Classical Music P.D.

Composition Year: 1727-31 (lost, 1st Version) First Performance: 1727-32? in Leipzig (1st Performance) Dedication: Wedding Recorded: Gedächtniskirche Stuttgart, Oktober 1983/Februar 1984. ~ Performers: Shihomi Inoue-Heller – Soprano • Elisabeth Graf – Alto • Oly Pfaff – Tenore • Andreas Schmidt – Basso ~ Johannes Ritzkowsky, Bruno Schneider – Corno • Bernhard Schmid, Josef Hausberger, Roland Gurkhardt – Tromba • Peter Wirweitzki – Timpani Sibylle Keller-Sanwald, Peter Schlenker, Wiltrud Böckheler – Flauto • Günther Passin, Hedda Rothweiler – Oboe, Oboe d’amore • Kurt Etzold – Fagotto • Georg Egger – Violino • Stefan Trauer – Violoncello • Claus Zimmermann – Contrabbasso • Hans- Joachim Erhard – Organo, Cembalo ~ Gächinger Kantorei Stuttgart • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ Prima Parte 00:01 1. Chorus: Dem Gerechten muss das Licht immer wieder aufgehen 04:47 2. Recitative (bass): Dem Freudenlicht gerechter Frommen 06:07 3. Aria (bass): Rühmet Gottes Güt und Treu 10:45 4. Recitative (soprano): Wohlan, so knüpfet denn ein Band 11:59 5. Chorus: Wir kommen, deine Heiligkeit Seconda Parte 18:36 6. Chorale: Nun danket all und bringet Ehr ~ Work: Dem Gerechten muß das Licht (The light shall [ever rise again] for the righteous), BWV 195, is a church cantata by Johann Sebastian Bach for a wedding. He composed it in Leipzig, possibly in 1727, but only the incomplete scores of later performances from the 1740s survived. It uses two verses from Psalm 97 for the opening movement, and the first stanza auf Paul Gerhardt's hymn "Nun danket all und bringet Ehr" for the closing chorale. The librettist of the other movements is unknown. ~ History and text Bach composed this cantata in Leipzig around 1727 for a wedding. The earliest version of the work is lost; an incomplete second version from 1742 and a complete revision from the late 1740s survive. These dates correspond with repeat performances of the work. The closing chorale is the first stanza of Paul Gerhardt's hymn "Nun danket all und bringet Ehr", with the melody of "Lobt Gott, ihr Christen alle gleich". The opening movement is based on Psalms 97:11-12; the rest of the text is anonymous. Alfred Dürr derives from allusions in the text that the work was intended for the wedding of a lawyer. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1849 First Performance: 1849-12-08 in Naples, Teatro di San Carlo Recorded: RCA Iataliana Studios, Rome, June 1964 ~ Performers: Luisa - Anna Moffo Rodolfo - Carlo Bergonzi Miller - Cornell MacNeil Federica - Shirley Verrett Count Walter - Giorgio Tozzi Wurm - Ezio Flagello Laura - Gabriella Carturan A Peasant – Piero de Palma RCA Italiana Opera Chorus and Orchestra Fausto Cleva - Conductor ~ 00:01 1. Overture ACT: I 05:28 2. Ti Desta, Luisa 09:32 3. Ecco Mia Figlia 11:44 4. Lo Vidi, E'l Primo Palpito 18:49 5. Ferma Ed Ascolta 20:00 6. Sacra La Scelta 23:33 7. Ah! Fu Giusto 26:27 8. Che Mai Narrasti! 28:06 9. Il Mio Sangue 31:27 10. Padre - M'Abbraccia 36:00 11. Duchessa 36:41 12. Dall'Aule Raggianti 42:34 13. Scioliete I Levrieri 47:17 14. Tu, Tu, Signor 49:30 15. Fra' Mortali ~ ACT: II 56:02 1. Ah! Luisa, Luisa, Ove Sei? 58:44 2. Il Padre Tuo 01:01:55 3. Tu Puniscimi, O Signore 01:04:28 4. Qui Nulla S'Attenta 01:06:26 5. A Brani, A Brani, O Perfido 01:09:49 6. Egli Delira 01:12:29 7. L'Alto Retaggio 01:15:04 8. O Meco Incolume 01:16:30 9. Vien La Duchessa! 01:22:49 10. Il Foglio Dunque? 01:25:34 11. Quando Le Sere Al Placido 01:29:12 12. Di Mi Chiedeste 01:31:47 13. L'Ara, O L'Avello Apprestami ~ ACT: III 01:35:19 1. Come In Un Giorno Solo 4:44 01:40:04 2. Pallida, Mesta Sei 2:47 01:42:51 3. La Tomba È Un Letto Sparso Di Fiori 5:20 01:48:11 4. Andrem, Ramminghi E Poveri 3:31 01:51:42 5. Ah! L'Ultima Preghiera 10:01 02:01:42 6. Donna, Per Noi Terribile 5:32 02:07:14 7. Padre, Ricevi L'Estremo Addio ~ Work: Luisa Miller is an opera in three acts by Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play Kabale und Liebe (Intrigue and Love) by the German dramatist Friedrich von Schiller. ~ Verdi's initial idea for a new opera – for which he had a contract going back over several years – was rejected by the Teatro San Carlo in Naples. He attempted to negotiate his way out of this obligation and, when that failed, Cammarano came up with the idea of adapting the Schiller play, with which Verdi was familiar. The process was set in motion, with Verdi still living and working on initial ideas from Paris, where he had been living for almost two years before moving back to his home town of Busseto in the summer of 1849. It was from there that he wrote the music and traveled to Naples for rehearsals. The first performance was given on 8 December 1849. This was Verdi's 15th opera and it is regarded as the beginning of the composer's "middle period". ~ ATTRIBUTION Music contained in this video is licensed to: Urania - RCA Victor - Italy 1964

Composition Year: 1854 First Performance: 1860-03-21 (Nos.2 & 3) Vienna: Clara Schumann (piano) ~ Performers: Hardy Rittner - Piano Recorded: 1-3 October 2007 ~ 00:01 1. Andante (D minor) [after the Scottish ballad "Edward"] 04:15 2. Andante (D major) 10:47 3. Intermezzo. Allegro (B minor) 15:01 4. Andante con moto (B major) ~ Work: The Ballades, Op. 10, are lyrical piano pieces written by Johannes Brahms during his youth. They were dated 1854 and were dedicated to his friend Julius Otto Grimm. Their composition coincided with the beginning of the composer's lifelong affection for the pianist and composer Clara Schumann, who was helping Brahms launch his career. Frédéric Chopin had written the last of his famous ballades only 12 years earlier, but Brahms approached the genre differently from Chopin, choosing to take its origin in narrative poetry more literally. Brahms's ballades are arranged in two pairs of two, the members of each pair being in parallel keys. The first ballade was inspired by a Scottish poem "Edward" found in a collection Stimmen der Völker in ihren Liedern compiled by Johann Gottfried Herder. It is also one of the best examples of Brahms's bardic or Ossianic style; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed to Dabringhaus und Grimm Audiovision.

Composition Year: 1896 First Performance: 1902-06-09* in Krefeld (complete) Allgemeine Deutsche Musikverein, Gustav Mahler (conductor) Recorded: Medinah Temple, Chicago, USA, 1975 ~ Performers: Marilyn Horne - Soprano Women of the Chicago Symphony Chorus - Chorus Master: Margaret Hillis Glen Ellyn Children's Chorus - Chorus Master: Doreen Rao The Philadelphia Orchestra - Post Horn Solo: Adolp Herseth James Levine - Conductor ~ Part I: 00:01 I Kräftig. Entschieden ~ Part II: 32:46 II Tempo Di Menuetto. Sehr Mäβig 42:45 III Comodo. Scherzando. Ohne Hast 01:01:31 IV Sehr Langsam. Misterioso. Durchaus PPP: "O Mensch! Gib Acht!" 01:13:12 V Lustig Im Tempo Und Keck Im Ausdruck: " Es Sungen Drei Engel" 01:17:18 VI Langsam. Ruhevoll. Empfunden ~ Work: The Symphony No. 3 in D minor by Gustav Mahler was written in sketch beginning in 1893, composed primarily in 1895, and took final form in 1896. Consisting of six movements, it is Mahler's longest composition and is the longest symphony in the standard repertoire, with a typical performance lasting around 95 to 110 minutes. It was voted one of the ten greatest symphonies of all time in a survey of conductors carried out by the BBC Music Magazine. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, Sony Music 1976

Composition Year: 1723 in Leipzig First Performance: 1723-11-02 in Störmthal Dedication: Trinity Sunday - Dedication of the Church and the Organ at Störmthal Recorded: Gedächtniskirche Stuttgart, Januar 1977 ~ Performers: Judith Beckmann – Soprano • Adalbert Kraus – Tenore • Walter Heldwein – Basso Hansjörg Schellenberger, Hedda Rothweiler – Oboe • Günther Pfitzenmaier – Fagotto • Albert Boesen – Violino • Jürgen Wolf – Violoncello • Harro Bertz – Contrabbasso Montserrat Torrent – Organo • Martha Schuster – Cembalo ~ Gächinger Kantorei Stuttgart • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ Prima Parte 00:01 1. Chorus: Höchsterwünschtes Freudenfest 06:55 2. Recitative (bass): Unendlich großer Gott, ach wende dich 08:24 3. Aria (bass): Was des Höchsten Glanz erfüllt 13:07 4. Recitative (soprano): Wie könnte dir, du höchstes Angesicht 14:54 5. Aria (soprano): Hilf, Gott, dass es uns gelingt 21:46 6. Chorale: Heilger Geist ins Himmels Throne ~ Seconda Parte 23:53 7. Recitative (tenor): Ihr Heiligen, erfreuet euch 25:31 8. Aria (tenor): Des Höchsten Gegenwart allein 31:10 9. Duet Recitative (soprano, bass): Kann wohl ein Mensch zu Gott im Himmel steigen 33:55 10. Duetto Aria (soprano, bass): O wie wohl ist uns geschehn 44:55 11. Recitative (bass): Wohlan demnach, du heilige Gemeine 45:54 12. Chorale: Sprich Ja zu meinen Taten ~ Work: Höchsterwünschtes Freudenfest (Most highly desired festival of joy), BWV 194, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for dedication of the church and organ at Störmthal on 2 November 1723. ~ The cantata text was written by an anonymous poet, including two stanzas of Johann Heermann's hymn "Treuer Gott, ich muß dir klagen" (1630) and two stanzas of Paul Gerhardt's "Wach auf, mein Herz, und singe" (1647). Bach used an earlier secular cantata as a base for a structure in two parts of six movements each, beginning with an extended choral movement and concluding both parts with chorale stanzas. The inner movements are alternating recitatives and arias. The chorales are the only movements which were certainly newly composed for the occasion. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of three oboes, bassoon, strings and continuo. After the first performance in Störmthal, Bach performed the cantata again in Leipzig for Trinity Sunday, first on 4 June 1724, a shortened version in 1726, and the complete version in 1731. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1843 First Performance: 1843-02-11 in Milan, Teatro alla Scala Recorded: Live at Teatro dell'Opera di Roma, November 20, 1969 Note: Digital remastering from mono recording ~ Performers: Giselda - Renata Scotto Oronte - Luciano Pavarotti Pagano - Ruggero Raimondi Arvino - Umberto Grilli Viclinda - Anna Di Stasio Pirro - Mario Rinaudo Acciano - Alfredo Colella Sofia - Sofia Mezzetti Priore della città di Milano - Fernandino Jacopucci ~ Chorus – Coro Del Teatro Dell'Opera Di Roma - Chorus Master – Tullio Boni Orchestra Del Teatro Dell'Opera Di Roma Gianandrea Gavazzeni - Conductor ~ ACT: I 00:01 1. Oh Nobile Esempio 12:52 2. A Te Nell'ora Infausta 15:55 3. Sciagurata! Hai Tu Creduto 21:28 4. Tutta Tremante Ancor 23:36 5. Salve Maria! 27:27 6. Vieni! Gia Posa Arvino ~ ACT: II 34:14 1. E Dunque Vero! 36:15 2. O Madre Mia... La Mia Letizia Infondere... Como Poteva Un Angelo 43:02 3. E Ancor Silenzio 49:41 4. Sei Tu L'uom Della Caverna? 51:41 5. Stolto Allah! 53:17 6. La Bella Straniera 55:55 7. O Madre Dal Cielo ~ ACT: III 01:06:53 1. Gerusalem! Gerusalem! 01:12:21 2. Dove Sola M'inoltro... Teco Io Fuggo 01:21:52 3. Che Vid'io Mai? Si! Del Ciel Che Non Punisce 01:25:00 4. Qui Posa Il Fianco 01:33:44 5. Qual Volutta Trascorrere ~ ACT: IV 01:38:04 1. Componi, O Cara Vergine 01:41:49 2. In Cielo Benedetto 01:43:56 3. Qual Prodigio... Non Fu Sogno! In Fondo All'Alma! 01:45:58 4. O Signore, Del Tetto Natio 01:50:06 5. Al Siloe... Quali Voci! 01:51:05 6. Guerra! Guerra! 01:52:58 7. Questa E Mia Tenda 01:56:52 8. Te Lodiamo ~ Work: I Lombardi alla Prima Crociata (The Lombards on the First Crusade) is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an epic poem by Tommaso Grossi, which was "very much a child of its age; a grand historical novel with a patriotic slant". Its first performance was given at the Teatro alla Scala in Milan on 11 February 1843. Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. In 1847, the opera was significantly revised to become Verdi's first grand opera for performances in France at the Salle Le Peletier of the Paris Opera under the title of Jérusalem. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Memories

Composition Year: 1852 First Performance: (First published: 1854) ~ Performers: Czech National Symphony Orchestra Dedication: Clara Schumann Recorded: October, 1-3, 2007, Germany ~ 00:01 I. Allegro Non Troppo Ma Energico 06:09 II. Andante Con Espressione 12:21 III. Scherzo - Allegro 15:51 IV. Finale ~ Work: The Piano Sonata No. 2 in F♯ minor, Op. 2 of Johannes Brahms was written in Hamburg, Germany in 1852, and published the year after. Despite being his second published work, it was actually composed before his Piano Sonata No. 1 in C major, but was published later because Brahms recognized the importance of an inaugural publication and felt that the C major sonata was of higher quality. It was sent along with his first sonata to Breitkopf und Härtel with a letter of recommendation from Robert Schumann. Schumann had already praised Brahms enthusiastically, and the sonata shows signs of an effort to impress, with its technical demands and highly dramatic nature. It was dedicated to Clara Schumann. ~ Wikipedia: Extended biography: http://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed to: Dabringhaus und Grimm Audiovistion 2008

Composition Year: 1888-94, rev.1903 First Performance: 1895-12-13* in Berlin, Berlin Philharmonic Orchestra, Gustav Mahler (conductor) Recorded: Live in the Mann Auditorium, Tel-Aviv, 27 Februari 1989 ~ Performers: Barbara Kilduff - Soprano • Christa Ludwig - Mezzosopran The National Choir "Rinat" - directed by Stanley Sperber The Tel Aviv Philharmonic Choir - directed by Steven Sloane The Ihud Choir - directed by Avner Itai The Israel Philharmonic Orchestra • James Levine - Conductor ~ 00:01 I. Allegro maestoso 22:09 II. Andante moderato 32:53 III. In ruhig fliessender Bewegung 43:57 IV. Urlicht 48:53 V. In Tempo des Scherzos ~ Work: The Symphony No. 2 in C minor by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. This symphony was one of Mahler's most popular and successful works during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work has a duration of 80 to 90 minutes, and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E♭ major. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, WDR Runkfunk

Composition Year: 1862–63 First Performance: 1865-11-25 Zürich: Johannes Brahms, piano Performers: Hardy Rittner - Piano Recorded: 1-3 October 2007 ~ 1. Thema. Ziemlich langsam 2. Variation 1. L'istesso tempo 3. Variation 2. Poco più moto 4. Variation 3. Tempo di tema 5. Variation 4. Poco più moto 6. Variation 5. Allegro capriccioso 7. Variation 6. Allegro 8. Variation 7. Andante 9. Variation 8. Andante (non troppo lento) 10. Variation 9. Schnell 11. Variation 10. Poco Adagio 12. Variation 11. Un poco più animato 13. Variation 12. Allegretto, poco scherzando - Presto 14. Variation 13. Non troppo Presto 15. Variation 14. Andante 16. Variation 15. Poco Adagio 17. Variation 16. [Adagio] ~ Work: The relationship between Robert Schumann, Clara Schumann, and Johannes Brahms started out as student comes to work with mentor but evolves into something more complex. Brahms had been introduced to the Schumanns in October 1853 with a letter of introduction from the violinist and composer Joseph Joachim. Brahms was then 20 and Schumann praised him in print in the Neue Zeitschrift für Musik as ‘fated to give expression to the times in the highest and most ideal manner.’ ~ One of the first things that the young Brahms did to thank Robert was to write a set of variations on a theme taken from a work written in 1841. The Funf Albumblätter: I. Ziemlich langsam, published part of Schumann’s Bunte Blätter, Op. 99. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed to Dabringhaus und Grimm Audiovision.

Composition Year: 1884-88 First Performance: 1889-11-20 in Budapest Philharmonic, Gustav Mahler (conductor) Recorded: 1974 ~ Performers: London Symphony Orchestra • James Levine - Conductor ~ 00:01 I Langsam. Schleppend. Wie Ein Naturlaut Im Anfang Sehr Gemächlich 16:42 II Kräftig Btwegt, Doch Nicht Zu Schnell - Trio Recht Gemächlich 24:23 III Feierlich Und Gemessen, Ohne Zu Schleppen 35:47 IV Stürmisch Bewegt ~ Work: 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 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. ~ Biography: Gustav Mahler 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer, he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. ~ Gustav Mahler Foundation: https://de.mahlerfoundation.org/ ~ ATTRIBUTION Music contained in this video is licensed to, Sony Classics.

Composition Year: ~ First Performance: 1847-11-26 in Paris: Opéra Recorded: Victory Hall, Geneva, 18-25 August 1998 ~ Performers: Le Comte de Toulouse – Philippe Rouillon Le Légat – Daniel Borowski Roger – Roberto Scandiuzzi Hélene – Marina Mescheriakova Isaure – Hélène Le Corre Gaston – Marcello Giordani Raymond – Simon Edwards ~ Chorus – Le Chœur Du Grand Théâtre De Genève - Chorus Master – Guillaume Tourniaire Orchestra – L'Orchestre De La Suisse Romande Fabio Luisi - Conductor ~ ACT: I 00:01 1. Intro 04:37 2. Non, Ce Bruit, Ce N'est Rien 06:15 3. Adieu, Mon Bien-Aime... Adieu, Je Pars, Helene 07:54 4. Ave Maria 11:16 5. Le Lever Du Soleil 13:15 6. Enfin Voici Le Jour Propice 15:44 7. Avant Que Nous Partions Pour La Croisade Sainte 17:13 8. Je Tremble Encore 20:34 9. A Vous, Comte, Jusqu'au Trepas 22:58 10. Cite Du Seigneur! 26:30 11. Viens! O Pecheur Rebelle 30:31 12. Oh! Dans L'ombre, Dans Le Mystere 33:02 13. Je T'attendais 34:07 14. Fier Soldat De La Croisade 35:41 15. Ah! Viens, Demon, Esprit Du Mal 38:24 16. Mais Quel Tumulte! ~ ACT: II 47:44 1. Grace! Mon Dieu! 50:51 2. O Jour Fatal! O Crime! 53:43 3. Du Secours! O Mon Dieu, Faut-il Mourir Ainsi! 55:47 4. Loin Des Croises, Madame 59:37 5. Quelle Ivresse! Bonheur Supreme! 01:02:44 6. O Mon Dieu! O Mon Dieu, Vois Notre Misere! 01:09:00 7. Ecoutez! Ce Sont Eux!... Marche 01:12:54 8. Dieu Soit Loue! Du Fer D'un Assassin... 01:15:21 9. Le Seigneur Nous Promet La Victoire 01:17:48 10. L'Emir Aupres De Lui M'appelle 01:20:07 11. Je Veux Encore Entendre Ta Voix 01:23:09 12. Prisonnier Dans Ramla 01:26:02 13. Helene! - O Ciel! Gaston! 01:28:02 14. Dans La Honte Et L'Épouvante 01:30:11 15. Une Pensee Amère Me Rapelle Mon Pere 01:34:09 16. Aux Armes! ~ ACT: III 01:35:58 1. O Belle Captive 01:39:16 2. Ballet: Pas De Quatre: Andante 01:41:15 3. Ballet: Pas De Quatre: Allegro 01:42:49 4. Ballet: Pas De Quatre: Allegro/Scherzando - Allegro 01:44:23 5. Ballet: Pas De Quatre: Galop 01:45:51 6. Ballet: Pas De Deux: Allegro Moderato Assai 01:48:02 7. Ballet: Pas De Deux: Allegro Non Troppo 01:48:46 8. Ballet: Pas De Deux: Tempo Di Valzer 01:49:59 9. Ballet: Pas De Deux: Allegro Vivace 01:51:36 10. Ballet: Pas Solo: Andante - 01:55:11 11. Ballet: Pas Solo: Scherzando 01:55:59 12. Ballet: Pas Solo: Allegro Moderato 01:56:42 13. Ballet: Allegro 01:58:14 14. Ballet: Pas D'ens: Allegro 02:00:50 15. Les Chretiens! Ils Sont La! 02:01:33 16. Que M'importe La Vie 02:05:14 17. On S'egorge! On Se Tue! 02:10:42 18. Marche Funebre 02:13:45 19. Barons Et Chevaliers, Devant Vous Je Proteste 02:15:46 20. O Mes Amis, Mes Freres D'Armes 02:18:43 21. Qu'on Execute La Sentence ~ ACT:IV 02:25:06 1. Voici De Josaphat La Lugubre Vallee 02:32:37 2. Saint Ermite, C'est Vous! 02:33:57 3. C'est Lui! 02:37:49 4. Dieu Nous Sépare, Helene 02:41:33 5. La Bataille 02:42:35 6. La Bataille Est Gagnee! ~ Work: Jérusalem is a grand opera in four acts by Giuseppe Verdi. The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, I Lombardi alla prima crociata. It was the one opera which he regarded as the most suitable for being translated into French and, taking Eugène Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, La favorite. The opera received its premiere performance at the Salle Le Peletier in Paris on 26 November 1847. The maiden production was designed by Paul Lormier (costumes), Charles Séchan, Jules Diéterle and Édouard Desplechin (sets of Act I, Act II, scene 1, Act III scene 1, and Act IV), and Charles-Antoine Cambon and Joseph Thierry (sets for Act II, scene 2 and Act III, scene 2). ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Philips 🤣

Composition Year: 1726 or 1727 in Leipzig First Performance: 1727-08-25 in Leipzig Dedication: Town Council Inauguration Recorded: Gedächtniskirche Stuttgart, Juni/Juli/Oktober 1983 ~ Performers: Arleen Augér – Soprano • Julia Hamari – Alto Hannes, Bernhard & Wolfgang Läubin – Tromba • Norbert Schmitt – Timpani • Günther Passin – Oboe, Oboe d’amore • Diethelm Jonas – Oboe • Rainer Schottstedt – Fagotto • Susanne Müller-Hornbach – Violoncello • Harro Bertz – Contrabbasso • Hans-Joachim Erhard – Organo • Michael Behringer – Cembalo ~ Gächinger Kantorei Stuttgart • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ 00:01 1. Chorus: Ihr Tore zu Zion 04:22 2. Recitative (soprano): Der Hüter Israels entschläft noch schlummert nicht 05:36 3. Aria (soprano): Gott, wir danken deiner Güte 11:53 4. Recitative (alto): O Leipziger Jerusalem 12:51 5. Aria (alto): Sende, Herr, den Segen ein ~ 6. Recitative: [lost] 16:18 7. Chorale: ab initio repetatur ~ Work: Ihr Tore zu Zion also called Ihr Pforten zu Zion (You gates of Zion), BWV 193,[a] is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig for Ratswechsel, the inauguration of a new town council, in 1727 and first performed it on 25 August 1727. The music survives in an incomplete state. ~ History and words: While living in Leipzig, Bach composed several cantatas for the Ratswechsel, the inauguration of the newly elected town council. This event took place in a festive service, which was not part of the liturgical year, on the Monday following the feast of St. Bartholomew on 24 August. In 1723, Bach's first year in Leipzig, he began the series with Preise, Jerusalem, den Herrn, BWV 119. Another cantata was performed in 1725, but only the text has survived. Bach first performed Ihr Tore zu Zion, BWV 193 on 25 August 1727 at St. Nicholas Church. ~ The words are by an unknown poet, who is assumed by Christoph Wolff to have been Bach's regular collaborator Picander, the librettist of the related secular cantata. The text identifies Leipzig with the holy city of Jerusalem, praising God as the protector of the "Leipziger Jerusalem". Ideas from psalms are included, using Psalm 87:2, "The Lord loveth the gates of Zion more than all the dwellings of Jacob." in movement 1, and Psalm 121:4, "Behold, he that keepeth Israel shall neither slumber nor sleep." in movement 2. ~ The work shared material with a secular cantata which premiered the same month. Ihr Häuser des Himmels, ihr scheinenden Lichter, BWV 193a, was a dramma per musica (drama for music) composed for the name day of Augustus II the Strong on 3 August 1727. Movements 1, 3 and 5 of Ihr Tore zu Zion are probably a parody of the secular work. However, the music of this piece is also lost. According to Alfred Dürr, both works may include earlier music, perhaps composed in Köthen. One movement of the text of Ihr Tore zu Zion, a recitative, is lost. The first chorus is repeated at the end as is stated at the end of most extant parts ("Chorus ab initio repetatur"). ~ The surviving music was first published in 1894. It cannot be given a satisfactory performance without a certain amount of reconstruction of lost material, as the parts for tenor, bass, basso continuo and other instruments (probably trumpets and timpani, maybe also flutes) for all of the music are missing. A reconstruction was made for Helmuth Rilling in 1983 by Reinhold Kubik. Ton Koopman made a version for his 1999 recording, adding a recitative for bass at the end. Other reconstructions of the work were made by Michael Radulesco and Alan Dergal Rautenberg. To achieve the scoring Bach usually used for festive occasions, all of these reconstructions restore the missing tenor and bass parts in the opening chorus as well as the basso continuo for the whole work and add trumpets and timpani ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1862–63 First Performance: 1865-11-25 Zürich: Johannes Brahms, piano Performers: Peter Bradley-Fulgoni - Piano Recorded: 1996 ~ 00:01 - Heft I: 1. Thema. Non troppo Presto 2. Variation 1 3. Variation 2 4. Variation 3 5. Variation 4 6. Variation 5 7. Variation 6 8. Variation 7 9. Variation 8 10. Variation 9 11. Variation 10 12. Variation 11. Andante 13. Variation 12. 14. Variation 13. 15. Variation 14. Allegro ~ 14:08 - Heft II 16. Thema. Non troppo Presto 17. Variation 1 18. Variation 2. Poco Animato 19. Variation 3 20. Variation 4. Poco Allegretto 21. Variation 5 22. Variation 6. Poco più vivace 23. Variation 7 24. Variation 8. Allegro 25. Variation 9 26. Variation 10. Veloce, energico 27. Variation 11. Vivace 28. Variation 12. Un poco Andante 29. Variation 13. Un poco più Andante ~ Work: Variations on a Theme of Paganini, Op. 35, is a work for piano composed in 1863 by Johannes Brahms, based on the Caprice No. 24 in A minor by Niccolò Paganini. Brahms intended the work to be more than simply a set of theme and variations; each variation also has the characteristic of a study. He published it as Studies for Pianoforte: Variations on a Theme of Paganini. The work was dedicated to the piano virtuoso Carl Tausig. ~ It is well known for its harmonic depth and extreme physical difficulty. A particular emphasis of the technical challenges lie on hand independence, with the left hand often mirroring the right hand throughout the piece or having its own set of obstacles. ~ David Dubal describes it as "a legend in the piano literature," and "fiendish," "one of the most subtly difficult works in the literature." Clara Schumann called it Hexenvariationen (Witch's Variations) because of its difficulty. Dubal quotes critic James Huneker: ~ “Brahms and Paganini! Was ever so strange a couple in harness? Caliban and Ariel, Jove and Puck. The stolid German, the vibratile Italian! Yet fantasy wins, even if brewed in a homely Teutonic kettle ... These diabolical variations, the last word in the technical literature of the piano, are also vast spiritual problems. To play them requires fingers of steel, a heart of burning lava and the courage of a lion.” ~ The work consists of two books. Each book opens with the theme, Paganini's Caprice No. 24 in A minor, followed by fourteen variations. The final variation in each section is virtuosic and climactic. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 4.0 / Peter Bradley-Fulgoni

Composition Year: 1845 First Performance: 1845-02-15 in Milan, Teatro alla Scala Recorded: Live performance, Milan, March 26, 1951 ~ Performers: Giovanna - Renata Tebaldi Carlo VII, the Dauphin - Carlo Bergonzi Giacomo - Rolando Panerai Delil - Giulio Scarinci Talbot - Antonio Massaria ~ RAI Orchestra & Chorus, Milan Alfredo Simonetto - Conductor ~ ACT: I 00:01 01. 0verture ~ PROLOGUE 14:39 2. Trascorrere m'intesi ... Sotto uпа quercia parvemi [Carlo. Chorus] 21:01 З. Pondo е letal, martiro [Carlo, Chorus] 23:49 4. Gelo, tеггоге m'invade! [Giacomo] 26:15 5. Oh, bеп s'addice ... Sempre all'alba [Giovanna] 31:29 6. Paventi, Carlo, to forse? ... Tu sei bella! [Carlo, Chorus] 35:42 7. Pronla sono! [Giovanna, Carlo, Giacomo] ~ ACT ONE 38:04 8. Аi lari! Alla patria! [Chorus, Talbol] 40:13 9. Questa геа che vi peгcuote ... Franco son io [Giacomo, Talbot, Chorus] 47:25 10. Qui! Qui ... dove piu s'apre ... О fatidica foresta [Giovanna] 51:42 11. Но risollo ... Е in tai momenti [Giovanna, Carlo, Chorus, Delil] 01:00:42 12. Vieni аl tempio [Carlo, Giovanna, Chorus] ~ ACT ТWO 01:04:45 1. Dаl cielo а noi chi viene [Chorus] 01:07:59 2. Ессо il luogo е il momento! ... Speme аl vecchio [Giacomo, Chorus, Carlo,Giovanna] 01:16:00 3. Comparire il Ciel m'ha stretto [Giacomo, Chorus, Carlo] 01:18:00 4. No! forme d'angelo [Carlo, Giacomo, Giovanna, Chorus] 01:22:11 5. Ti discolpa! ... Dеl sacrilego misfatto [Carlo, Chorus, Giacomo, Giovanna] ~ ACT THREE 01:25:35 6. I Franchi! [Chorus, Giovanna, Giacomo] 01:27:57 7. Amai, Mа un solo istante [Giovanna, Giacomo, Chorus, Carlo, Delil] 01:38:22 8. Quale piu fido amico [Carlo, Chorus, Giacomo] 01:42:32 9. Che mai fu? [Giovanna, Carlo, Giacomo] 01:44:33 10. S'apre il cielo [Giovanna, Carlo, Giacomo, Chorus] ~ Work: Giovanna d'Arco (Joan of Arc) is an operatic dramma lirico with a prologue and three acts by Giuseppe Verdi set to an Italian libretto by Temistocle Solera, who had prepared the libretti for Nabucco and I Lombardi. It is Verdi's seventh opera. The work partly reflects the story of Joan of Arc and appears to be loosely based on the play Die Jungfrau von Orleans by Friedrich von Schiller. Verdi wrote the music during the autumn and winter of 1844/45 and the opera had its first performance at Teatro alla Scala in Milan on 15 February 1845. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Fedoria records 1961.

Composition Year: 1723 in Leipzig First Performance: 1723-06-06 in Leipzig Dedication: 2nd Sunday after Trinity ~ Performers: Edith Mathis - Soprano • Anna Reynolds - Alto • Peter Schreier - Tenor • Bass Kurt Moll, Manfred Clement (Oboe d'amore, Oboe I); Robert Eliscú (Oboe II); Pierre Thibaud (Trumpet); Ingo Sinnhoffer (Violin); Johannes Fink (Viola da gamba) Continuo: Fritz Kiskalt, Johannes Fink (Violoncellos); Herbert Duft (Double-bass); Karl Kolbinger (Bassoon); Hedwig Bilgram, Elmar Schloter (Organ); Hedwig Bilgram (Harpsichord) ~ Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Conductor Recorded: München, Herkulessal, 5/1974; 1/1975 Recording quality: High ~ Part I. 00:01 1. Chorus: Die Himmel erzählen die Ehre Gottes (C major) 04:31 2. Recitativo (tenor): So läßt sich Gott nicht unbezueget! (A minor-E minor) 06:17 3. Aria (soprano): Hört, ihr Völker, Gottes Stimme (G major) 12:52 4. Recitativo (bass): Wer aber hört (E minor-C major) 13:47 5. Aria (bass): Fahr hin, abgöttische Zunft! (C major) 17:02 6. Recitativo (alto): Du hast uns, Herr, von allen Straßen (E minor) 19:09 7. Choral: Es woll uns Gott genädig sein (E minor) Part II. 21:43 8. Sinfonia (E minor) 24:37 9. Recitativo (bass): Gott segne noch die treue Schar (B minor-A minor) 25:48 10. Aria (tenor): Hasse nur, hasse mich recht (A minor) 28:51 11. Recitativo (alto): Ich fühle schon im Geist (F minor-C major) 29:55 12. Aria (alto): Liebt, ihr Christen, in der Tat! (E minor) 34:13 13. Recitativo (tenor): So soll die Christenheit (C major-E minor) 34:56 14. Choral: Es danke, Gott, und lobe dich (E minor) ~ Work: Johann Sebastian Bach composed the church cantata Die Himmel erzählen die Ehre Gottes (English: The heavens are telling the glory of God), BWV 76 in Leipzig for the second Sunday after Trinity of the liturgical year and first performed it on 6 June 1723. ~ Bach composed the cantata at a decisive turning point in his career. Moving from posts in the service of churches and courts to the town of Leipzig on the first Sunday after Trinity, 30 May 1723, he began the project of composing a new cantata for every occasion of the liturgical year. He began his first annual cycle of cantatas ambitiously with Die Elenden sollen essen, BWV 75, in an unusual layout of 14 movements in two symmetrical parts, to be performed before and after the sermon. Die Himmel erzählen die Ehre Gottes, performed a week later, has the same structure. ~ The unknown poet begins his text with a quotation from Psalm 19 and refers to both prescribed readings from the New Testament, the parable of the great banquet as the Gospel, and the First Epistle of John. Bach scored Part I with a trumpet as a symbol of God's Glory. In Part II, performed after the sermon and during communion, he wrote chamber music with oboe d'amore and viola da gamba, dealing with "brotherly devotion". Both parts are closed with a stanza of Martin Luther's hymn "Es woll uns Gott genädig sein" (1524). ~ https://www.bach-cantatas.com ~ ATTRIBUTION Music contained in this video is licensed by Archiv Produktion

Composition Year: 1873 (Summer) First Performance: 1873-11-02 in Vienna, Großer Saal des Gesellschaft der Musikfreunde (Op.56a) Vienna Philharmonic, Johannes Brahms (conductor) ~ Performers: University of Chicago Orchestra - Barbara Schubert - Conductor Recorded: Performed 25 April 2009, Mandel Hall ~ Orchestra setting, Op.56a ~ Theme. Andante Variation 1. Poco più animato Variation 2. Più vivace Variation 3. Con moto Variation 4. Andante con moto Variation 5. Vivace Variation 6. Vivace Variation 7. Grazioso Variation 8. Presto non troppo Finale. Andante ~ Work: The Variations on a Theme by Joseph Haydn, now also called the Saint Anthony Variations, is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873 at Tutzing in Bavaria. It consists of a theme in B♭ major based on a "Chorale St Antoni", eight variations, and a finale. The work was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a. ~ The orchestral version is better known and much more often heard than the two-piano version. It is often said to be the first independent set of variations for orchestra in the history of music, although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. ~ Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E♭, 2 in B♭), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform. ~ The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0

Composition Year: 1861 First Performance: 1861-12-07 in Hamburg. Clara Schumann, piano Performers: Martha Goldstein - Piano ~ 1. Aria 2. Variation 1 3. Variation 2. Animato 4. Variation 3. Dolce 5. Variation 4. Risoluto 6. Variation 5. Espressivo 7. Variation 6 8. Variation 7. Con vivacita 9. Variation 8 10. Variation 9. Poco sostenuto 11. Variation 10. Energico 12. Variation 11. Dolce 13. Variation 12. Soave 14. Variation 13. Largamente, ma non più 15. Variation 14. Sciolto 16. Variation 15 17. Variation 16. Ma marcato 18. Variation 17. Più mosso 19. Variation 18. Grazioso 20. Variation 19. Leggiero und vivace 21. Variation 20. Legato 22. Variation 21. Dolce 23. Variation 22 24. Variation 23. Vivace e staccato 25. Variation 24 26. Variation 25 27. Fuga ~ Work: The Variations and Fugue on a Theme by Handel, Op. 24, is a work for solo piano written by Johannes Brahms in 1861. It consists of a set of twenty-five variations and a concluding fugue, all based on a theme from George Frideric Handel's Harpsichord Suite No. 1 in B♭ major, HWV 434. They are known as his Handel Variations. ~ The music writer Donald Tovey has ranked it among "the half-dozen greatest sets of variations ever written". Biographer Jan Swafford describes the Handel Variations as "perhaps the finest set of piano variations since Beethoven", adding, "Besides a masterful unfolding of ideas concluding with an exuberant fugue with a finish designed to bring down the house, the work is quintessentially Brahms in other ways: the filler of traditional forms with fresh energy and imagination; the historical eclectic able to start off with a gallant little tune of Handel's, Baroque ornaments and all, and integrate it seamlessly into his own voice, in a work of massive scope and dazzling variety." ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: EFF Open Audio License /

Composition Year: 1733 (or 1743-46) in Leipzig First Performance: 1745-12-25 in Leipzig Dedication: Christmas Day Recorded: Gedächtniskirche Stuttgart, Januar/Februar 1974 ~ Performers: Helen Donath – Soprano • Niklaus Tüller – Basso Martin Wendel, Sibylle Keller-Sanwald – Flauto • Günther Passin, Thomas Schwarz – Oboe • Klaus Thunemann, Hermann Herder – Fagotto • Jürgen Wolf – Violoncello • Thomas Lom – Contrabbasso • Martha Schuster – Organo, Cembalo ~ Gächinger Kantorei Stuttgart • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ 00:01 1. Chorus: Nun danket alle Gott 06:54 2. Duet aria (soprano and bass): Der ewig reiche Gott 10:41 3. Chorale: Lob, Ehr und Preis sei Gott ~ Work: Nun danket alle Gott (Now thank ye all our God), BWV 192, is a church cantata for Trinity Sunday composed by Johann Sebastian Bach in Leipzig in 1730. It is an incomplete cantata, because its tenor part is missing. It is a chorale cantata, setting the unmodified three stanzas of Martin Rinckart's "Nun danket alle Gott" ("Now Thank We All Our God"). It has been regarded as an expansion of Bach's chorale cantata cycle. ~ History and text: Bach composed Nun danket alle Gott as a chorale cantata for Trinity, setting the unmodified text of the three stanzas of Martin Rinckart's hymn of thanksgiving "Nun danket alle Gott". It was first performed on 4 June 1730. Alfred Dürr assumed that it could have been written for a wedding.[4] It has also been regarded as a cantata for Reformation Day. The cantata is not always seen as included in Bach's chorale cantata cycle. The original score is held by the Staatsbibliothek zu Berlin. The tenor part was lost and has been reconstructed by several scholars; e.g., Günter Raphael and Alfred Dürr. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1862, revised 1868-69 First Performance: 1862-11-22 in St. Petersburg: Imperial Theatre Recorded: Live at the Teatro Comunale di Firenze, 14th June, 1953. ~ Performers: Leonora di Vargas - Renata Tebaldi, Don Carlo - Aldo Protti, Don Alvaro - Mario Del Monaco, Preziosilla - Fedora Barbieri, Padre Guardiano - Cesare Siepi, Il Marchese di Calatrava - Silvio Maionica, Fra Melitone - Renato Capecchi, Curra - Angela Vercelli, Mastro Trabuco - Piero De Palma, Un Chirurgo - Walter Finessi, Un Alcalde - Giorgio Giorgetti. ~ Maggio Musicale Fiorentino Orchestra and Chorus. Dimitri Mitropoulos, Conductor, ~ ACT: I 00:01 1. Sinfonia 08:02 2. Buona notte, mia figlia 11:42 3. Me pellegrina ed orfana 16:05 4. Ah! per sempre, o mio bell'angiol 20:02 5. Gonfio hai di gioia il core 23:31 6. Vil seduttor!... Infame figlia! ~ ACT: II 25:37 1. Olà! Ben giungi, o mulattier 28:04 2. Viva la guerra!... Al suon del tamburo 32:06 3. Padre, eterno Signor 35:42 3. Viva la buona compagnia 38:15 4. Son Pereda, son ricco d'onore... 43:42 5. Son giunta! Grazie, o Dio! 45:07 6. Madre, pietosa Vergine 49:45 7. Chi siete? 51:42 8. Chi mi cerca? 52:46 9. Infelice, delusa, reietta 58:05 10. Se voi scacciate questo penita 01:03:31 11. Sull'alba il piede all'eremo 01:06:10 12. Il santo nome di Dio Signore 01:13:31 13. La Vergine degli Angeli ~ ACT: III 01:17:41 1. La vita è inferno all'infelice 01:26:10 2. O tu che in seno agli angeli 01:30:03 3. Al tradimento! 01:35:50 4. Solenne in quest'ora 01:40:02 5. Morir!... Tremenda cosa 01:41:55 6. Urna fatale 01:45:39 7. Lieta novella è salve 01:47:39 8. Lorché pifferi e tamburi 01:50:43 9. A buon mercato 01:52:56 10. Pan, pan, per carita 01:53:22 11. Povere madri deserte nel pianto 01:57:49 12. Toh, Toh!... Poffare il mondo! 02:01:42 13. Rataplan... Rataplan ~ ACT: IV 02:05:24 1. Fate la carità 02:12:08 2. Auf!... Pazienza 02:14:27 3. Del mondo i disinganni 02:16:33 4. Giunge qualcuno... aprite 02:17:40 5. Invano, Alvaro, ti celasti al mondo 02:20:57 6. Le minacce, i fieri accenti 02:26:43 7. Pace, pace, pace, mio Dio 02:33:17 8. Io muoio!... Confession! 02:36:26 9. Non imprecare; umiliati 02:39:04 10. Lieta poss'io precederti ~ Work: La forza del destino, The Power of Fate, often translated The Force of Destiny) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager (Wallenstein's Camp). It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 29 November 1862 O.S. (N.S. 10 November). ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Archipel Records.

Composition Year: 1724 in Leipzig First Performance: 1724-01-06 in Leipzig Dedication: Epiphany ~ Performers: Ernst Haefliger - Tenor • Theo Adam - Basso • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent Recorded: München Herkulesssaal, 2/1967 ~ 00:01 1. Chorus: Sie werden aus Saba alle kommen (C major) 03:34 2.Chorus: Die Kön'ge aus Saba kamen dar (A minor) 04:16 3.Recitativo (bass): Was dort Jesaias vorhergesehn (F major-G major) 06:29 4.Aria (bass): Gold aus Ophir ist zu schlecht (E minor) 09:07 5.Recitativo (tenor): Verschmähe nicht (A minor-E minor) 10:38 6.Aria (tenor): Nimm mich dir zu eigen hin (C major) 13:59 7.Chorale: Ei nun, mein Gott, so fall ich dir (A minor) ~ Work: Sie werden aus Saba alle kommen (They will all come forth out of Sheba), BWV 65, is a church cantata by Johann Sebastian Bach. He composed it in 1724 in Leipzig for Epiphany and first performed it on 6 January 1724 as part of his first cantata cycle. ~ Bach wrote the cantata to conclude his first Christmas season as Thomaskantor in Leipzig which had been celebrated with five cantatas, four of them new compositions, the Magnificat and a new Sanctus. The text by an anonymous author, who possibly supplied texts of two of the Christmas cantatas as well, combines the prescribed readings for the feast day, the prophecy from the Book of Isaiah and the gospel of Matthew about the Wise Men from the East. The librettist begins with a quotation from the prophecy, comments it by a stanza of the early anonymous Christmas carol "Ein Kind geborn zu Bethlehem", says in a sequence of recitatives and arias that the prophecy was fulfilled in Bethlehem, concluding that the Christian should bring his heart as a gift. The cantata ends with a chorale, stanza 10 of Paul Gerhardt's hymn "Ich hab in Gottes Herz und Sinn". ~ Bach festively scored the seven-movement cantata, for two vocal soloists (tenor and bass), a four-part choir and a Baroque instrumental ensemble of two horns, two recorders, two oboes da caccia, strings and basso continuo. All recitatives are secco, but the full orchestra plays for the opening chorus, the last aria and the closing chorale. ~ Bach Cantatas Website: https://www.bach-cantatas.com/index.htm ~ ATTRIBUTION Music contained in this video is licensed by Archiv Production

Composition Year: 1733 (or 1743-46) in Leipzig First Performance: 1745-12-25 in Leipzig Dedication: Christmas Day Recorded: Gedächtniskirche Stuttgart, Februar/Mai 1971 ~ Performers: Nobuko Gamo-Yamamoto – Soprano • Adalbert Kraus – Tenore ~ Hermann Sauter, Eugen Mayer, Heiner Schatz – Tromba • Karl Schad – Timpani • Peter-Lukas Graf, Heidi Indermühle – Flauto • Otto Winter, Adolf Meidhof – Oboe • Jürgen Wolf – Violoncello • Manfred Gräser – Contrabbasso • Martha Schuster – Organo, Cembalo ~ Gächinger Kantorei Stuttgart • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ 00:01 1. Chorus: Gloria in excelsis Deo 06:40 2. Duetto Aria (soprano, tenor): Gloria Patri et Filio et Spiritui sancto 12:13 3. Chorale: Sicut erat in principio ~ Work: Gloria in excelsis Deo (Glory to God in the Highest), BWV 191, is a church cantata written by the German Baroque composer Johann Sebastian Bach, and the only one of his church cantatas set to a Latin text. He composed the Christmas cantata in Leipzig probably in 1742, for a celebration by the university of Leipzig. The composition's three movements all derive from the Gloria of Bach's 1733 Kyrie–Gloria Mass, which the composer would later use as the Gloria of his Mass in B minor. ~ Biography: Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for instrumental compositions such as the Cello Suites and Brandenburg Concertos; keyboard works such as the Goldberg Variations, The Well-Tempered Clavier and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music. ~ In the last decades of his life, he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1844 (First publication) First Performance: 1844-11-03 in Rome, Teatro Argentina ~ Performers: Francesco Foscari - Gian Giacomo Guelfi, Lucrezia Contandini - Maria Vitale, Jacopo Foscari - Carlo Bergonzi, Jacopo Loredano - Pasquale Lombardi, Barbarigo - Mario Bersieri, Servo - Gianni Barbieri, Pisana - Liliana Pellegrino, Fante - Aldo Bertocci. ~ Orchestra and Chorus of Milano della Rai Carlo Maria Giulini - Conductor ~ Recorded: Milano's Auditorium della Rai, December, 4, 1951 ~ 00:01 1. Prelude 02:36 2. Intro: 'Silenzio...Mistero... 06:50 3. Qui Ti Rimani Alquanto 11:41 4. No...MI Lasciate...Andar Io Voglio A Lui... 15:47 5. Tu Al Cui Sguardo Onnipossente 18:55 6. Che Mi Rechi?...Favella... 20:59 7. Tacque Il Reo! 22:27 8. Ecomi Solo Alfine... 24:27 9. O Vecchio Cor, Che Batti 26:53 10. Tu Pur Lo Sai Che Giudice 28:23 11. Tu Pur Lo Sai Che Giudice ~ Act II: 33:55 1. Notte!...Perpetua Notte, Che Qui Regni!... 38:01 2. Non Maledirmi, O Prode 40:02 3. Ah, Sposo Mio!...Che Vedo? 42:54 4. No, Non Morrai 45:58 5. Tutta E Calma La Laguna 46:56 6. Maledetto Chi Mi Toglie 48:58 7. Ah, Padre!... 50:38 8. Nel Tuo Paterno Amplesso 56:29 9. Ah Si, Il Tempo Che Mai Non S'Arresta 58:06 10. Che Piu Si Tarda? 01:01:16 11. O Patrizi...Il Volesse...Eccomi A Voi... 01:04:54 12. Queste Innocenti Lagrime ~ Act III: 01:09:26 1. Alla Gioia!...Alle Corse, Alle Gare... 01:10:48 2. Amici ...Che S'Aspetta? 01:11:13 3. Tace Il Vento, E Queta L'Onda 01:13:15 4. La Giustizia Del Leone!... 01:16:40 5. All'Infelice Veglio 01:20:32 6. Egli Ora Parte!...Ed Innocente Parte!... 01:23:41 7. Barbarigo, Che Rechi! 01:25:11 8. Piu Non Vivie!... 01:26:33 9. Signor, Chiedon Parlarti I Dieci... 01:29:35 10. Questa Dunque E L'Iniqua Mercede 01:33:25 11. Padre...Mio Prence... 01:34:48 12. Quel Bronzo Ferale ~ Work: I due Foscari (The Two Foscari) is an opera in three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the 1821 historical play, The Two Foscari by Lord Byron. After his success with Ernani, Verdi received a commission from Rome's Teatro Argentina and he went to work with Piave in considering two subjects, one of which eventually became this opera. I due Foscari was given its premiere performance in Rome on 3 November 1844 and was generally quite successful, although not on the scale of Ernani, which remained Verdi's most popular opera until Il trovatore in 1853. ~ Wikipedia: Extended biography: https://bit.ly/3JPtvPs ~ ATTRIBUTION Music contained in this video is licensed to: Cetra

Violin Concerto, in D major, Op.77- Johannes Brahms 'Schwalbé - Ansermet - 1964' ~ Composition Year: 1878 First Performance: 1879-01-01 in Leipzig, Gewandhaussaal Joseph Joachim (1831–1907), violin; Johannes Brahms, conductor Performers: Michel Schwalbé - Violin • Orchestre de la Suisse Romande • Ernest Ansermet - Conductor Recorded: December 9, 1964. Victoria Hall, Geneva ~ 00:01 1. Allegro non troppo 23:24 2. Adagio 32:30 3. Allegro giocoso, ma non troppo vivace ~ Work: The Violin Concerto in D major, Op. 77, was composed by Johannes Brahms in 1878 and dedicated to his friend, the violinist Joseph Joachim. It is Brahms's only violin concerto, and, according to Joachim, one of the four great German violin concerti. The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed under: Public Domain, Gagnaux Collection: Schattdorf

Cantata BWV 190, Singet dem Herrn ein neues Lied - Johann Sebastian Bach 'Helmuth Rilling' ~ Composition Year: 1723-24 in Leipzig First Performance: 1724-01-01 in Leipzig Dedication: Christs Circumcision (New Year's Day) Recorded: Gedächtniskirche Stuttgart, Dezember 1977/Januar ~ Performers: Helen Watts – Alto • Kurt Equiluz – Tenore • Niklaus Tüller – Basso • Hans Wolf, Walter Schetsche, Rainer Kuch – Tromba • Karl Schad – Timpani • Allan Vogel, Hedda Rothweiler, Dietmar Keller – Oboe • Günther Passin – Oboe d’amore • Paul Gerhard Leihenseder – Fagotto • Hans Häublein – Violoncello • Manfred Gräser – Contrabbasso • Hans-Joachim Erhard – Organo, Cembalo ~ Gächinger Kantorei • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ 00:01 1. Chorus: Singet dem Herrn ein neues Lied 05:21 2. Chorale and recitative (alto, tenor, bass): Herr Gott, dich loben wir 07:07 3. Aria (alto): Lobe, Zion, deinen Gott 10:18 4. Recitative (bass): Es wünsche sich die Welt 11:46 5. Aria (tenor, bass): Jesus soll mein alles sein 14:43 6. Recitative (tenor): Nun, Jesus gebe 16:06 7. Chorale: Laß uns das Jahr vollbringen ~ Work: Singet dem Herrn ein neues Lied (Sing a new song to the Lord), BWV 190,[a] is a church cantata by Johann Sebastian Bach. He wrote it in Leipzig for the New Year's Day and first performt it on 1 January 1724 as part of his first cantata cycle. He adapted it in 1730 to Singet dem Herrn ein neues Lied, BWV 190a, for the celebration of the bicentennial of the Augsburg Confession. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1878–81 First Performance: 1881-11-09 in Budapest, Redoutensaal. Johannes Brahms (piano solo) ; Budapest Philharmonic / Alexander Erkel ~ Performers: Performers: Cleveland Orchestra • Leon Fleisher - Piano • George Szell - Conductor Recorded: 19-20 Octoberi, 1962, Severance Hall, Cleveland, Ohio Recording quality: High ~ 00:01 1. Allegro non troppo 17:01 2. Allegro appassionato 25:34 3. Andante 38:29 4. Allegretto grazioso ~ Work: The Piano Concerto No. 2 in B♭ major, Op. 83, by Johannes Brahms is separated by a gap of 22 years from his first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It took him three years to work on this concerto, which indicates that he was always self-critical. He wrote to Clara Schumann: "I want to tell you that I have written a very small piano concerto with a very small and pretty scherzo." Ironically, he was describing a huge piece. This concerto is dedicated to his teacher, Eduard Marxsen. The public premiere of the concerto was given in Budapest on 9 November 1881, with Brahms as soloist and the Budapest Philharmonic Orchestra, and was an immediate success. He proceeded to perform the piece in many cities across Europe. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed to: Epic, Sony Music.