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Alfred Schnittke – Symphony No. 2 "St. Florian"

Alfred Schnittke (1934 – 1998)
Symphony No. 2 St. Florian
[1979] I. Kyrie
II. Gloria
III. Credo
IV. Crucifixus
V. Sanctus – Benedictus
VI. Agnus Dei
Royal Stockholm Philharmonic Orchestra; Mikael Bellini (Countertenor); Torkel Borelius (Bass); Mikaeli Chamber Choir; Leif Segerstam (Conductor)
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Franz Liszt – "Le Forgeron" for Soloists, Male Chorus and Piano, S. 81

Franz Liszt (1811 – 1886)
Le Forgeron for Soloists, Male Chorus and Piano, S. 81
[1845] János Tóth (Baritone); Sándor Boros (Tenor); Honved Ensemble Male Choir; Gergely Bogányi (Piano); András Tóth (Conductor)
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Giuseppe Verdi – "La Traviata"

Giuseppe Verdi (1813 – 1901)
La Traviata
[1853] Libretto: Francesco Maria Piave
Violetta Valéry……….Joan Sutherland (Soprano)
Alfredo Germont……….Luciano Pavarotti (Tenor)
Giorgio Germont…….Matteo Manuguerra (Baritone)
Flora Bervoix……….Della Jones (Mezzo-soprano)
Annina………….Marjon Lambriks (Mezzo-soprano)
Gastone……………….Alexander Oliver (Tenor)
Barone Douphol………Jonathan Summers (Baritone)
Marchese d’Obigny…………John Tomlinson (Bass)
Dottore Grenvil……………Giorgio Tadeo (Bass)
Giuseppe………………..Ubaldo Gardini (Tenor)
Commissioner………William Elvin (Bass-baritone)
Flora’s servant….David Wilson-Johnson (Baritone)
National Philharmonic Orchestra; Richard Bonynge (Conductor)
Act 1
01. Prelude
02. Dell’ invito trascorso è già l’ora
03. Brindisi: Libiamo, ne’ lieti calici
04. Che è cio?
05. Un dì felice, eterea…Si ridesta in ciel l’aurora
06. E strano!Ah, fors’è lui
07. Follie! Delirio vano è questo!Sempre libera
Act 2
01. Lunge da lei
02. De’ miei bollenti spiriti…Annina, donde vieni?
03. O mio rimorso!…Alfredo?
04. Pura, siccome un angelo…Un dì, quando le veneri
05. Dite alla giovine…Non amarlo ditegli
06. Dammi tu forza, o ciel!…Ah, vive sol quel core
07. Di Provenza il mar…Né risponde d’un padre…
08. No, non udrai rimproveri
09. Avrem lieta di maschere la notte…Di Madridi
10. Alfredo! Voi!…Or tutti a me…Ogni suo aver
11. Di sprezzo degno…Alfredo, Alfredo, di questo core
Act 3
01. Prelude – Annina? Comandate?
02. Tenesta la promessa – Attendo, né a me giungon mai – Addio del passato
03. Baccanale: Largo a quadrupede
04. Signora… Che t’accade?
05. Parigi, o cara…Ah! Gran Dio!
06. Ah, Violetta!…Se una pudica vergine
Libretto (Deutsch – Français – Italiano – English)
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Charles Ives – Symphony No. 4

Charles Ives (1874-1954)
Symphony No. 4
[1912–18 ; 1924–26] I. Prelude: Maestoso
II. Allegretto
III. Fugue: Andante moderato con moto
IV. Very slowly – Largo maestoso
Cleveland Orchestra; Cleveland Orchestra Chorus; Christoph von Dohnányi (Conductor)
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Karol Szymanowski – Symphony No. 3 for Tenor, Chorus and Orchestra "The Song of the Night", Op. 27 (M36)

Karol Szymanowski (1882-1937)

Symphony No. 3 for Tenor, Chorus and Orchestra The Song of the Night, Op. 27 (M36) [1914-16]

I. Moderato assai
II. Vivace scherzando
III. Largo
Jon Garrison (Tenor) City of Birmingham Symphony Orchestra CBSO Chorus Simon Rattle (Conductor)
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Symphonies 20th century works

Hildegard von Bingen – Eine Feder auf dem Odem Gottes

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Hildegard von Bingen (1098-1179)

Eine Feder auf dem Odem Gottes

1. Columba aspexit (Sequentia de Sancto Maximino)
2. Ave generosa (Ymnus de Sancta Maria)
3. O ignis spiritus (Sequentia de Spiritu Sancto)
4. O Ierusalem (De sancto Ruperto)
5. O Euchari (De sancto Euchario Sequentia)
6. O viridissima virga (De sancta Maria)
7. O presul yere civitas (Sequentia de Sancto Dysibodo)
8. O Ecclesia (De Undecim Milibus Virginibus)

[tabby title=”Review”] “Columba aspexit presents a vision of Saint Maximinus as a celebrant at Mass. The Holy Ghost hovers (symbolised by the dove and the lattice. Hildegard explains the latter symbol in the Scivias as the window of God’s mercy through which shines the perfect revelation of the New Testament) as Maximinus celebrates; flooded with grace he is a building – Saint Paul’s edifice of the temple which is in the devout heart. God’s love, represented in biblical fashion by the heat of the sun, blazes in the dark sactuary. The ‘stone’ of Stanza 4 is the altar – these lines are rich in imagery drawn from the liturgy for consecrating and anointing an altar (lapis); as he moves to it in his celebration, Maximinus is like the hart of Psalm 41 (42 in the Authorised Version). Stanza 5 turns to be the clergy who surround Maximinus in the ceremony. The ‘perfume-makers’ (perfume is a metaphor of Devine Grace) are the clerics of Trier: Maximinus was the patron of the Benedictine abbey there and Hildegard probably wrote this sequence for them. The ‘holy sacrifice with the rams’ was required by God in the ordination of Aaron’s sons to the priesthood (Exodus 29), but the ‘rams’ may also be the choirboys at Trier (Scivias, 2:5:45).
Ave generosa is a testemony to Hildegard’s devotion to the Virgin. The imaginary is frequently erotic.
O ignis spiritus is Hildegard’s apostrophe to her Muse, the Pentecostal fire which settled upon her and imparted knowledge of the major biblical books.
O Ierusalem celebrates Saint Rupert. Hildegard re-founded his monastery in 1150 and moved there with her nuns. The original buildings were destroyed by the Normans (the ‘fools’ of the Sequence), providing Hildegard with a potent but implicit comparison between her monastery and Jerusalem, destroyed on Earth and re-built in Heaven (Revelations 21, whence some of the imagery of this sequence is derived
Hildegard von Bingen (1098-1179)
O Eucharie, like Columba aspexit, was almost certainly written for the clergy at Trier. Saint Eucharius was a third-century missionary who became the bishop of the city. Stanza 1 evokes his years as an itinerant preacher (during which he performed miracles). The ‘fellow-travellers’ of stanza 2 are presumably Valerius and Maternus, his companions in the missionary work. The ‘three shrines’ of stanza 5 (compare Matthew 17:4) represent the Trinity and perhaps, if we follow the Glossa Ordinaria, the triple piety of words, thoughts and deeds. The ‘old and the new wine’ of stanza 6 represent the Testaments: Ecclesia savours both, but the Synagogue, like the ‘old bottles’ of Christ’s parable, cannot sustain the New. Hildegard closes the sequence with a prayer that the people of Trier may never revert to the paganism in which Eucharius found them, but may always re-enact the redemptive sacrifice of Christ in the form of the Mass.
With superb control Hildegard in O viridissima virga elaborates the image of Mary as the branch of Jesse. Mary’s fertility endows the animal and vegetable kingdoms with new life and brings mankind to God through the sheer joy of contemplating the Devine agency.
O presul celebrates Saint Disibod, the patron of the monastery where Hildegard was raised. She composed this sequence in response to Abbot Cuno of Disibodenberg who wrote to her asking for a copy of anything “that God reveals to you about our patron”. She centainly sent him this poem; we do not know whether it was accompanied by the music. Hildegard evokes the itinerant hermit’s life that brought Disibod to the place later to be the site of the monastery, and emphasises his founder’s role by a stream of architectural, cloistral imagery.
O Ecclesia celebrates Saint Ursula who, according to legend, was martyred with eleven thousand virgins at Cologne. Ursula, a woman who had rejected an earthly marriage for a heavenly one, who had died in Cologne, and who led a company of Christian women, naturally occupied a special place in Hildegard’s devotion. There were relics of Ursula at Disibodenberg where Hildegard had been raised, and Elizabeth of Schonau (a mystic whom Hildegard knew) created a stir in 1156/1157 with her visions of Ursula and her companions. Hildegard does not appear to have been directly influenced by these visions, but this is her most sustained response to a legend that was clearly popular and much in the minds of clerics and laymen.”
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Emma Kirkby (Soprano) Gothic Voices Christopher Page (Conductor)
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Choral works A cappella Sacred music

Franz Schubert – "Rosamunde", D. 797 (Op. 26)

Franz Schubert
Rosamunde, D. 797 (Op. 26)
01. Overture
02. Entr’acte No. 1 in B minor
03. Ballet Music No. 1 in B minor
04. Entr’acte No. 2 in D major
05. Romanze in E-flat minor and major
06. Geisterchor (Chorus of Spirits) in D major
07. Entr’acte No. 3 in B-flat major
08. Hirtenmelodien (Shepherds’ Melodies)
09. Hirtenchor (Shepherds’ Chorus)
10. Jägerchor (Hunters’ Chorus)
11. Ballet Music No. 2 in G major
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Anton Bruckner – Requiem in D minor

Anton Bruckner
Requiem in D minor
I. Requiem aeternam
II. Dies irae
III. Domine Jesu Christe
IV. Hostias et preces
V. Quam olim Abrahae
VI. Sanctus
VII. Benedictus
VIII. Agnus Dei
IX. Requiem aeternam
X. Cum sanctis tuis
Joan Rodgers (Soprano); Catherine Denley (Controalto); Maldwyn Davies (Tenor); Michael George (Bass); Thomas Trotter (Organ); Roger Brenner (Trombone); Phillip Brown (Trombone); Colin Sheen (Trombone); Corydon Singers; English Chamber Orchestra; Matthew Best (Conductor)
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George Enescu – Romanian Poem, Op. 1

George Enescu
Romanian Poem, Op. 1
Moderato – Adagio – Allegro vivo – Adagio – Moderato – Presto
Romanian Radio & TV Chorus & Orchestra; Iosif Conta (Conductor)
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Ludwig van Beethoven – 9 Symphonies

Ludwig van Beethoven
9 Symphonies
One by one
Symphony No. 1 in C major, Op. 21
Symphony No. 2 in D major, Op. 36
Symphony No. 3 in E-flat major Eroica, Op. 55
Symphony No. 4 in B-flat major, Op. 60
Symphony No. 5 in C minor, Op. 67
Symphony No. 6 in F major Pastoral, Op. 68
Symphony No. 7 in A major, Op. 92
Symphony No. 8 in F major, Op. 93
Symphony No. 9 in D minor Choral, Op. 125
Berliner Staatskapelle; Soile Isokoski (Soprano); Rosemarie Lang (Mezzo-soprano); Robert Gambill (Tenor); Rene Pape (Bass;), Chor der Deutschen Staatsoper Berlin; Daniel Barenboim (Conductor)
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