in Opus 54 are considered to be some of his finest products, and it is not surprising that he selected four of them for the charming orchestral Lyric Suite. As it turns out, the idea to orchestrate some of the Lyric Pieces was not Grieg's at all. In 1903 it came to Grieg's attention that four pieces from the Opus 54 bunch had been orchestrated by the well-known conductor Anton Seidl; though enthusiastic about the idea, Grieg was not altogether satisfied by Seidl's rather Wagnerian approach. After securing the legal rights from Seidl's widow in 1904, Grieg proceeded to adapt the arrangements of three of them to better suit the translucent textures of the original piano ideas; the orchestration of the first piece in the suite is entirely Grieg's own. (It is touching to note that Grieg handed over the 1,000 marks he received from the sale of the Lyric Suite to Seidl's widow.)
    Symphonic Dances for piano Op. 64
    1 Allegro moderato e marcato o 2 Allegretto grazioso o 3 Allegro giocoso o 4 Andante: Allegro molto e risoluto
    Lyric pieces, book IX Op. 68 (6') 0100-1000 str Peters f.s.
    o 1 Matrosernes Opsang o 2 Bedstemors Menuet o 3 For dine Føtter o 4 Aften på Højfjeldet o 5 Bådnlåt o 6 Valse mélancolique
    Slåtter (Norwegian peasant dances), op. 72 (1903) for piano
    Slåtter-Suite For Orkester (Suite For Orchestra), Op. 72 (1903) (orchestrated by Øistein Sommerfeldt) (9:09)
    1 No. 8: Bruremarsj (Etter Myllarguten) (Wedding March After Myllarguten) (2:46)
    2 No. 4: Haugelåt - Halling (Halling From The Fairy Hill) (4:01)
    3 No. 2: John Væstafæs Springdans (Jon Vestafe's Springar) (2:21)
    The Slåtter Op. 72, composed by Grieg in 1902, are free transcriptions of Norwegian peasant dances (Slåt being the general native name for such a peasant dance). The original melodies, handed down through many generations of native musicians, were usually played on the so-called Hardanger fiddle, a special kind of violin widely in use in the southern Norwegian region Hardanger. They were first collected and penned down by Grieg's fellow composer Johan Halvorsen, then masterfullly adapted for the piano by Grieg. In these little-known works, Grieg manages to create totally idiomatic and pianistic pieces while still retaining the folksy, fiddle-like character of these dances. (Piano Society)
    Norwegian Suite (Cranz) 1010-0110 perc pno str no va 25' Peters
    14 Lieder -Bearbeitung für Singstimme und Orchester-Order number: EP 7524 Serebrier, José
    Letzter Frühling / Last Spring solo voice hp str 4' Peters
     
    Grieg-further reading
    Grieg, Edvard, Thematisch-Bibliographisches Werkverzeichnis Peters EP 11095  
    The first complete catalogue of the works of Edvard Grieg. Ed.: Dan Fog (†), Kirsti Grinde and Øyvind Norheim
    This publication received financial support from the Edvard Grieg Committee, Oslo. 632 pp., cloth, plates, handy reference format.
    The catalogue encompasses all of Grieg’s works with opus numbers (opp. 1-74) and
    those without (by EG number). It provides musical incipits for each work, detailed bibliographical references on the sources, and information on genesis, first performance, dedication, and publication.
     
    Sinding, Christian August (1856-1941)
    Sinding, Christian August (1856-1941)
     
    Tveitt, Geirr born Nils Tveit (1908-1981)
    Tveit was a Norwegian composer and pianist. Tveitt was a central figure of the national movement in Norwegian cultural life during the 1930s.

    Sweden   nations&periods  
    composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Berwald, Franz (1796-1868)    Berwald,
    Nilsson, Bo (1937)
     
    Denmark    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    times
    Gade, Niels (1817-1890), Gudmundsen-Holmgreen, Pelle Symphony-Antiphony
    Denmark
    Gade, Niels  (1817-1890)
    Gade,
    Gade-8 symphonies (not in OMiP)
    Symphony nr. 1 in c op. 5 'Paa Sjølunds fagre sletter'(1842) (32') 2222-4231 timp str    30'-40'
    symfonie nr. 2 in E op. 10, 1843
    symfonie nr. 3 in a op. 15, 1846
    Symfonie nr. 4 in Bes op. 20 (1850) 2222-4200 timp str
    symfonie nr. 5 in d op. 25, 1852
    symfonie nr. 6 in g op. 32, 1857
    symfonie nr. 7 in F op. 45, 1865
    symfonie nr. 8 in b, op. 47, 1871
    Other orchestral
    Ouverture Efterklange af Ossian (Echo's van Ossian) op. 1, 1840
    Schotse ouverture I Højlandene (In de Hooglanden) op. 7, 1844
    ouverture Hamlet op. 37, 1861
    ouverture Michel Angelo op. 39, 1861
    En sommerdag paa landet (Een zomerdag op het land), op. 55, orkestsuite, 1879
    concert in d voor viool en orkest op. 56, 1880
    Gade-4 compositions for strings
    Aquarelles (1850), Op. 19 Arr. Hofmann  (also called: 5 Pieces op.19) (9’)
    [original piano pieces: Akvareller: 1. Elegie; 2. Scherzo; 3. Canzonette; 4. Humoresque; 5. Novelette]
    Kalmus A5839 Reprint Source: Breitkopf & Hartel

    Bornenes Juul, Op. 36 (Children's Christmas) (1859) (also called: 5 Pieces op.36) (8’30)
    [original piano pieces] Leng rent; Kalmus A3456 HOFFMANN, Fritz (1873-19??) Reprint Source: Kistner & Siegel
    Novellette for Strings no 1 in F (1874), Op. 53 (20’) Kalmus A6982
    Novellette for Strings no 2 in E (1886), Op. 58 (15') Kalmus A1036
    Gade-further reading
    - Bärenreiter Edition has the new critical edition with all of Gade's completed compositions in Urtext edition: http://www.baerenreiter.com/html/completeedi/Gade/gade-ga.htm
    - about the Foundation for the Publication of the Works of Niels W. Gade, Copenhagen:
     
    Nielsen, Carl (1865-1931)    surf
    Nielsen,
    Nielsen-the 6 symphonies (3&4 tripel-ww)
    Symphony no.1 in g op.7 (1905) (34') 3222-4230
    Symphony no. 2 op.16 Die vier Temperamente (30’)
    Symphony no. 3 op.27 Sinfonia espansiva (32’) 3333-4331 timp str opt. SBar-soli
    Symphony no. 4. op.29 Das Unauslöschliche (1916) (36’) 3333-4331 timp str
    Symphony no. 5. 1922 (37’) 2222-4331 timp perc cel str  
    30'-40'
    Symphony no. 6. 1925 (32’) 2222-4231 timp perc str
    Pan en Syrinx
    Aladin Suite(26') 2222-4231 timp perc str
    Nielsen solo+orchestra
    Clarinet Concerto (27') 0002-2000 perc str   clarinet&orchestra
    Flute Concerto (18') 0222-2010 timp str   flute&orchestra
    Violin Concerto op.33 (34') 2222-4230 timp str  
    violin&orchestra
     
    Finland   nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Finland has only one composer of international renown: Jean Sibelius. With Crusell as the best-known before Sibelius and Kokkonen and Rautavaara as the
    best-known following the death of Sibelius this is the Finnish shortlist:
    Crusell, Bernhard Henrik (1775-1838)
    Kokkonen, Joonas (1921-1996)
    Rautavaara, Einojuhani (1928)
    Sibelius, Jean (1865-1957)
    Crusell, Bernhard Henrik (1775-1838)
    Sibelius, Jean (1865-1957)
    Kokkonen, Joonas (1921-1996)
    Rautavaara, Einojuhani (1928)
     
    Finland-Internet.
    The Finnish Music Information Centre, Helsinki: www.fimic.fi 
    Wikipedia: http://en.wikipedia.org/wiki/List_of_Finnish_composers
     
    Crusell, Bernhard Henrik (1775-1838) Crusell,
    Crussell was a Swedish-Finnish clarinetist, composer and translator, the most significant and internationally best-known Finnish-born Classical composer before Sibelius.
    Crusell,
    Crusell-solo+orchestra
    Clarinet Concert No. 1 in E flat op. 1 (1810)    clarinet&orchestra
    Clarinet Concerto No.2 op.5 in f  (1808) (25') 1202-2200 timp str
    Clarinet Concerto No. 3 in B flat op. 11 (1807)
    Sinfonia concertante B flat for clarinet, horn, bassoon and orchestra op. 3 (1808)
    Concertino in B flat for bassoon and orchestra (1829)
    Divertimento in C  for oboe and orchestra op. 9
    Horn Concerto in F

    Sibelius, Jean Julius Christian (1865-1957)
    nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    times
    Sibelius,
    Sibelius-the 7 symphonies  (all of them with double ww, except no.6 (3 clarinets); tuba only in nrs.1&2):
    Symfonie nr.1 40’
    2222-4331 timp perc hp
    Symfonie nr.2 46’
    2222-4331 timp
    Symfonie nr.3 32’ 2222-4230  timp
    Symfonie nr.4 35’ 2222-4230  timp
    Symfonie nr.5 33’ 2222-4330 timp    
    Symfonie nr.6 27’ 2232-4330 timp   
    Symfonie nr.7 20’ 2222-4330 timp
    Sibelius-double woodwind
    Finlandia (8’)
    2222-4331 timp perc str
    Karelia Suite Op.11 (1893) (15’) 3222-4331 pk perc
    Sibelius-triple woodwind (or minus 1)
    In memoriam op.59 (1910) (11') 2333-4331 timp perc str
    A shameless Mahler-5 pastiche but very well done. (D.A.)
    The Oceanides op.73 (1914) (10'30) 3333-4330 timp perc 2hp str   10'-15'
    Toward the end of his life Sibelius spoke of The Oceanides as one of his favorites among his own works.
    Tapiola op.112 (1926) (19’) 3333-4330 pk 
    his last major work
    Tapiola (literally, "Realm of Tapio") portrays the terrifying spirit (Tapio) lying behind the stark Finnish pine-forests that enveloped Sibelius's isolated home outside Järvenpää.
    When asked by the publisher to clarify the work's program, Sibelius responded by supplying a quatrain:
    Widespread they stand, the Northland's dusky forests,
    Ancient, mysterious, brooding savage dreams;
    Within them dwells the Forest's mighty God,
    And wood-sprites in the gloom weave magic secrets.
    Sibelius-solo+orchestra
    Violin Concerto (32’) 2222-4230 timp str  
    solo-violin&orchestra
    Six Humoresques for Violin and orchestra op.87 1-6 (1917/18) (23') 2222-2000 timp str
    Sibelius-opera
    The Maid in the Tower
    Opera
    Year Composed
    1896
    Solo Voice(s) Soprano, Alto, Tenor, Baritone
    Chorus
    SATB chor
    Orchestration 1.1.2.1/2.1.1.0/perc/str
    Programme Note

    Cast:

    Jungfrun - The Maid
    Fogden - The Bailiff
    Älskaren - The Lover
    Slottsfruen - The Chatelaine


    Synopsis:

    Cast in one act, this is a 'number opera' in eight scenes; based on a Finnish popular ballad it tells a tale of true love and justice. The Maiden loves her suitor but is imprisoned in a tower by the castle bailiff who desires her for himself. The locals consequently think that she must have lost her honour. Only her suitor still belives her to be innocent and pure. After the ensuing combat between him an the bailiff, the lady of the castle ordains that the young lovers be reunited. (Hansen website)
     
    The Tempest , op.109 (1925) - 1 Hour(s) 7 minute(s)

    Soloist(s) Soprano, Mezzo soprano, Tenor, 2 Baritones
    Chorus SATB chor
    Orchestration 3.2.3.2/4.3.3.1/timp.2perc/hp/hmn/str
     
    Kokkonen, Joonas (1921-1996)
    The dominant figure in Finnish music following the death of Sibelius, Joonas Kokkonen drew deeply upon the Romantic tradition.
    Cello Concerto
     
    Rautavaara, Einojuhani (1928)
    One of the most notable Finnish composers after Jean Sibelius.
    Rautavaara, Edition Fennica Gehrman: http://www.fennicagehrman.fi/hire-materials/search/
    Rautavaara - the 8 symphonies
    Symphony No. 1 Op.5 (1956/1988/2003) (22') 2222-4321-12-str
    Symphony No. 2: Sinfonia intima (1957/1984) (21')
    2222-2110-12-str
    Symphony No. 3 (1961)  (32')
    2222-2231.4Wagnertba-10-str  
    Symphony No. 4: Arabescata (1962) (20')
    323.asx.2-2341.Wagnertba-14-hp-cel-pf-str  3333-4441-13-str  
    Symphony No. 5 (1985-1986)  (31')
    3333-4441-13-str
    Symphony No. 6: Vincentiana (1992) (42')
    2233-4431-13-hp-synth-str
    Symphony No. 7: Angel of Light (1994) (38')
    2222-4331-12-hp-str
    Percussioni: Glockenspiel, vibrafono, Silofono, Marimba, Snare drum, 4 tom-tom, 3 tam-tam
    Symphony No. 8: The Journey (1999) (25')
    3(III=picc)3(III=c.ing)3(III=cl.b)3(III=c.fag)-4431-12-2hp-str

    Rautavaara-Concertos
    * Piano Concertos:
    o Piano Concerto No. 1 (1969)
    o Piano Concerto No. 2 (1989)
    o Piano Concerto No. 3: Gift of Dreams (1998)
    * Violin Concerto (1976–1977)
    * Cello Concerto (1968)
    * Flute Concerto: Dances with the Winds (1973)
    Organ Concerto: Annunciations (1976–1977)
    * Double Bass Concerto: Angel of Dusk (1980)
    * Clarinet Concerto (2001)
    * Harp Concerto (2000)
    * Percussion Concerto: Incantations (2008)
    Rautavaara-other orchestral works
    * Praevariata (1957)
    * Modificata (1957)
    * Anadyomene: Adoration of Aphrodite (1968)
    Cantus arcticus, Concerto for birds and Orchestra op.61  (1972) (15') 2222-2210 timp perc hp cel str electric. eq. for taperecording of arctic birdsong
    * Angels and Visitations (1978)
    * Ostrobothnian Polska (1980)
    * Isle of Bliss (Lintukoto) (1995)
    * Autumn Gardens (1999)
    * Garden of Spaces (2003)
    * Book of Visions (2003–2005)
    * Before the Icons (2005)
    * A Tapestry of Life (2007)
    Rautavaara-choral orchestral
    Concerto for Soprano, choir and orchestra: Daughter of the Sea (Meren tytär) (1971)
    (withdrawn)
    * Children's Mass (Lapsimessu), for children's choir and orchestra (1973)
    * On the Last Frontier, fantasy for chorus and orchestra (1997)
    Rautavaara-string orchestra
    * The Fiddlers (Pelimannit) (1952/1972)
    * Suite for Strings (1952)
    * Divertimento (1953)
    * An Epitaph for Bela Bartok (1955/1986)
    * Canto I (1960)
    * Canto II (1961)
    * Canto III (1972)
    * Ballade for harp and strings (1973/1981)
    * A Finnish Myth (1977)
    * Hommage à Kodaly Zoltan (1982)
    * Hommage à Liszt Ferenc (1989)
    * Canto IV (1992)
    * Adagio celeste (2000)
    * Manhattan Trilogy (2003–2005)
     
    Iceland  
    Internet.
    The Society of Icelandic Composers: http://www.listir.is/
    Internet: http://en.wikipedia.org/wiki/Category:Icelandic_composer
     
    Estonia   nations&periods   A-Z
    The most famous Estonian composers are Tubin, Eduard (1905-1982) and Pärt, Arvo (1935).
     
    Tubin, Eduard (1905-1982)
     
    Pärt, Arvo (1935)
    Pärt,
    Pärt-the 4 symphonies and other orchestral
    Symphony No. 1 Polyphonic op.9 (1963)
    Symphony No. 2 for orchestra (1966)
    Symphony No. 3 for orchestra (1971)
    Symphony no.4 "Los Angeles" for string orchestra, harp and percussion
    Percussion includes timpani, marimba, crotales, chimes, triangle, cymbals, tam-tam and Bass Drum.
    The symphony is dedicated to Mikhail Khodorkovsky, a Russian oil executive with political ambitions who was accused of fraud. Pärt explained in a program insert that he is also reaching out in this symphony to “all those imprisoned without rights in Russia.”
    Nekrolog for orchestra op.5 (1960)
    Perpetuum mobile for orchestra op.10 (1963)
    La Sindone for orchestra and percussion (2006)
    Pärt-string orchestra
    Cantus in Memoriam Benjamin Britten (1977) (6'30) strings and bell (A)
    Written to mourn the death in December 1976 of the English composer, Benjamin Britten.
    Wenn Bach Bienen gezüchtet hätte ... for piano, wind quintet, string orchestra and percussion (1976)
    Psalom for string orchestra (1985/1995/1997)
    Festina Lente for string orchestra and harp (1988)
    Summa for string orchestra (1991)
    Silouans Song for string orchestra (1991)
    Trisagion for string orchestra (1992)
    Mein Weg for 14 string players and percussion (1999)
    Orient & Occident for string orchestra (2000)
    Lennartile / Für Lennart for string orchestra (2006)
    Pärt-chamber ensemble
    Fratres for chamber ensemble (1976 and on, many versions)
    Pärt-brass
    Arbos for brass and percussion (1977/1986) (2'25) 0000-0440 perc
     
    Spain-18&19
    Soler, Antonio (1729-1783) ; Sarasate, Pablo de (1844-1904);
     
    Sanz, Gaspar (1640–1710)
    Sanz, Gaspar (1640–1710)
    Sanz-arranged
    Rodrigo,
     
    Soler, Antonio (1729-1783)   nations&periods   composers-A-Z    search instrumentation  search ww-instrumentation    timetable
    Soler,
    Soler-solo+orchestra   (see also: organ concertos)
    Six concertos for two organs:
    Concerto No. 1 in C major: andante, minué
    Concerto No. 2 in A minor: andante-allegro, tempo di minué
    Concerto No. 3 in G: andantino, minué
    Concerto No. 4 in F: afectuoso, andante non largo, minué
    Concerto No. 5 in A: cantabile, minué
    Concerto No. 6 in D: allegro-andante-allegro-andante, minué
    Soler-arranged
    Rodrigo, Joaquin (1901-1999),
    Soleriana (1953) (41') 1111-1100 Str   Rodrigo,
    In 1972 Surinach wrote  a Soleriana (15') for Concert Band.
     
    Soler, Vicente Martín y  (1754-1806)
    Overtures
    Una cosa rara (1786, da Ponte) 4'30
    L'arbore di Diana (1787, da Ponte) 5'15
    L'isola del piacere (1795) 5'42
    La capricciosa corretta (1794, da Ponte) 5'09
    ópera bufa in two acts, with Lorenzo Da Ponte's libretto, critical edition, published as 40th. volumen in the 'Música lírica. Ópera' serie in the 'Música Hispana' collection. Madrid: Ediciones Iberautor Promociones culturales S.R.L. / ICCMU, 2003, ISBN 84-8048-392-X. http://www.mundoclasico.com/articulos/verarticulo.aspx?id=0015716
    Il tutore burlato (La madrileña) (1775) 4'08
    El burbero di buon cuore (1785) 4'23
    La festa del villaggio (1798) 4'53
     
    Sor, Fernando (1778-1839)
    Spanish guitarist and composer, best known for his guitar compositions, but he also composed sy,phonies, opera and ballet.
    Sor-orchestral music
    Symphony Nº. 1 in C (16') 0222-2000 str
    Symphony Nº. 2 in E flat (12') 0222-2000 str
    Symphony Nº. 3 in F (12') 0201-2000 str
    Violin Concerto in G major
    Sor-internet: http://en.wikipedia.org/wiki/List_of_compositions_by_Fernando_Sor
     
    Sarasate, Pablo de (1844-1904)  Sarasate,
    The catalogue of works of the great Spanish violinist and composer Sarasate counts 54 opus number, all written for violin with piano or orchestra.
    Sarasate-violin&orchestra
    Airs espagnols op.18 (8') 2222-2030 timp str vn-solo   
    Gipsy Airs (Zigeunerweisen) op.20 for violon and orchestra (8') 2222-2200 timp perc str violin&orchestra
    Miramar (Zortzico) op.42 (5') 2222-2200 timp triangle str   
    Peteneras op.35
    'one of the most attractive Spanish concotions'
    Sarasate-internet
    Catalogue of works: http://craton.chez.com/musique/sarasate/sarasate.htm
    Free scores:
     
    Spain-19&20   nations&periods   A-Z    ww-brass  ww   times
    The 3 greatest Spanish composers are:  Albeniz, Isaac (1860-1909), Falla, Manuel de (1876-1946), Granados, Enrique (1867-1916). There are many others. The poet Federico Garcia Lorca was a composer too.
    Many composers that were not Spanish at all composed in Spanish style. Their compositions are a welcome element in a Spanish program.
    Glinka, Michail (1804-1857)
    Bizet, Georges (1838-1875)
    Chabrier, Alexis Emmanuel (1841-1894)
    Rimski-Korsakov, Nikolaj Andrejevitsj (1844-1908)
    Debussy, Claude (1862-1918)
    Ravel, Maurice (1875-1937)
    Ibert, Jacques (1890-1962)
    Ohana , Maurice (1913-1992) had a 'Spanish period' (2 vocal works).
    Spanish composers-A-Z   
    Spanish composers-chronological order                                
    Albéniz, Isaac (1860-1909)
    Arbós, Enrique Fernández (1863-1939)
    Arriaga, Juan (1806-1826)
    Barbieri, Francisco Asenjo (1823-1894)
    Blancafort, Manuel
    Bretón, Tomás (1850-1923)
    Brotons i Soler, Salvador (1959)
    Casals, Pau (Pablo)
    Eslava, Hilarión (1807-1878)
    Falla, Manuel de (1876-1946)
    Gerhard, Roberto (1896-1970)
    Goicoechea, Vicente (1854-1916)
    Granados, Enrique (1867-1916)
    Halffter, Ernesto (1905-1989)
    Ledesma, Nicolás de (1791-1883)
    Monasterio, Jesús de (1836-1903)
    Morera, Enric
    Mompou, Frederico (1893-1987)
    Oltra, Manel
    Pedrell, Felipe (1841-1922)
    Rodrigo, Joaquin (1901-1999)
    Surinach, Carlos (1915-1997)
    Turina, Joaquín (1882-1949)
    Vives, Amadeo (1871-1932)
    Ledesma, Nicolás de (1791-1883)
    Arriaga, Juan (1806-1826)
    Eslava, Hilarión (1807-1878)
    Arriaga, Juan (1806-1826)
    Barbieri, Francisco Asenjo (1823-1894)
    Monasterio, Jesús de (1836-1903)
    Pedrell, Felipe (1841-1922)
    Bretón, Tomás (1850-1923)
    Goicoechea, Vicente (1854-1916)
    Albéniz, Isaac (1860-1909)
    Arbós, Enrique Fernández (1863-1939)
    Granados, Enrique (1867-1916)
    Vives, Amadeo (1871-1932)
    Falla, Manuel de (1876-1946)
    Turina, Joaquín (1882-1949)
    Mompou, Frederico (1893-1987)
    Gerhard, Roberto (1896-1970)
    Rodrigo, Joaquin (1901-1999)
    Halffter, Ernesto (1905-1989)
    Surinach, Carlos (1915-1997)
    Brotons i Soler, Salvador (1959)
     
     
    Arbós, Enrique Fernández (1863-1939)
    Arbós, Enrique Fernández (1863-1939)
    Arbós was a Spanish violinist, composer and conductor who divided much of his career between Madrid and London. He originally made his name as a virtuoso violinist and later as one of Spain’s greatest conductors. His orchestral arrangements of several pieces from Isaac Albéniz's Iberia are well known.
     
    Arriaga, Juan (1806-1826)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Arriaga, nog onvolledig
    1818 Patria, op. 3
    Symphony in d (25') 2222-2200 timp str  1823 Sinfonía a grande orquesta en re menor
    Sinfonia en Re mayor (1825)
    Los Esclavos Felices, Overture (7') 2221-1000 timp str    05'-10'
    For a lost opera.
     
    Monasterio, Jesús de (1836-1903)
    Monasterio, Jesús de (1836-1903)
    Fantasía original española (1853) for violin and orchestra
    Adiós a la Alhambra (1855), for violin and piano also orchestral version. 'inscrito dentro del movimiento alhambrista'
    Grande Fantaisie Nationale (1855), para violín y orquesta.
    Concierto en Si menor para violín y orquesta (1859; 2.ª versión de 1880)
    Marcha fúnebre y triunfal (1864)
    Scherzo fantástico, compuesto en Madrid en noviembre de 1865,
    Melodía para orquesta (1872).
    Estudio de concierto en si bemol (1875), para arpa, oboe, clarinete, trompa y orquesta de cuerda.
    Sierra Morena (1877), para violín y orquesta.
    Andantino expresivo (1881), para orquesta de cuerda.
    Andante religioso, para orquesta de cuerda.
     
    Pedrell, Felipe (Felip)  (1841-1922)    Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Pedrell
    Pedrell believed that a nation should base its music on its folk-song. He is regarded as the father of Spanish musical nationalism. 
    Excélsior (Poema Sinfónico) ICCMU
    Gallarda for string orchestra ICCMU
    Courante for string orchestra ICCMU
    See also: Pedrelliana by Gerhard, Roberto (1896-1970)
     
    Bretón, Tomás (1850-1923)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    BretónUnión Musical Ediciones
    His orchestral works include the four popular Escenas andaluzas, two fine Symphonies, the tone poems Salamanca (1916) and Elegy and Nostalgia (1917), whilst his serenade En la Alhambra (1888) is one of the best works to emerge from the Alhambrismo - the 19th Century Spanish movement which sought to transmute the romantic allure of Moorish architecture and culture into a truly national musical style. Christopher Webber http://www.zarzuela.net/com/breton.htm
    Sinfoní­a Nº 2 en Mi bemol mayor ICCMU
    En la Alhambra (1888)
    Escenas andaluzas
    Salamanca (1916)
    Elegy and Nostalgia (1917)
    Breton-opera
    La verbena de la Paloma (1894)
    Perhaps the greatest zarzuela of all. (Christopher Webber).
    Preludio (4');
     
    Albeniz, Isaac Manuel Francisco (1860-1909)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Albéniz,   AMP  Durand
    Isaac Albéniz composed nearly 250 published works, mostly for the piano, during his three decades or so of active professional life before his untimely death at age 49, but today he is remembered almost exclusively as the composer of the famous Iberia Suite (1905-1909).
    Arbola-Pian Arbola Azpian (Zortzico) (4'46)
    Piezas Caracteristicas Op. 92, B. 29 (1888) (8') 3222-4230 timp hp str   (3=2+pic)
    Original piano composition of 12 pieces: Gavotte, Minuetto ("A Sylvia"), Barcarola ("Cielo sin nubes"), "Plegaria," "Conchita" (Polka), "Pilar" (waltz), "Zambra," Pavana, Polonesa, Mazurka, Staccata (Capricho), and "Torre Bermeja" (Serenata).
    Iberia (1908)
    Originally Iberia is a suite for piano (1905-1909). It comprises four books of three pieces each; a complete performance lasts about 90'. Arbós, Enrique Fernández (1863-1939) (Eschig), Inghelbrecht, Désire- Emile (1880-1965) (Eschig) and Surinach, Carlos (1915-1997) each arranged pieces from Iberia for full orchestra. More recently, Peter Breiner arranged the whole work for full orchestra, as well.
    Iberia (1906) arr. Surinach (46') 2222-4231 timp 2perc hp str
    Iberia. Suite for piano with 12 pieces in 4 books ("quaderns"): 1º quadern: Evocación, El Puerto, El Corpus Christi en Sevilla. 2º quadern: Rondeña, Almería, Triana. 3º quadern: El Albaicín, El Polo, Lavapiés. 4º quadern: Málaga, Jerez, Eritaña.
    España (Sounds of Spain) op.165 arr. by Richard Müller-Lampertz (19')
    2222-3200 timp perc hp cel str Sikorski
    Original piano composition of 6 pieces: Preludio, Tango, Malagueña, Serenata, Capricho Catalán and Zortzic.
    Cantos de España (Sounds of Spain) op.232 arr. by Richard Müller-Lampertz (18') 2222-3200 timp perc hp cel str Sikorski
    Suite española, op. 47 (1887) (45') arr. Rafael Frühbeck de Burgos 2333-4331 timp perc glock xyl hp cel str ESP
    2(afl).2+ca.2+bcl.2+cbn
    Isaac Albéniz’s Suite española, Op. 47, is a suite for solo piano. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. Like many of Albeniz’s works for the piano, these pieces depict different regions and musical styles in Spain. The work originally consisted of four pieces: Granada, Cataluña, Seville and Cuba. The editor Hofmeister republished the Suite española in 1912, after Albéniz's death, but added Cádiz, Asturias, Aragón and Castile. That made the following order of 8 pieces: Granada (Serenade); Cataluña (Courante); Sevilla (Sevillanas); Cádiz (Saeta); Asturias (Leyenda); Aragón (Fantasía); Castilla (Seguidilla); Cuba (Nocturno).
    No.1 Castilla (2'36); No.2 Asturias (6'29); No.3 Aragon (5'08); No.4 Cadiz (4'55); No.5 Sevilla (4'18); No.6 Granada (5'38'); No.7 Cataluna (3'04); No.8 Cordoba  (5'39) (The movement "Cuba" in the original piano version was replaced in the orchestral suite by "Cordoba" which has been taken from "Cantos de Espana, Op.232).
    Cataluña (Catalonia) (1899) (7') 3333-4431 timp 3perc 2hp str  05'-10'
    extrait n° 1 de la « Suite populaire en trois parties » pour orchestre 3.3.3.3 - 4.4.3.1 - timb. - 3 perc. - 2 hpe - cordes [divisées] The first movement of the suite
    Puerta de Tierra for Chamber Orchestra (4'45) 2222-2210 2perc hp cel str (87654)
    Seguidillas (cantos de España) (6') 1121-2220 hp str
    Albeniz-piano&orchestra  
    Rapsodia Española (Spanish rhapsody), for piano and orchestra (1887) (20') 2222-4231 timp perc hp str
    Arranged for piano and orchestra by Cristóbal Halffter.
    Concerto Fantastico (1887) (26') 2222-2230 timp str
    His 1st piano concerto, a second remained unfinished. A work that is much more conventional and so much weaker than the later Spanish works. (DA)
     
    Vives, Amadeo (1871-1932)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Vives-opera
    Vives wrote over a hundred stage works.
    Bohemios (1904)
    Vives' real breakthrough came with the one-act Bohemios in 1904, boldly based on the same literary source as Puccini's masterpiece.
    Doña Francisquita (1923)
    Doña Francisquita is a zarzuela in three acts composed by Amadeo Vives to a Spanish libretto by Federico Romero and Guillermo Fernández Shaw and based on Lope de Vega's play La discreta enamorada (The Ingenious Lover). With its colourful score and comic story of multiple love triangles which ends happily for the young lovers, Francisquita and Fernando, Doña Francisquita is considered a classic of the zarzuela genre, and Vives' masterpiece.
     
    Manuel María de Falla y Matheu (1876-1946)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Falla,
    El Amor Brujo (Second version) (1925) (23') 2121-2200 timp perc pno str 
    Falla-solo&orchestra   piano&orchestra  
    Siete Canciones Populares Espanolas (12') 2222-2000 timp hp str opt solo voice (arr. Halffter) Eschig   voice&orchestra
    Noches en los Jardines de España (Nights in the Gardens of Spain) for piano and orchestra (1915) (25') 3322-4231 perc hp cel str   piano&orchestra
    Nights in the Gardens of Spain (Noches en los Jardines de España) is a piece of music by the Andalusian composer Manuel de Falla (1876-1946). Falla began this work as a set of nocturnes for solo piano in 1909 but on the suggestion of the pianist Ricardo Viñes turned the nocturnes into a piece for piano with orchestra. Falla completed it in 1915 and dedicated it to Ricardo Viñes.
    Nights in the Gardens of Spain (chamber orchestra version) (25') 2322-2200 timp perc hp str
    2(pic)2+ca.22/2200/timp.perc/hp/str Chester
    Falla-solo+ensemble
    Concerto for harpsichord and chamber ensemble (1926) (15') Flute, Oboe, Clarinet, Violin and Cello. harpsichord&orchestra  
    Falla-opera
    Unmentioned are some early zarzuelas.
    La Vida Breve (1905) (65') 3332-4231 timp 4perc 2hp guit str  Eschig Soloist(s) Alto (optional), Alto, 3 Baritones, 2 Mezzo Sopranos, 3 Sopranos, 2 Tenors
    Fallas first important work was the one-act opera La vida breve (Life is Short, or The Brief Life, written in 1905, though revised before its premiere in 1913).
    Interlude and Spanish Dance from La Vida Breve (6')
    Spanish Dance No.1 from La Vida Breve (4') 2121-2230 timp perc str   05'-10'
    Spanish Dance No.2 from La Vida Breve (4') 2121-2230 timp perc str   05'-10'
    El Retablo de Maese Pedro, opera (1922) (30')
    The story is taken from the second part of Don Quixote. A travelling showman arrives at the inn where Don Quixote and Sancho Panza are resting and puts on a performance with his puppet theatre, enacting the tale of the rescue of a Spanish princess from Moorish captivity by a knight from Charlemagne’s court. The narrator tells the story with such convincing involvement that during the final pursuit of the escaping couple, Don Quixote, himself, launches into the attack on the puppet pursuers, cutting them to shreds. (Chester)
    El Retablo de Maese Pedro, Suite (20') 2211-2100 timp perc hp pno str  Solo Voice(s) Soprano (boy), Tenor, Bass-baritone Chester
    Falla-ballet
    El Amor brujo (First Version) (1915) (34') Alto-solo 1100-1100 tbells pno str (2.2.2.2.1)
    (literally, Spell-bound Love, but generally anglicized as Love, the Magician). Candelas, a beautiful young woman, is prevented from returning the passionate love of Carmelo, a handsome, gallant man, by the ghost of a faithless wicked gypsy whom she once loved. Carmelo persuades Lucia, a friend of Candelas, to act as decoy and distract the ghost while he convinces Candelas of his true love and they exchange the kiss that breaks the evil spell. (Chester)
    El Corregidor y la Molinera (1917) (43’)  1(pic)111-1100/pf/str/Ms Chester Music Ltd  
    El sombrero de tres picos (1919) complete ballet (35’) (2+pic.2+ca.22/4331/timp.perc/hp.pf.cel/str  Chester Music Ltd
    The Three-Cornered Hat: Scenes and Dances from Part I (1919) 14’  2(pic)2(ca)22-2200 timp.perc/hp.pf/str 2222-2200
    The Three-Cornered Hat: Three Dances from Part II (1919) (13’) 3322-4331 timp 5perc/hp.cel(pf)/str  
    http://www.manueldefalla.com/
    Enrique Granados y Campiña (1867-1916)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Granados,   Editorial Boileau; Schirmer
    Granados-symphonic works
    Granados drowned before doing anything major symphonically. David Hurwitz, ClassicsToday.com
    Suite Sobre Cantos Gallegos (1899) (21') 2(pic)2(ca)1(bcl)2/2231/timp.perc/hp/str
    Tres Danzas Españolas (arr. Lamote de Grignon) (1900) (14') 2221-2021 timp 3perc hp str
    1+pic.1+ca.1+bcl.1/2021/timp.3perc/hp/str
    Granados- 1 opera
    Goyescas, Intermezzo (3'34) 3333-4341 timp hp str  -05'
    Goyescas, Intermezzo (3'34) [C. McAlister] 2222-4230-11 str
    Goyescas, Suite arr.E. Schelling (17') 2222-4231 timp perc str
    Suite: El Pelele, Los Requiebros, Fandango, Finale
    Granados- ballet
    A Tiempo Romantico: Ballet in One Act 2222-4200 timp.perc/hp/str
    Turina, Joaquín (1882-1949)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Turina,   Unión Musical Ediciones Chester
    Turina-orchestral works
    La Adultera Penitente (Unión Musical Ediciones/Chester)
    La Procesíon de Rocío op.9 (1912) (9') 3333-4331  timp 3perc 2hp str (Salabert)
    Album de viaje (Travel Impressions) op.15 (1916) 3333-4331 (19') timp 2perc cel 2hp str (Salabert)
    1. Retrato (3'13); 2. El Casino de Algeciras (5'25); 3. Gibraltar (4'42); 4. Paseo Nocturno (5'); 5.Fiesta Mora en Tanger (4'). In Gibraltar Turina confronts 'God save the Queen' with a Spanish context D.A.
    Navidad (1916) (15'30) 1121-2000 perc pno str
    Sinfonia Sevillana (1920) (23') 3330-4331 timp perc pno str
    1. Panorama (8'00); 2. Por el rio Guadalquivir (7'); 3. Fiesta en San Juan de Arznalfarache (8'). Sinfonia Sevillana is a three-movement tone poem, that paints a colorful picture of the city.
    Danzas Fantasticas (Fantastic Dances) op.22 (1919) (18') 3333-4331 timp perc hp str 15'-20'
    1. Exaltación (4'34) ; 2. Ensueño (7'); 3. Orgía (4'13) . -05'
    The 3 Danzas fantásticas, Op. 22, is the best known work by Turina. It was written in 1919, originally for solo piano, and later orchestrated. However, the orchestral version was the first to be performed, and this has been the cause of some confusion in reference works. The name of the work is sometimes translated as Fantasy Dances, but more usually as Fantastic Dances. The work was inspired by the novel La orgía by José Mas, and quotations from the novel were printed on the score at the start of each dance: 1. Exaltación, a jota from Aragon. It seemed as if the figures in that incomparable picture were moving inside the calyx of a flower; 2. Ensueño, a Basque zortziko in 5/8 time. The guitar's strings sounded the lament of a soul helpless under the weight of bitterness; 3. Orgía, an Andalusian farruca. The perfume of the flowers merged with the odor of manzanilla, and from the bottom of raised glasses, full of wine incomparable as incense, joy flowed.
    Danzas Gitanas opus 55 (1930) (26') 2222-2200 perc pno str
    1ª series: 1. Zambra (4'11); 2. Danza de la seducción (4'55); 3. Danza ritual (3'); 4. Generalife (2'10); 5. Sacro-Monte (2'10). La orquestación de las Danzas gitanas fue realizada por el autor a petición del director de orquesta Arturo Saco del Valle. En la partitura autógrafa, con las cuatro primeras danzas orquestadas, figura la fecha, 1 de noviembre de 1930. (Internet).
    Evangelio, Op. 12 (14')
    Introducción (1'13); Caminando hacia Belén (1'11); El Nacimiento (1'35); Los pastores (3'39); Los Magos de Oriente (5'47).
    El Castillo de Almodóvar (1933) (14') 2333-4331 timp perc hp cel str  10'-15'
    Sinfonía del mar (1945-81) (16')  3333-4331    3(pic).2.ci.2.cl b.2.cf - 4.3.3.1 - Tim - per - arp - cu
    La Venta de los Gatos (1964) (14') 2222-2220 timp perc.xyl pno str  (2 flutes also picc)
    Turina-solo+orchestra
    Rapsidia Sinfonica (1931) (9') str pno-solo  piano&orchestra
    Tema y variaciones op.100 (1945) (10') hp-solo str  harp&orchestra
    Poema en forma de canciones, Op. 19 (1918) (11')  S-solo 2222-4100 timp perc hp str  voice&orchestra
    Farruca (1929) (3') mezzo soprano 2222-2200 timp tgl str  -05'  voice&orchestra
    Cantares (1928) (3') for soprano and orchestra  2121-2230 timp perc hp str 2(pic)   -05'  voice&orchestra
    Canto a Sevilla (1927) (40') 3222-4331 timp perc hp str S-solo   voice&orchestra
    Song cycle for voice & orchestra, Op. 37. 'The magnificent Canto a Sevilla (a sort of Spanish Das Lied von der Erde).' David Hurwitz, ClassicsToday.com
    I. Preludio (5'12); II. Semana Santa (8'31); III. Las fuentecitas del Parque (4'); IV. Noche de Feria (7'13);  V. El Fantasma (3'40); VI. La Giralda (3'26); VII. Ofrenda (5'09).
    Saeta en forma de Salve, Op. 60 (1931) (3') soprano [=mezzo soprano] 0021-2000 str
    Turina-ballet
    Ritmos, fantasía coreográfica, for orchestra, Op 43 (1928) (16') 3333-4331 timp perc hp str
    1. Preludio (Lento); 2. Danza lejana (Andantino); 3. Vals trágico (Allegretto); 4. Garrotín (Allegretto rítmico); 5. Intermedio (Lento); 6. Danza exótica (Moderato)
    Ritmos was conceived as a ballet but was never performed as such.
    Turina-strings
    La Oracion del Torero op.34 (1926) (8') str  0000-0000
    Serenata (1943) (20')
    Turina-internet
    http://www.joaquinturina.com/home.html (official site)
     
    Mompou, Frederico (1893-1987)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Mompou, Salabert
    Mompou was a Spanish Catalan pianist and a composer of mainly music for solo piano and songs. He was a miniaturist writing relatively improvisatory music of aforistic shortness.
    Scenes d'Enfants (1918) (arr. Tansman) (8') 2110-0000 perc pno cel str
    Suburbis ('Suburbs') (1917) (arr.Rosenthal) (13') 2222-2210 2perc hp str
     
    Gerhard, Roberto (1896-1970)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Gerhard Belwin
    Gerhard-4 symphonies
    Symphony ‘Homenage a Pedrell’ (1941)
    Symphony No.1 (1952–53)
    Symphony No.2 (1957–59); recomposition as Metamorphosis, unfinished (1967–68)
    Symphony No.3 Collages (for orchestra and tape) (1960)
    Symphony No.4 ‘New York’ (1967)
    Symphony No.5 (fragment only) (1969)
    Chamber Symphony ‘Leo’: see Chamber Music)
    Gerhard-other orchestral
    Pedrelliana (12') 4322-4221 timp perc hp str S/T solo
    Gerhard-ballet
    Allegrias, Suite from the Ballet-Divertissement 'Flamenco' (1942) (14') 2221-2110 timp perc hp pno str Belwin
    Gerhard-solo+orchestra   violin&orchestra
    Violin Concerto (1942–43) (28') 2222-42220? timp perc hp pno str Belwin
    Concerto for Piano and String Orchestra (1951) (24')
    Concerto for Harpsichord, String Orchestra and Percussion (1955–56) (18')
    harpsichord&orchestra
    6 Cançons Populars Catalanes
    The 1931 orchestration of 14 Cançons populars catalanes for voice and piano (1928–29).
    Gerhard-choral music
    L’alta naixenca del Rei en Jaume, cantata for SBar, chorus and orchestra (1932) (17') 2333-4.3.3.1-timp.perc-harp-cel-pft-str
    ww: 2(I,II=picc).2.corA.2(II=Eb).bcl.2.dbn.  perc:glsp/xyl/ cyms/tam-t/tgl/cast/BD/SD/tamb
    Text : Poems by Josep Carner Catalan / English 
    The Plague, cantata for narrator, chorus and orchestra, after Camus (1963–64)
     
    Rodrigo, Joaquin (1901-1999)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Rodrigo,  Schott
    Rodrigo-orchestra
    Palillos y panderetas 1982 13' Schott
    A la busca del más allá 1976 15' Schott
    Dos danzas españolas 1966 9' Schott
    Música para un jardín 1957 12' Schott
    Homenaje a la Tempranica 1939 5' Schott
    Miedo 1936 10' EJR
    Per la flor del lliri blau 1934 17' EJR
    Preludio para un poema a la Alhambra 1928 8' Schott
    Cinco piezas infantiles 1928 11' Schott
    Juglares 1923 5' EJR/Schott
    Per la flor del Lliri Blau (1934); First prize, Círculo de Bellas Artes symphonic poem
    Rodrigo-solo+orchestra
    Concerto de Aranjuez for guitar and orchestra (21') 2222-2020 str gtr-solo   guitarconcertos
    Fantasia para un gentilhombre for guitar and orchestra (1954) (22') 2*101-0100 - Str. Publisher: Schott Music  guitarconcertos
    Based on music of Gaspar Sanz.
    Concierto para una fiesta for guitar and orchestra (1982) (28') 12*11-1100 - S. (Trgl. · Beck.) (1 Spieler) - Str. Schott  guitarconcertos
    harpconcertos
    Concierto pastoral for flute and orchestra (1977) (25') 0110-1100 str (ob&ca) Schott Music  flute&orchestra
    Rodrigo-ballet music
    Pavana Real (1955) (30') Picc. · 1222-4221 - P. S. (Trgl. · kl. Tr. · Beck. · Kast. · Glspl. · Xyl.) (2 Spieler) - Git. (od. Hfe.) - Str. S-solo in Nr. 7)
    (Ob 2. also Engl. Hr.) Schott
    Soleriana (1953) (41') 1111-1100 Str    Soler, Antonio (1729-1783)
    Soleriana- First performance by the Berlin Philharmonic, on August 22, 1953 in Berlin.
    1.Entrada (5'40); 2.Fandango (5'); 3.Tourbillon (4'09); 4.Pastoral (5'43); 5.Passepied (3'33); 6.Fandango a lo alto (4'05); 7.Contradanza (5'26); 8.Boleras (5').
    This is one of the longest orchestral works by popular Spanish composer Joaqu'n Rodrigo. Like one of his most famous pieces, the Fantasia para un gentilhombre, which was based on the music of Gaspar Sanz, this ballet score is based on the works of an earlier Spanish composer, in this case Antonio Soler. The ballet was written for the dancer known as Antonio, and his company, which premiered it in Granada in 1953. The eight movements are orchestrations of keyboard sonatas by Soler. These are works of the same model as those of Domenico Scarlatti, works around five or six minutes long in a two-part form. The orchestra is a small classical one of winds in twos (no!), without trombones, and strings. As usual Rodrigo deploys this orchestra with brilliance, often suggesting the sound of the original harpsichord music. This music should appeal to anyone who is fond of the Ancient Airs and Dances suites by Respighi. © All Music Guide
    Rodrigo-Symphonic Wind Ensemble
    Adagio Para Orquesta de Instrumentos de Viento (1966) (9') 3332-4331 Tx2
     
    Halffter, Ernesto (1905-1989)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Halffter,
    Sinfonietta in D (35') 1111-2110 perc str
    Hommage à Salvador Dali n° 1 pour 4 trompettes, timbales & percussion Eschig — ME 8920
     
    Surinach, Carlos (1915-1997)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Surinach,  AMP Peters  Peer
    Spanish-born, emigrated in 1951 and became American citizen in 1959.
    Surinach-orchestral works
    Sinfonietta Flamenca (Symphony No. 3) (1953) (12') 2222-4231 timp perc hp str AMP
    Fandango (1954) (8') 3332-4331 timp perc hp str
    Symphonic Variations for Orchestra (1962) (15') 3333-4331 timp 3perc pno str Peters
    Feria Magica Overture (1950) (6') 2222-4231 timp perc hp str  
    05'-10'
    Surinach-solo+orchestra
    Piano Concerto (1973)
    Harp Concerto (1978)
    Violin Concerto (1980)
    Concertino for Piano, Strings and Cymbals (1956) (18') 0000-0000
    Three Songs of Spain (3') S-solo 1111-1111 timp perc str Percussion: tri,cel,xyl Peer
    Three Songs with texts by Federico Garcia Lorca and Antonio Machado.
    Surinach-ballet
    Ritmo Jondo, Flamenco for Orchestra, ballet (1953) (20') 1111-1110 timp.2perc str 3 hand clappers (1+pic,1+ca)
    Surinach created three distinct instrumental pieces under the title Ritmo Jondo. The original, compact version was a six-minute suite for a chamber ensemble of clarinet, trumpet and 4 percussion players, premiered at the Museum of Modern Art in May 1952. The second was a twenty-minute orchestral score designed for choreography by Doris Humphrey, premiered in 1953, although it retains the same number of movements and their headings. The third Ritmo Jondo, scored for symphonic band, did not appear until 1967.
    Embattled Garden (1958), ballet
    Acrobats of God (1960), ballet
    Chronique (1974), ballet
    The Owl and the Pussycat(1978), ballet
    Feast of Ashes, ballet
    Melorhythmic Dramas, for orchestra
    Cantata of St. John
    Tres Cantos Berberes
    Three Songs of Spain
    Tientos
    Tres Cantares
    Hollywood Carnival
    Suite Espagnole (1970) (18') 2111-2111 timp.2perc/pf/str (2=fl+picc)
    Surinach-wind ensemble
    Paeans and Dances of Heathen Iberia (1959) (13') 8888-6661 timp 3perc hp cb ww: 8(2Picc)8(2EH)8(E|,Bcl)8(2Cbsn)  (Peters)
    I. Fertility Rite (2'15); II. Dance of the Playful Love (2'22); III. III. Pagan Ode (0'58); IV. Dance of the Warriors (2'02); V. Shepherd's Song (2'02); VI. Apotheosis (2'46).
    Carlos Surinach's "Paeans and Dances of Heathen Iberia", featured on our December concerts, is one of the hidden gems of the wind repertoire. The piece was commissioned by Robert Boudreau and the American Wind Symphony Orchestra, a wind ensemble that is notably missing saxophones and euphoniums. (Internet).
     
    Cristóbal Halffter (1930)
    He is the nephew of two other composers, Rodolfo and Ernesto Halffter.
     
    Brotons i Soler, Salvador (1959)   Spain-19&20    nations&periods   A-Z    ww-brass  ww   times
    Brotons,
    Troubadour Concerto   cello&orchestra
     
    Portugal   Portugal
    Joly Braga Santos, José Manuel (1924-1988)
    was a Portuguese composer and conductor, who was born and died in Lisbon. He wrote six symphonies.
     
    Latin-America    nations&periods   A-Z    search instrumentation