Classical Music P.D.

Performed: 12 May 2012, Chicago ~ 00:01 I - Langsam-schleppend 15:50 II - Kraftig-bewegt 23:11 III - Feierlich-und-gemessen 33:34 IV - Sturmisch-bewegt ~ The Symphony No. 1 in D major by Gustav Mahler was mainly composed between late 1887 and March 1888, though it incorporates music Mahler had composed for previous works. It was composed while Mahler was the second conductor at the Leipzig Opera, Germany. Although in his letters Mahler almost always referred to the work as a symphony, the first two performances described it as a symphonic poem and as a tone poem in symphonic form respectively. The work was premièred at the Vigadó Concert Hall, Budapest, in 1889, but was not well received. Mahler made some major revisions for the second performance, given at Hamburg in October 1893; further alterations were made in the years prior to the first publication, in late 1898. Some modern performances and recordings give the work the title Titan, despite the fact that Mahler only used this label for the second and third performances, and never after the work had reached its definitive four-movement form in 1896. ~ Mahler conducted more performances of this symphony than of his later works. ~ ATTRIBUTION Music contained in this video is licensed under CC BY Creative Commons Attribution-NonCommercial 3.0. DuPage Symphony - Orchestra

Composition Year: 1813-14 First Performance: 1814-08-14 in Milan, Teatro alla Scala ~ Performers: Selim - Samuel Ramey Donna Fiorilla - Montserrat Caballé Don Narciso - Ernesto Palacio Zaida - Jane Berbié Don Geronio - Enzo Dara Il poeta Prosdocimo - Leo Nucci Albazar - Paolo Barbacini ~ Orchestra: National Philharmonic Orchestra Chorus: Ambrosian Opera Chorus Riccardo Chailly - Conductor ~ Recorded: Studio 1, Abbey Road, London, 1981. ~ Act: I 00:01 01. Sinfonia 08:11 02. Nostra Patria E' Il Mondo Intero 13:34 03. Ah! Se Di Questi Zingari L'Arrivo 14:18 04. Vado In Traccia Di Una Zingara 19:20 05. Brava! Intesi Ogni Cosa 21:51 06. Non Si Da' Follia Maggiore 26:48 07. Bella Italia, Alfin Ti Miro 33:15 08. Della Zingara Amante 34:53 09. Un Marito - Scimunito! 40:02 10. Ola': Tosto Il Caffe' - Sedete 41:29 11. Siete Turchi: Non Vi Credo 50:41 12. Sono Arrivato Tardi 53:29 13. Per Piacere Alla Signora 01:00:20 14. Ho Quasi Del Mio Dramma 01:01:02 15. Gran Meraviglie 01:07:11 16. Perche' Mai Se Son Tradito Act: II 01:21:09 01. Via... Cosa Serve? 01:23:08 02. D'Un Bell'Uso Di Turchia 01:30:23 03. Credeva Che Questa Scena 01:30:52 04. Non V'e' Piacer Perfetto 01:33:09 05. Che Turca Impertinente! 01:37:35 06. Credete Alle Femmine 01:44:17 07. Fermate 01:45:28 08. Intesi: Ah Tutto Intesi 01:50:47 09. Oh! Che Fatica! Che Cervello Duro! 01:52:17 10. Ah! Sarebbe Troppo Dolce 01:55:52 11. Amor La Danza Nuova 01:56:29 12. E Selim Non Si Vede 01:58:48 12. Oh! Guardate Che Accidente 02:07:00 13. Benedetta La festa E Chi La Diede! 02:10:15 14. I Vostri Cenci 02:19:16 15. Che Dramma, Son Contento 02:21:11 16. Son La Vite Sul Campo Appassita 02:23:34 17. Rida A Voi Sereno Il Cielo ~ Work: Il turco in Italia (English: The Turk in Italy) is an opera buffa in two acts by Gioachino Rossini. The Italian-language libretto was written by Felice Romani. It was a re-working of a libretto by Caterino Mazzolà set as an opera (with the same title) by the German composer Franz Seydelmann [de] in 1788. ~ An opera buffa, it was influenced by Mozart's Così fan tutte, which was performed at the same theatre shortly before Rossini's work. The strangely harmonized overture, though infrequently recorded, is one of the best examples of Rossini's characteristic style. An unusually long introduction displays an extended, melancholy horn solo with full orchestral accompaniment, before giving way to a lively, purely comic main theme. ~ Performance history ~ Il turco in Italia was first performed in La Scala, Milan, on 14 August 1814. It was given in London at His Majesty's Theatre on 19 May 1822 with Giuseppe de Begnis and Giuseppina de Begnis. It was first staged in New York City at the Park Theatre on 14 March 1826 with Maria Malibran, Manuel García Senior, Manuel García Junior, Barbieri, Crivelli, Rosich and Agrisani. In 1950 it was revived in Rome at the Teatro Eliseo with Maria Callas. In 1955 Callas again starred as Fiorilla, this time at the Teatro alla Scala where the opera was produced by Franco Zeffirelli. In later years Fiorilla has been sung by Cecilia Bartoli. ~ Biography: Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. ~ ATTRIBUTION Music contained in this video is licensed to: Fonit, Cetra.

Composition Year: 1813 First Performance: 1813-02-16 in Venice, Teatro La Fenice ~ Performers: Tancredi - Fiorenza Cossotto Argirio - Werner Hollweg Amenaide - Lella Cuberli Isaura - Helga Muller(-Molinari) Orbazzano - Nicola Ghiuselev Roggiero - Lucia Rizzi Chor des Westdeutschen Rundfunks Orchestra - Capella Coloniesis Gabriele Ferro - Conductor ~ Recorded: 6th to 18th October 1978, at Schulzentrum Lindlov, Köln ~ 00:01 01. Sinfonia ~ ATTO PRIMО 06:08 02. Pace - Onore - Fede - Amore (Scena I) 09:20 03. Se Amista Verace, E Pura (Scena II) 11:54 04. Si, Giuriam 14:12 05. Ed Ecco, О Prodi Cavalier, l'Eroe 17:02 06. Piu Dolci E Placide Spirano L'aure (Scena III) 18:30 07. Come Dolce All'alma Mia 23:22 08. E Gia Decisa, О Figlia ... Amenaide D'immenso Amore Io T'amo 26:32 09. Preludio (Ritornello) (Scena V) 28:10 10. O Patria! - Dolce, E Ingrata Patria! 31:17 11. Di Tanti Palpiti 34:25 12. D'Amenaide Ecco Il Soggiorno (Scena VI E Scena VII) 37:11 13. La Morte!... Delia Patria Ogni Nemico 37:54 14. Pensa Che Sei Mia Figlia 41:46 15. Che Feci! - Incauta! (Scena Vlll) 42:46 16. O Qual Scegliesti 43:59 17. L'aura Che Intorno Spiri 47:09 18. Quale Per Me Funesto... 48:47 19. Parla Omai 51:05 20. Che Intesi! Oh Tradimento! (Scena IX) 51:48 21. Amori - Scendete (Scena X) 54:31 22. Oh Canti! - Oh Voti! - Oh Festa (Scena XI) 58:25 23. Da Chi? - Perche... 59:45 24. Ciel! - Che Intesi! 01:02:14 25. Padre Amato... 01:06:02 26. Gli Infelici Affetti Miei 01:08:49 27. Vendetta! Rigore 01:10:50 28. No... Quale Infausto Orrendo Giorno ~ ATTO SECONDO 01:13:31 01. Vedesti?... L'indegna (Scena I E Scena II) 01:15:46 02. Oh Dio! - Crudel! 01:17:15 03. Ah! Segnar Invano Io Tento 01:20:58 04. Si, Virtu Trionfa Omai 01:25:40 05. Trionfa, Esulta Barbaro! (Scena III) 01:26:48 06. Tu Che I Miseri Conforti 01:30:30 07. Preludio (Ritornello) (Scena IV) 01:33:59 08. Di Mia Vita Infelicc 01:37:11 09. No, Che Il Morir Non E 01:41:19 10. Di Gia L’ora E Trascorsa (Scena V E Scena VI) 01:44:39 11. M'abbraccia Argirio (Scena VIII) 01:45:22 12. Ah Se De' Mali Miei 01:49:38 13. Ecco Le Trombe 01:51:57 14. Ov'e... Dov'e? Lasciatemi I'amica (Scena IX E Scena X) 01:53:16 15. Gran Dio! Deh, Tu Proteggi... 01:54:28 16. Giusto Dio Che Umile Adoro 01:57:30 17. Qual Fragore!... 01:58:57 18. Ah! D'amore In Tal Momento 02:02:01 19. Quante Vicende Omai (Scena XI) 02:02:20 20. Plaudite, About Popoli (Scene XII) 02:05:05 21. Le Insegne Mie Raccogli 02:05:48 22. Fiero Incontro! (Scena ХIII) 02:06:46 23. Lasciami: - Non T'ascolto 02:09:21 24. Ah! Come Mai Quell'anima 02:11:54 25. Dunque?... Addio 02:14:01 26. Infelice Tancredi! (Scena XIV) 02:15:56 27. Torni Alfin Ridente E Bella (Scena XV) 02:18:34 28. Preludio (Ritornello) (Scena XVI) 02:20:47 29. Dove Son Io? 02:22:22 30. Ah! Che Scordar Non So 02:24:37 31. Regna Il Terror 02:27:57 32. Ecco Amici Tancredi (Scena XVII) 02:29:07 33. Perche Turbar La Calma 02:31:27 34. Traditrice Io Fabbandono 02:35:46 35. Ah! Ch'ei Si Perde! (Scena XVIII - Scena XIX E Scena Ultima) 02:37:56 36. Muore Il Prode 02:39:00 37. Recitativo dopo il Coro: Barbari! E raro ogni timorso ... 02:40:56 38. N. 18A. Recitativo e Cavatina Finale Tancredi: Oh dio... lasciarti io deggio 02:42:55 39. Amenaide... serbami ~ Work: Tancredi is a melodramma eroico (opera seria or heroic opera) in two acts by composer Gioachino Rossini and librettist Gaetano Rossi (who was also to write Semiramide ten years later), based on Voltaire's play Tancrède (1760). The opera made its first appearance at the Teatro La Fenice in Venice on 6 February 1813, and because Il signor Bruschino premiered in late January, the composer must have completed Tancredi in less than a month. The overture, borrowed from La pietra del paragone, is a popular example of Rossini's characteristic style and is regularly performed in concert and recorded. ~ Biography: Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. ~ Wikipedia: Extended biography: http://bit.ly/3KTgh81 ~ ATTRIBUTION Music contained in this video is licensed to: Warner Font, 2003.

Composition Year: 1813 First Performance: 1813-01-27 in Venice, Teatro San Moisè ~ Performers: Sofia - Kathleen Battle Gaudenzio - Samuel Ramey Florville - Frank Lopardo Bruschino padre - Claudio Desderi Bruschino figlio/ Comissario - Octavio Arevalo Filiberto - Michele Pertusi Marianna - Jennifer Larmore ~ English Chamber Orchestra Ion Marin - Conductor ~ Recorded: London, Henry Wood Hall, 5/1991 ~ 00:01 01. Sinfonia 04:23 02. Introduzione: 'Deh tu m'assisti amore' 14:53 03. Recitativo: 'A voi lieto ritorno, cara Sofia' 18:11 04. Duetto: 'lo danari vi daro!' 20:54 05. Recitativo: 'A noi. Su trasformiamoci' 21:28 06. Cavatina: 'Nel teatro del gran mondo' 26:56 07. Recitativo: 'Ho trovato a Sofia un buon partito' 32:06 08. Terzetto: 'Per un figlio gia pentito' 39:35 09. Recitativo: 'Impatziente son io' 42:41 10. Recitativo ed Aria: 'Ah! voi condur volete' -- 'Ah! donate il caro sposo' 49:51 11. Recitativo: 'Qui convien finirla' 51:36 12. Aria: 'Ho la testa o e andata via?' 56:55 13. Recitativo: 'Va tutto ben' 59:42 14. Duetto: 'E un bel nodo che due cori' 01:07:15 15. Recitativo: 'Ah che scoperta!' 01:08:29 16. Finale: 'Ebben, ragion, dovere' ~ Work: Il signor Bruschino, ossia Il figlio per azzardo (Signor Bruschino, or The Accidental Son) is a one act operatic farce (farsa giocosa per musica) by Gioachino Rossini to a libretto by Giuseppe Maria Foppa, based upon the 1809 play Le fils par hasard, ou ruse et folie by René de Chazet and Maurice Ourry. The opera was first performed in Venice at the Teatro San Moisè on 27 January 1813. ~ Between 1810 and 1813, the young Rossini composed five pieces for the Teatro San Moisè, beginning with La cambiale di matrimonio (Bill of Exchange of Marriage), his first opera, and ending with Il signor Bruschino. These farse were short pieces, popular in Venice at the end of the 18th century and the beginning of the 19th century. They were intimate, with a cast of five to eight singers, always including a pair of lovers, here Sofia and Florville, at least two comic parts, here Bruschino senior, Gaudenzio and Filiberto, and one or more minor roles, here Marianna, Bruschino junior and a policeman. The style called for much visual comedy improvised by the players, and often a compulsive linguistic ‘tic’. Here, Bruschino senior often repeats the phrase "Oh, it’s so hot!". As compared with many genres of opera, acting and comedic talent is more important relative to the required singing ability.[citation needed] Rossini's farces also have a significant sentimental element. Overall, it has been described as "a vivacious and fast-moving musical comedy, whose graceful score reveals traces still of Cimarosa and even Mozart." ~ Il signor Bruschino is forward-looking in its use of new musical effects. For example, in the overture, the second violins are instructed to tap their bows on their music stands. This lighthearted, energetic overture is one of several by Rossini to have gained considerable importance in the modern concert repertoire. ~ Biography: Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. ~ #Rossini #Opera #Italian #Marin ~ ATTRIBUTION Music contained in this video is licensed to: DG, 1993.

Composition Year: 1812 First Performance: 1812-05-09 in Venice, Teatro San Moisè ~ Remastered soundtrack. ~ Performers: David Griffith-Dormon, Julia's guardian Luciana Serra as Julia, a young lady Jane Bunnell as Lucilla, Julia's cousin David Kuebler as Dorville, Julia's lover Alberto Rinaldi-Blanzac, Giulia's fiance Description Alessandro Corbelli ~ Director / Choreographer: Michael Hampe Stuttgart Radio Symphony Orchestra Gianluigi Gelmetti - Conductor ~ Recorded: Live recording, Schwetzinger Festspiele, 1990. ~ Writing this opera was a natural consequence of the extraordinary success of the opera "Happy Deception". This is indeed an early Rossini masterpiece. This piece already has a new set of qualities, which leads us to a more mature Rossini. The action on the stage here keeps getting more complex and faster, and more characters are drawn into the general confusion, into a catastrophe that can then be resolved by nothing. And all this makes up a kind of stage orchestral crescendo, and for such as we know, Rossini, of course, is simply the intended composer... He filled this farce, this one-act buffa opera, with all the oddities and extravagances you can think of. And the famous overture (and this, of course, is one of Rossini's ceremonial works, which orchestras love to play) shows us for the first time in full action how the wheels move, how the fireworks appear in the Rossini orchestra. Because the responses of wind instruments are very precise, and the remarkable forward movement of indefatigable strings can be traced through all the twists and turns of melodic thinking... ~ Dormon, Julia's guardian, intends to marry her off to Blanzac, not knowing that she is secretly married to Dorville, who climbs the silk staircase to his wife's room every night. Lucilla, Julia's cousin, is in love with Blanzac. Germano's simple-minded servant, hearing that Giulia is expecting her husband at night, and believing that it is Blanzac, hastens to inform him that a silk staircase will be lowered for him. Lucilla finds out about this and decides at all costs to recapture the groom from her cousin. She and the curious Germano take up observation spots. As soon as Dorville arrives at the appointed hour, Blanzac appears in the room. Dorville is hiding. Seeing a ladder hanging from the window, the guardian hurries to his ward and finds her with Blanzac, Lucilla and Germano. He decides that the only way to cover up the sin is to marry Julia and Blanzac as quickly as possible, but Dorville comes out of hiding and explains the whole truth. Dormon has only to bless the union of Blanzac and Lucilla. ~ ATTRIBUTION Music contained in this video is licensed to: Schwetzinger Festspiele, SWR, 1990.

Composition Year: 1904-1906 First Performance: 1908-09-19 — Prague: Czech Philharmonic Orchestra, Gustav Mahler (conductor) ~ Recorded: Medinah Temple, Chicago, 1980. ~ Performers: Chicago Symphony Symphony Orchestra • James Levine - Conductor ~ 00:01 I. I. Langsam (B minor) - Etwas weniger langsam - Nicht schleppen - Allegro con fuoco (E minor) 15:54 II. Nachtmusik. Allegro moderato in C. 26:15 III. Scherzo. Schattenhaft in D minor 41:01 IV. Nachtmusik. Andante amoroso in F 58:47 V. Rondo - Finale. Tempo I (Allegro ordinario) in C. ~ Work: The Symphony No. 7 by Gustav Mahler was written in 1904–05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night (German: Lied der Nacht), which Mahler never knew. Although the symphony is often described as being in the key of E minor, its tonal scheme is more complicated. The symphony's first movement moves from B minor (introduction) to E minor, and the work ends with a rondo finale in C major. Thus, as Dika Newlin has pointed out, "in this symphony Mahler returns to the ideal of 'progressive tonality' which he had abandoned in the Sixth". The complexity of the work's tonal scheme was analysed in terms of "interlocking structures" by Graham George. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, Sony music, 2010

Composition Year: 1903-04 First Performance: 1906-05-26 in Essen, Saalbau Essen Philharmonic, Gustav Mahler (conductor) Recorded: Walthamstow Town Hall, London, 1977 ~ Performers: London Symphony Orchestra James Levine - Conductor ~ 00:01 I. Allegro energico, ma non troppo. Heftig, aber markig. 22:37 II. Andante moderato 36:18 III. Scherzo: Wuchtig 51:23 IV. Finale: Sostenuto - Allegro moderato - Allegro energico ~ Work: The Symphony No. 6 in A minor by Gustav Mahler is a symphony in four movements, composed in 1903 and 1904, with revisions from 1906. It is sometimes nicknamed the Tragic ("Tragische"), though the origin of the name is unclear. ~ Introduction Mahler conducted the work's first performance at the Saalbau concert hall in Essen on 27 May 1906. Mahler composed the symphony at an exceptionally happy time in his life, as he had married Alma Schindler in 1902, and during the course of the work's composition his second daughter was born. This contrasts with the tragic, even nihilistic, ending of No. 6. Both Alban Berg and Anton Webern praised the work when they first heard it. In a 1908 letter to Webern, Berg said in his opinion there was just one "sixth symphony", despite that of Beethoven. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, RCA / Sony

Composition Year: 1742-43 First Performance: 1742 ca. in Leipzig Dedication: Epiphany or Feast of Purification of Mary Recorded: Gedächtniskirche Stuttgart, Februar 1984 ~ Performers: Mechthild Georg – Alto • Georg Egger, Radboud Oomens – Violino • Stefan Trauer – Violoncello • Hans-Joachim Erhard – Cembalo Bach-Collegium Stuttgart • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ 00:01 1. (Aria: Bekennen will ich seinen Namen) ~ Work: Bekennen will ich seinen Namen (I shall acknowledge His name), BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Kreuz sterbende Liebe. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He probably led the first performance around 1742. ~ History and text Bach arranged in Bekennen will ich seinen Namen an aria, "Dein Kreuz, o Bräutgam meiner Seelen" (Your cross, o bridegroom of my soul" from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Kreuz sterbende Liebe. Bach's arrangement, dated around 1742–1743, was possibly part of a cantata for the Marian feast of Purification. The prescribed readings for the day were Malachi 3:1–4, and Luke 2:22–32. ~ Music The aria is scored for solo alto voice, two violins, and basso continuo. As with many of Bach's latest cantatas, the aria has a "quality of mellow assurance". It is in adapted ternary form but includes no clear reprise of the opening section. The vocal line includes melismas but no other word painting. Bach likely performed his arrangement in 1742 in Leipzig. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1885 First Performance: 1887-02-05 in Milan, La Scala Recorded: live at l'Opera de Paris, October 07, 1955, historical recording NOTE: Sound quality leaves much to be desired. ~ Performers: Otello - José Luccioni Desdemona - Régine Crespin Iago - René Bianc Cassio - Louis Rialland Rodrigo - Camille Rouquetty Lodovico - Pierre Savignol Montano - André Philippe Emilia - Simone Couderc Orchestra and Chorus of L'Opéra de Paris Georges Sébastian - Conductor ~ Acte Premier: 00:01 1. "Une voile, une voile ” - Iago, Rodrigue, Cassio, Montano, Chœur 04:08 2. "Gloire aux braves, la mer recouvre les Sarrasins vaincus » -Othello, Chœur 06:23 3. « Rodrigue» eh bien ! à quoi penses-tu ? – Iago, Rodrigue 08:43 4. « O feu de joie » - Chœur 11:19 5. « Rodrigue, buvons » - Iago, Cassio, Rodrigue, Montano, Chœur 17:40 6. « A bas les armes ! » - Othello, Iago, Cassio, Montano, Chœurs 20:34 7. « Dans cette nuit profonde s’éteint toute clameur» - Othello, Desdémone ~ Acte deuxième: 33:56 8. « Calme ta peine » - Cassio, Iago 36:39 9. « Va-t’en, je vois où vont tes pas » - Credo de Iago 42:22 10. « La voilà » - Iago 43:33 11. « Ah ! ceci me déplait » - Iago, Othello, Chœur 49:09 12. « Tu parais et ta splendeur » - Chœur, Desdémone, Othello, Iago 50:44 13. « D’un malheureux, frappé par ta colère » -Desdémone, Othello, Emilia,Iago 54:49 14. « Desdémone coupable » … « Tout m’abandonne » - Othello, Iago 01:00:24 15. « La nuit dernière » - Iago 01:03:20 16. « O crime monstrueux ! »... «Par le ciel ardent je jure...» - Othello, Iago ~ Acte troisième: 01:10:39 1. « La vedette du port” – Un héraut, Iago, Othello 01:13:33 2. « Que Dieu te tienne en joie » - Desdémone, Othello 01:23:36 3. « Dieu ! tu pouvais m’infliger » - Othello, Iago 01:28:05 4. « Viens, la salle est déserte » - Iago, Cassio, Othello 01:33:03 5. « Mais voici le signal donné par nos canons » - Iago, Cassio, Othello 01:35:05 6. « Vivat ! ».. « Le Doge et le Sénat »- Lodovico, Desdémone, Othello, Emilia 01:40:48 7. « A terre, là… mon corps meurtri tombe » - Desdémone, Rodrigue, Lodovico, Cassio, Emilia, Iago, Othello ~ Acte quatrième: 01:48:55 8. « Est il plus calme... » – Emilia, Desdémone 01:53:18 9. Chanson du saule – Desdémone 02:01:39 10. Ave Maria – Desdémone 02:07:32 11. « Qui vient ? » - Desdémone, Othello, Emilia, Lodovico, Iago, Montano 02:17:01 12. « Que nul ne craigne en me voyant armé » - Othello, Lodovico, Montano ~ Work: Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, first performed at the Teatro alla Scala, Milan, on 5 February 1887. ~ The composer was reluctant to write anything new after the success of Aida in 1871, and he retreated into retirement. It took his Milan publisher Giulio Ricordi the next ten years, first to encourage the revision of Verdi's 1857 Simon Boccanegra by introducing Boito as librettist and then to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881. However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. It wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Malibran-Music, 2006

Composition Year: 1902 (revised several times from 1904-1911) First Performance: 1904-10-18 in Cologne, Gurzenich Concert Orchestra, Gustav Mahler (conductor) Recorded: Scottish Rite Cathedral, Philadelphia, 1977 ~ Performers: The Philadelphia Orchestra James Levine - Conductor ~ Part I 00:01 1. Trauermarsch 12:59 2. Stürmisch bewegt, mit größter Vehemenz ~ Part II 27:57 3. Scherzo ~ Part III 45:37 4. Adagietto 57:39 5. Rondo-Finale ~ Work: The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's holiday cottage at Maiernigg. Among its most distinctive features are the trumpet solo that opens the work with a rhythmic motif similar to the opening of Ludwig van Beethoven's Symphony No. 5, the horn solos in the third movement and the frequently performed Adagietto. ~ The musical canvas and emotional scope of the work, which lasts nearly seventy minutes, are huge. The symphony is sometimes described as being in the key of C♯ minor since the first movement is in this key (the finale, however, is in D major). Mahler objected to the label: "From the order of the movements (where the usual first movement now comes second) it is difficult to speak of a key for the 'whole Symphony', and to avoid misunderstandings the key should best be omitted." ~ Mahler wrote his fifth symphony during the summers of 1901 and 1902. In February 1901 Mahler had suffered a sudden major haemorrhage and his doctor later told him that he had come within an hour of bleeding to death. The composer spent quite a while recuperating. He moved into his own lakeside villa in the southern Austrian province of Carinthia in June 1901. Mahler was delighted with his newfound status as the owner of a grand villa. According to friends, he could hardly believe how far he had come from his humble beginnings. He was director of the Vienna Court Opera and the principal conductor of the Vienna Philharmonic. His own music was also starting to be successful. Later in 1901 he met Alma Schindler and by the time he returned to his summer villa in summer 1902, they were married and she was expecting their first child. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, RCA / Sony

Composition Year: 1714 in Weimar First Performance: 1714-07-12 in Weimar (possibly 1713, 1st Performance) Dedication: 11th Sunday after Trinity Recorded: Gedächtniskirche Stuttgart, April 1976 ~ Performers: Arleen Augér – soprano Ingo Goritzki – Oboe • Günther Pfitzenmaier – Fagotto • Hans Eurich – Viola • Hans Häublein – Violoncello • Manfred Gräser – Contrabbasso • Hans-Joachim Erhard – Organo Bach-Collegium Stuttgart • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ 00:01 1. Recitative (soprano): Mein Herze schwimmt im Blut 02:22 2. Aria (soprano): Stumme Seufzer, stille Klagen 10:32 3. Recitative (soprano): Doch Gott muss mir genädig sein 11:50 4. Aria (soprano): Tief gebückt und voller Reue 19:57 5. Recitative (soprano): Auf diese Schmerzensreu 20:21 6. Chorale (soprano): Ich, dein betrübtes Kind 22:24 7. Recitative (soprano): Ich lege mich in diese Wunden 23:32 8. Aria (soprano): Wie freudig ist mein Herz ~ Work: Johann Sebastian Bach composed the church cantata Mein Herze schwimmt im Blut (My heart swims in blood) BWV 199 in Weimar between 1711 and 1714, and performed it on the eleventh Sunday after Trinity, 12 August 1714. It is a solo cantata for soprano. ~ The text was written by Georg Christian Lehms and published in Darmstadt in 1711 in the collection Gottgefälliges Kirchen-Opffer, on the general topic of redemption. The librettist wrote a series of alternating recitatives and arias, and included as the sixth movement (of eight) the third stanza of Johann Heermann's hymn "Wo soll ich fliehen hin". It is not known when Bach composed the work, but he performed it as part of his monthly cantata productions on the eleventh Sunday after Trinity, 12 August 1714. The solo voice is accompanied by a Baroque instrumental ensemble of oboe, strings and continuo. The singer expresses in a style similar to Baroque opera the dramatic development from feeling like a "monster in God's eyes" to being forgiven. Bach revised the work for later performances, leading to three different editions in the Neue Bach-Ausgabe. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1884–85 First Performance: 1885-10-25 Meiningen Recorded: Isabella Stewart Gardner Museum, Boston Performers: Stefan Jackiw - Violin • Anna Polonsky - Piano' ~ 00:01 1. Vivace, ma non troppo 10:40 2. Adagio 18:52 3. Allegro molto moderato ~ The Violin Sonata No. 1 in G major, Op. 78, "Regensonate", for violin and piano was composed by Johannes Brahms during the summers of 1878 and 1879 in Pörtschach am Wörthersee. It was first performed on 8 November 1879 in Bonn, by the husband and wife, Robert Heckmann (violin) and Marie Heckmann-Hertig (piano). ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 / Boston: Isabella Stewart Gardner Museum

Advent Chamber Orchestra (orchestra) Roxana Pavel Goldstein (conductor) Performers: Humbert Lucarelli and Edino Biaggi, oboes Performed and recorded: November 2006 ~ 00:01 I. Allegro 04:57 II. Adagio 07:34 III. Allegro ~ Tomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was an Italian Baroque composer. His output includes operas, concertos, sonatas for one to six instruments, sinfonias, and solo cantatas. While famous in his day as an opera composer, he is known today for his instrumental music, especially his concertos. He is also remembered today for a work called "Adagio in G minor", attributed to him but said to be written by Remo Giazotto, a 20th century musicologist and composer, who was a cataloger of the works of Albinoni. ~ Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant, he studied violin and singing. Relatively little is known about his life, which is surprising considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII). His first opera, Zenobia, regina de Palmireni, was produced in Venice in 1694. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Ferdinando de' Medici, Grand Prince of Tuscany. ~ In 1705, he married Margherita Rimondi; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer in many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time, he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe. ~ Unlike most contemporary composers, he appears never to have sought a post at either a church or noble court, but then he had independent means and could afford to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich. ~ Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However, it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes mellitus. ~ ATTRIBUTION Music contained in this video is licensed under CC BY Creative Commons Attribution Non-commercial Share Alike 3.0 The music is attributable to: Advent Chamber Orchestra/Pandora records/Al Goldstein Achive.

Composition Year: 1839 First Performance: 1839-11-17 in Milan, Teatro alla Scala Recorded: 1984 ~ Performers: Cuniza-Ruza Baldani (mezzo-soprano) Riccardo-Carlo Bergonzi (tenor) Oberto - Rolando Panerai (bass) Leonora-Gena Dimitrova (soprano) Imelda - Alison Browner (mezzo-soprano) ~ Munich Radio Symphony Orchestra Chorus of the Bavarian Radio Lamberto Gardelli - Conductor: ~ 00:01 1. Sinfonia Act One, 1st Tableau 06:06 2. Coro d’Introduzione - Cavatina (Riccardo) 15:32 3. Cavatina (Leonora) 23:20 4. Scena e Duetto (Leonora, Oberto) Act One, 2nd Tableau 37:12 5. Coro 39:45 6. Scena e Duetto (Cuniza, Riccardo) 48:01 7. Recitativo (Imelda, Leonora) 48:36 8. Scena e Terzetto (Leonora, Cuniza, Oberto) 01:00:58 9. Finale I (Cuniza, Riccardo, Leonora, Oberto, Imelda, Coro) Act Two, 1st Tableau 01:08:36 10. Coro, Scena (Coro di Damigelle, Imelda, Cuniza) Aria (Cuniza) Act Two, 2nd Tableau 01:18:42 11. Coro di Cavalieri 01:22:17 12. Scena ed Aria (Oberto, Coro) 01:28:25 13. Scena e Quartetto (Oberto, Riccardo, Cuniza, Leonora) 01:40:27 14. Coro di Cavalieri 01:43:14 15. Romanza (Riccardo) 01:47:29 16. Scena ed Adagio (Cuniza, Imelda, Coro) 01:51:35 17. Scena (Cuniza, Leonora, Coro) Rondo finale (Coro, Cuniza, Leonora) ~ Work: Oberto, Conte di San Bonifacio is an opera in two acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an existing libretto by Antonio Piazza probably called Rocester. It was Verdi's first opera, written over a period of four years, and was first performed at the Teatro alla Scala, Milan, on 17 November 1839. The La Scala production enjoyed "a fair success" and the theatre's impresario, Bartolomeo Merelli, commissioned two further operas from the young composer. ~ Composition history During his student days in Milan, Verdi began the process of making connections to the world of music in that city which were to stand him in good stead. These included an introduction by his teacher Lavigna to an amateur choral group, the Società Filarmonica, where he functioned as rehearsal director and continuo player for Haydn's The Creation in 1834, as well as conducting Rossini's La cenerentola himself the following year. 1836 saw his involvement in an April concert celebrating Emperor Ferdinand's birthday; for this he wrote a cantata in the Emperor's honour, which received some praise. ~ But it was after his return to his hometown of Busseto in 1835 to become director of the music school with a three-year contract that Verdi took advantage of the connection he had made to the Filarmonica's director, Pietro Massini. In a series of letters from 1835 to 1837 he informed him about the progress towards writing his first opera using a libretto supplied by Massini which had been written by Antonio Piazza, a Milanese "journalist and man of letters". By then it had been given the title of Rocester, and the young composer expressed hopes of a production in Parma. ~ However, Parma was not interested in new works and so approaches were made to Milan. Whether Rocester actually became the basis for Oberto when Verdi was able to return to Milan in February 1839 after fulfilling two and a half years of his contract in Busseto is subject to some disagreement amongst scholars. How much of Rocester remained visible in Oberto is discussed by Roger Parker, who does suggest that "in this shape-shifting tendency, the opera was, of course, very much of its time." In his recollections in 1881 (quoted in Budden) following his return to Milan from Busseto in 1838, Verdi describes how he was invited to meet the La Scala impresario, Bartolomeo Merelli, who had heard a conversation about the music of the opera between soprano Giuseppina Strepponi and Giorgio Ronconi in which she praised it. Merelli then offered to put on Oberto during the 1839 season and, after its premiere, Oberto was given a respectable 13 additional performances. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Orfeo 1984, Munchen

Composition Year: 1727 in Leipzig First Performance: 1727-10-17 in Leipzig Dedication: Funeral Ode on the Decease of the Consort of Augustus the Strong – Christiane Eberhardine, Queen of Poland and Electoral Princess of Saxony Recorded: Gedächtniskirche Stuttgart, September/Oktober 1983 ~ Performers: Arleen Augér – Soprano • Gabriele Schreckenbach – Alto • Aldo Baldin – Tenore • Philippe Huttenlocher – Basso Sibylle Keller- Sanwald, Wiltrud Böckheler – Flauto • Günther Passin, Hedda Rothweiler – Oboe d’amore • Günther Pfitzenmaier – Fagotto Georg Egger, Radboud Oomens – Violino • Siegfried Pank, Ulrich Walter – Viola da gamba • Stefan Trauer – Violoncello • Claus Zimmermann – Contrabbasso • Konrad Junghänel – Liuto • Hans-Joachim Erhard – Organo ~ Bach-Collegium Stuttgart • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ Prima Parte 00:01 1. Chorus: Laß, Fürstin, laß noch einen Strahl 05:48 2. Recitative (soprano): Dein Sachsen, dein bestürztes Meißen 08:02 3. Aria (soprano): Verstummt, verstummt, ihr holden Saiten! 11:20 4. Recitative (alto): Der Glocken bebendes Getön 12:29 5. Aria (alto): Wie starb die Heldin so vergnügt! 18:32 6. Recitative (tenor): Ihr Leben ließ die Kunst zu sterben 19:54 7. Chorus: An dir, du Fürbild großer Frauen ~ Part II 22:15 8. Aria (tenor): Der Ewigkeit saphirnes Haus 27:19 9. Recitative, Arioso & Recitative (bass): Was Wunder ists? Du bist es wert 29:46 10. Chorus: Doch, Königin! du stirbest nicht ~ Work: Laß, Fürstin, laß noch einen Strahl (Let, Princess, let still one more glance) is a secular cantata composed as a funeral ode by Johann Sebastian Bach, first performed on 17 October 1727. In Wolfgang Schmieder's catalogue of Bach's works (BWV) it was assigned the number 198. It is also known as Trauerode or as Trauerode: auf den Tod der Königin Christiane Eberhardine. ~ History and text - Bach wrote several works for celebrations of the Leipzig University, Festmusiken zu Leipziger Universitätsfeiern. ~ He composed this cantata at the request of the university as a funeral ode for Christiane Eberhardine, wife of August II the Strong, the Elector of Saxony and King of Poland. The cantata was first performed on 17 October 1727 in the University Church in Leipzig. Bach himself directed from the harpsichord. The text was written by Johann Christoph Gottsched, professor of philosophy and poetry. ~ The text is purely secular, proclaiming how the kingdom is in shock over the princess' death, how magnificent she was, and how sadly she will be missed. Sacred elements pertaining to salvation and the afterlife are absent. Bach, however, as was his custom, included a cryptic reference to salvation in the music. The first movement of the second section Der Ewigkeit saphirnes Haus ("Eternity's sapphiric house"), which was performed following the oration, contains underlying elements of the first movement of the cantata BWV 56, Ich will den Kreuzstab gerne tragen ("I want to bear the cross") which Bach had composed one year earlier. The measures 70–75 contain a direct quote (played by the oboe) of the bass solo voice in measures 91–98 from BWV 56 where the text is Der führet mich nach meinen Plagen zu Gott, in das gelobte Land ("which leads me to God in the promised land after all my tribulation"). ~ Bach later borrowed from the cantata for his St Mark Passion and for Klagt, Kinder, klagt es aller Welt, BWV 244a, another funeral ode written in 1729. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1865 First Performance: 1865-11-28 in Zürich, Großer Saal des Kasinos Johannes Brahms (piano), Friedrich Hegar (violin), Gläss (horn) Zweite Quartett-Soiree des Orchestervereins Performers: Lauren Becker - Horn • Blagomira Lipari - Violin • Rob Auler - Piano Recorded: LaVeck Concert Series, May 16, 2015 ~ 00:01 1. Andante 07:50 2. Scherzo. Allegro 15:17 3. Adagio mesto 22:48 4. Finale. Allegro con brio ~ Work: The Horn Trio in E♭ major, Op. 40, by Johannes Brahms is a chamber piece in four movements written for natural horn, violin, and piano. Composed in 1865, the work commemorates the death of Brahms's mother, Christiane, earlier that year. However, it draws on a theme which Brahms had composed twelve years previously but did not publish at the time. ~ The work was first performed in Zürich on November 28, 1865, and was published a year later in November 1866. The Horn Trio was the last chamber piece Brahms wrote for the next eight years. Brahms chose to write the work for natural horn rather than valve horn, despite the fact that the valve horn was becoming more common. The timbre of the natural horn is more somber and melancholic than the valve horn and creates a much different mood. Brahms himself believed that the open tones of the natural horn had a fuller quality than those produced by valves. Nineteenth-century listeners associated the sound of the natural horn with nature and the calls of the hunt. Fittingly, Brahms once said that the opening theme of the first movement came to him while he was walking through the woods. Brahms also learned natural horn (as well as piano and cello) as a child, which may be another reason why he chose to write for these instruments following the death of his mother. ~ Notwithstanding Brahms's love for the sound of the natural horn, he did specify that the horn part could be played by a cello, and it was indeed published with a transposed cello part. Much later in 1884 Brahms also reworked the part for viola. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution-NonCommercial-NoDerivs 4.0

Composition Year: 1865–68 First Performance: 869-02-18 in Leipzig, Gewandhaus (complete) Emilie Bellingrath-Wagner (soprano), Dr. Kückl (baritone), Gewandhaus chorus, orchestra, Carl Reinecke (conductor) Recorded: Hamburg, 1958 ~ Performers: Soprano Vocals – Teresa Stich-Randall Baritone Vocals – James Pease Choir – Chœurs de la Singakademie de Hambourg Orchestra – Norddeutsches Symphonie-Orchester, Hambourg Soprano Vocals – Teresa Stich-Randall Carl Bamberger - Conductor ~ 00:01 1. Selig sind, die da Leid tragen. Ziemlich langsam und mit Ausdruck 10:17 2. Denn alles Fleisch, es ist wie Gras. 4. Langsam, marschmäßig 23:54 3. Herr, lehre doch mich. Andante moderato 33:37 4. Wie lieblich sind deine Wohnungen. Mäßig bewegt 39:51 5. Ihr habt nun Traurigkeit. Langsam 47:20 6. Denn wir haben hie keine bleibende Statt. Andante, Allegro 58:09 7. Selig sind die Toten. Feierlich ~ Work: A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language. ~ History Brahms' mother died in February 1865, a loss that caused him much grief and may well have inspired Ein deutsches Requiem. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain. ~ His original conception was for a work of six movements; according to their eventual places in the final version, these were movements I–IV and VI–VII. By the end of April 1865, Brahms had completed the first, second, and fourth movements. The second movement used some previously abandoned musical material written in 1854, the year of Schumann's mental collapse and attempted suicide, and of Brahms's move to Düsseldorf to assist Clara Schumann and her young children. ~ Brahms completed all but what is now the fifth movement by August 1866. Johann Herbeck conducted the first three movements in Vienna on 1 December 1867. This partial premiere went poorly due to a misunderstanding in the timpanist's score. Sections marked as pf were played as f or ff, essentially drowning out the rest of the ensemble in the fugal section of the third movement. The first performance of the six movements premiered in the Bremen Cathedral six months later on Good Friday, 10 April 1868, with Brahms conducting and Julius Stockhausen as the baritone soloist. The performance was a great success and marked a turning point in Brahms's career. ~ In May 1868 Brahms composed an additional movement, which became the fifth movement within the final work. The new movement, which was scored for soprano soloist and choir, was first sung in Zürich on 12 September 1868 by Ida Suter-Weber, with Friedrich Hegar conducting the Tonhalle Orchester Zürich. The final, seven-movement version of A German Requiem was premiered in Leipzig on 18 February 1869 with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krückl. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Public Domain - Non-PD US / Editions Atlas “Eblouissante Musique Sacrée”, 1958 / Collection personnelle

Composition Year: 1736-37 in Leipzig First Performance: 1735-37 or 39 or 42 in Leipzig Dedication: Wedding Recorded: Gedächtniskirche Stuttgart, Februar/März 1984 ~ Performers: Costanza Cuccaro – Soprano • Mechthild Georg – Alto • Philippe Huttenlocher – Basso ~ Hannes, Wolfgang, Hans Läubin – Tromba • Norbert Schmitt – Timpani • Günther Passin, Hedda Rothweiler – Oboe, Oboe d’amore • Christoph Carl, Klaus Thunemann – Fagotto • Georg Egger, Radboud Ooomens – Violino • Stefan Trauer – Violoncello • Claus Zimmermann – Contrabbasso • Martha Schuster – Organo • Hans-Joachim Erhard – Cembalo Bach-Collegium Stuttgart • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ Prima Parte 00:01 1. Chorus: Gott ist unsre Zuversicht 05:46 2. Recitative (bass): Gott ist und bleibt der beste Sorger 07:07 3. Aria (alto): Schläfert allen Sorgenkummer 13:17 4. Recitative (bass): Drum folget Gott und seinem Triebe 14:26 5. Chorale: Du süße Lieb, schenk uns deine Gunst ~ Secundo Parte 15:23 6. Aria (bass): O du angenehmes Paar 20:12 7. Recitative and Arioso (soprano): So wie es Gott mit dir / Wohl dir, wohl dir! 21:40 8. Aria (soprano): Vergnügen und Lust 24:40 9. Recitative (bass): Und dieser frohe Lebenslauf 25:46 10. Chorale: So wandelt froh auf Gottes Wegen ~ Work: Gott ist unsre Zuversicht (God is our confidence), BWV 197.2 (formerly BWV 197), is a church cantata by Johann Sebastian Bach. History and text ~ In 1728 in Leipzig, Bach composed a Christmas cantata, Ehre sei Gott in der Höhe, BWV 197.1 (Glory be to God in the Highest), which he revised in 1736–37 into this wedding cantata. Movement 5 is a chorale stanza by Martin Luther, the final movement is by Georg Neumark; the rest of the poetry is anonymous. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1841 First Performance: 1842-03-09 in Milan, Teatro alla Scala Recorded: Teatro Comuniale di Firenze, 26 May 1961 (Live recording) ~ Performers: Nabucco - Ettore Bastianini Abigaille - Margherita Roberti Zaccaria - Paolo Washington Ismaele - Gastone Limarilli Fenena - Miriam Pirazzini Orchestra e Coro del Maggio Musicale Fiorentino Bruno Bartoletti - Conductor ~ ACT: I. 00:01 1. Sinfonia (Orchestra) 08:38 2. Gli arredi festivi giù cadano infranti (Coro) 14:19 3. Sperate, o figli! (Zaccaria, Coro) 19:39 4. Qual rumore? (Coro, Ismaele, Zaccaria) 22:33 5. Fenena!... O mia diletta! (Ismaele, Fenena) 24:41 6. Guerrieri, è preso il tempio!... Prode guerrier! (Abigaille) 30:37 7. Lo vedeste? Fulminando (Anna, Coro, Zaccaria) 35:01 8. Si finga, e l’ira mia più forte scoppierà (Nabucco) 39:08 9. O vinti, il capo a terra! (Nabucco) ~ ACT: II. 43:13 1. Ben io t’invenni, o fatal scritto! (Abigaille) 50:34 2. Chi s’avanza? (Abigaille) 53:38 3. Veni, o Levita! Il santo codice reca! (Zaccaria) 59:54 4. Che si vuol?... - Il maledetto non ha fratelli (Coro, Ismaele) 01:02:03 5. Deh, fratelli, perdonate! (Tutti, Coro) 01:04:10 6. S’appressan gl’istanti d’un’ira fatale... (Tutti, Coro) 01:07:52 7. S’oda or me! (Nabucco) 01:10:30 8. Chi mi toglie il regio scettro? (Nabucco) ~ ACT: III. 01:13:37 1. È l’Assiria una regina... (Coro) 01:17:10 2. Esselsa donna, che d’Assiria il fato reggi... (Gran Sacerdote) 01:20:23 3. Donna, chi sei? - Custode del seggio... (Nabucco, Abigaille) 01:23:50 4. Oh, di qual’onta aggravasi (Nabucco, Abigaille) 01:27:30 5. Ah, qual suon! (Nabucco, Abigaille) 01:30:50 6. Va, pensiero, sull’ali dorate (Coro) 01:35:50 7. Oh, chi piange?... - Del futuro nel buio discerno (Zaccaria) ~ ACT: IV 01:40:09 1. Introduzione (Orchestra) 01:41:48 2. Son pur queste mie membra! (Nabucco, Coro) 01:45:20 3. Dio di Guida!... l’ara, il tempio a Te sacro, sorgeranno... (Nabucco) 01:49:36 4. Cardan, cardanno i perfidi come locuste al suolo! (Abdallo, Coro, Nabucco) 01:51:23 5. Marcia funebre (Orchestra) - Va: la palma del martirio... (Zaccaria) 01:54:08 6. dischiuso è il firmamento! (Fenena) 01:58:00 7. Immenso Jehovah, chi non ti sente? (Tutti) 01:59:58 8. Oh, chi vegg’io? (Nabucco, Coro) - Su me... morente... esamine... (Abigaille, Coro, Zaccaria) ~ Work: Nabucco"Nebuchadnezzar" is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations and Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. ~ Nabucco is the opera that is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star." The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves" ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings"), a chorus that is regularly given an encore in many opera houses when performed today. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: MYTO Classics

Composition Year: 1900-01 First Performance: 1901-11-25 in Munich Margarete Michalek (soprano), Kaim Orchestra, Gustav Mahler (conductor) Recorded: Chicago, 1974 ~ Performers: Judith Blegen - Soprano Chicago Symphony Orchestra James Levine - Conductor ~ Erste Abtheilung 00:01 I. I. Bedächtig, nicht eilen 16:46 II. In gemächlicher Bewegung, ohne Hast 26:34 III. Ruhevoll, poco adagio 48:40 IV. Wir geniessen die Himmlischen Freuden. Sehr behaglich ~ Work: The Symphony No. 4 in G major by Gustav Mahler was composed from 1899 to 1900, though it incorporates a song originally written in 1892. That song, "Das himmlische Leben", presents a child's vision of heaven and is sung by a soprano in the symphony's Finale. Both smaller in orchestration and shorter in length than Mahler's earlier symphonies, the Fourth Symphony was initially planned to be in six movements, alternating between three instrumental and three vocal movements. The symphony's final form—begun in July 1899 at Bad Aussee and completed in August 1900 at Maiernigg—retains only one vocal movement (the Finale) and is in four movements: Bedächtig, nicht eilen (sonata form); In gemächlicher Bewegung, ohne Hast (scherzo and trio); Ruhevoll, poco adagio (double theme and variations); and Sehr behaglich (strophic variations). The premiere was performed in Munich on 25 November 1901 by the composer and the Kaim Orchestra, but it was met with negative audience and critical reception over the work's confusing intentions and perceived inferiority to the more well-received Second Symphony. The premiere was followed by a German tour, a 1901 Berlin premiere, and a 1902 Vienna premiere, which were met with near-unanimous condemnation of the symphony. Mahler conducted further performances of the symphony, sometimes to warm receptions, and the work received its American and British premieres in 1904 and 1905. The symphony's first edition was published in 1902, but Mahler made revisions in 1905, 1910, and 1911. After Mahler's death, the symphony continued to receive performances under conductors such as Willem Mengelberg and Bruno Walter, and its first recording is a 1930 Japanese rendition conducted by Hidemaro Konoye that is also the first electrical recording of any Mahler symphony. The musicologist Donald Mitchell believes the Fourth and its accessibility were largely responsible for the post-war rise in Mahler's popularity. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, RCA / Sony

Composition Year: 1847 First Performance: 1847-07-22 in London, Queen's Theatre in the Haymarket Recorded: Live recording - Roma, 3 December 1972 ~ Performers: Carlo - Gianni Raimondi Amalia-Ilva Ligabue Francesco-Renato Bruson Massimiliano - Boris Christoff Arminio - Gian Paolo Corriadi Moser - Giovanni Foiani Orchestra e Coro del Teatro dell'Opera di Roma Gianandrea Gavazzeni - Conductor ~ Prelude Act 1: Quando Io Leggo In Plutarco, Ho Noia, Ho Schifo Act 1: Ecco Un Foglio A Te Diretto... Tremi Tu? Act 1: Vecchio! Spiccai Da Te Quell'Odiato Primogenito Tuo! Act 1: Trionfo, Trionfo! Colpito Ho Nel Segno Act 1: Venerabile, O Padre... Io Sguardo Avea Degli Angeli Act 1: Mio Carlo... Ei Sogna Act 1: Un Messaggero Di Trista Novella! Act 2: Dall'Infame Banchetto Io M'Involai Act 2: Carlo Vive? O Caro Accento Act 2: Perchè Fuggisti Al Canto Del Festivo Convito? Act 2: Ti Scosta, A Malnato Act 2: Tutto Quest'Oggi Le Mani In Mano Act 2: Come Splendido E Grande Il Sol Tramonta! Act 3: Dio, Ti Ringrazio! Act 3: Dio, Ti Ringrazio! Act 3: Le Rube, Gli Stupri, Gl'Incendi, Le Morti Act 3: Ti Delusi, Amalia! Act 3: Un Ignoto, Tre Lune Or Saranno Act 3: Destatevi, O Pietre!... Che Fu? Chi N'Assale? Act 4. Tradimento!... Risorgono I Defunti! Act 4. Pareami Che Sorto Da Lauto Convito Act 4. M'Hai Chiamato In Quest'Ora A Farti Giuoco Act 4. Francesco! Mio Figlio! Act 4. Qui Son Essi!... Capitano! Capitan! Act 4. Caduto È Il Reprobo! L'Ha Côlto Iddio ~ Work: I masnadieri (The Bandits or The Robbers) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Andrea Maffei, based on the play Die Räuber by Friedrich von Schiller. As Verdi became more successful in Italy, he began to receive offers from other opera houses outside the country. The London impresario Benjamin Lumley had presented Ernani in 1845 and, as a result of its success, commissioned an opera from the composer which became I masnadieri. It was given its first performance at Her Majesty's Theatre on 22 July 1847 with Verdi conducting the first two performances. ~ While reasonably successful there and in Italy up to the mid-1860s, the opera disappeared for about ninety years until revived in 1951. It has been staged and filmed several times in the 21st century. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: MYTO Records

Composition Year: 1891 Summer, Ischl First Performance: 1891-12-12 - Berlin, Saal der Singakademie Richard Mühlfeld (clarinet), Robert Hausmann (cello), Composer (piano) Dedication: Richard Mühlfeld Performers: Marlboro Ensemble ~ 00:01 1. Allegro 07:51 2. Adagio 15:22 3. Andantino grazioso 19:48 4. Allegro ~ Work: The Clarinet Trio in A minor, Op. 114, is one of four chamber works composed by Johannes Brahms featuring the clarinet as a primary instrument. It was written in the summer of 1891 in Bad Ischl for the clarinettist Richard Mühlfeld and first performed privately on 24 November 1891 in Meiningen and publicly in Berlin on 12 December that year. It is considered by scholars as part of a rebirth for the composer, who in 1890 declared his String Quintet in G major to be his final work. General The work calls for clarinet, piano, and cello, and is one of the very few in that genre to have entered the standard repertoire. It was written for clarinet in A, which can also be substituted by a viola. The overall mood of the piece is sombre, but includes both romantic and introspective qualities. Music historians and scholars have admitted that the trio is "not among the most interesting of his compositions" The work incorporates a considerable amount of arpeggio patterns in its theme, complemented by conversation-like passages in the upper register of the cello. Perhaps due to this lack of interesting material, Op. 114 has been overshadowed by another one of Brahms' chamber works written for Mühlfeld: the Clarinet Quintet in B minor, Op. 115. ~ However, it is very clear in the music that Brahms absolutely adored the playing of Richard Mühlfeld, and that this adoration made its way into the trio. Eusebius Mandyczewski, a scholar and friend of Brahms, wrote of the trio that "It is as though the instruments were in love with each other." de by the nineteenth-century conductor Hans von Bülow. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 / Boston: Isabella Stewart Gardner Museum

Composition Year: 1707-08 in Mühlhausen First Performance: 1707-08 in Mühlhausen or 1708?-06-05 in Mühlhausen Dedication: Wedding (Possibly for Johann Lorenz Stauber's and Regina Wedemann's Wedding in Mühlhausen) Recorded: Gedächtniskirche Stuttgart, Januar 1976 ~ Performers: Doris Soffel – Soprano • Aldo Baldin – Tenore • Niklaus Tüller – Basso Albert Boesen – Violino • Jürgen Wolf – Violoncello • Manfred Gräser – Contrabbasso • Joachim Eichhorn – Organo • Martha Schuster – Cembalo Bach-Collegium Stuttgart • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ 00:01 1. Sinfonia 01:50 2. Chorus: Der Herr denket an uns und segnet uns 04:21 3. Aria: Er segnet, die den Herrn fürchten 07:05 4. Duetto: Der Herr segne euch 09:14 5. Chorale: Ihr seid die Gesegneten des Herrn ~ Work: Der Herr denket an uns (The Lord is mindful of us), BWV 196, is a cantata by Johann Sebastian Bach. The early church cantata, possibly for a wedding, is difficult to date, but is generally considered to be an early work on stylistic grounds. The text is a passage from Psalm 115, assuring of God's blessing, especially for children. Scholars have suggested the work may have been written for the wedding of Johann Lorenz Stauber, the minister in Dornheim who had married Bach and his first wife there in 1707, and Regina Wedemann, an aunt of Bach's wife, on 5 June 1708. Bach structured the work in five movements – an instrumental Sinfonia, a chorus, an aria, a duet and a final chorus. He scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of strings and continuo. History and words The precise date of composition for this cantata is unknown, but it is generally considered to be an early work. The English Bach scholar Richard Jones notes that "although it survives only in a later manuscript copy", its stylistic features are evidence of an earlier date: its text comprises "selected psalm verses only, without any free madrigalian verse", it has no recitative, and the compositional approach "still breathes the air of the seventeenth century". ~ Many of Bach's later church cantatas were composed for the requirements of the liturgical calendar, but the early ones, including Der Herr denket an uns, were written for special occasions. The text is taken from Psalms 115:12-15, speaking of a thoughtful and blessing God. The passage includes in verse 14: "The Lord shall increase you more and more, you and your children". Many commentators, from his biographer Philipp Spitta onwards, have concluded that the cantata was written for a wedding. They have proposed weddings where it might have been performed, including Bach's own in October 1707, when he married his first wife Maria Barbara in Dornheim. The Bach scholar Alfred Dürr and others suggest that the cantata may have been written for the wedding of the minister Johann Lorenz Stauber, who had conducted the wedding ceremony for Bach, and Regina Wedemann, an aunt of Maria Barbara, in Dornheim on 5 June 1708. However, the wedding hypothesis is not proven, and the general text could fit other occasions. ~ The cantata was first published in 1864 in the Bach Gesellschaft first edition of the composer's complete works. It was published in the Neue Bach-Ausgabe in 1958, edited by Frederick Hudson. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Clarinet Sonata No.2, Op.120 - Brahms 'Kell - Clarinet • Horszowski - Piano' 'Historical Recording 1950' ~ Composition Year: 1894 First Performance: 1895-01-08 — Vienna, Saal Bösendorfer: Richard Mühlfeld (clarinet), Johannes Brahms (piano) Dedication: Richard Mühlfeld Performers: Reginald Kell (clarinet) • Mieczysław Horszowski (piano) Note: Low Sonic quality, mastering removed some issues ~ 00:01 1. Allegro amabile 07:15 2. Allegro appassionato 12:21 3. Andante con moto — Allegro ~ Work: The Clarinet Sonatas, Op. 120, Nos. 1 and 2, are a pair of works written for clarinet and piano by the Romantic composer Johannes Brahms. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld. The sonatas stem from a period late in Brahms's life where he discovered the beauty of the sound and tonal colour of the clarinet. The form of the clarinet sonata was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers’ new works. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire. Brahms also produced a frequently performed transcription of these works for viola with alterations to better suit the instrument. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Public Domain

Composition Year: 1894 First Performance: 1895-01-11 - Vienna, Saal Bösendorfer: Richard Mühlfeld (clarinet), Johannes Brahms (piano) Dedication: Richard Mühlfeld Performers: Richard Stoltzman • Clarinet, David Deveau Piano ~ 00:01 1. Allegro appassionato 08:15 2. Andante un poco adagio 13:30 3. Allegretto grazioso 18:14 4. Vivace ~ Work: The Clarinet Sonatas, Op. 120, Nos. 1 and 2, are a pair of works written for clarinet and piano by the Romantic composer Johannes Brahms. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld. The sonatas stem from a period late in Brahms's life where he discovered the beauty of the sound and tonal colour of the clarinet. The form of the clarinet sonata was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers’ new works. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire. Brahms also produced a frequently performed transcription of these works for viola, with alterations to better suit the instrument. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 / Boston: Isabella Stewart Gardner Museum