![Anton Webern - Quartet (op. 22) [With score] @DamonJHK](https://i.ytimg.com/vi/oF-dk5ieDDg/maxresdefault.jpg)
Uploaded January 2017 | Updated September 2026, 2 hours ago
Composer: Anton Webern (3 December 1883 -- 15 September 1945)
Performers: Charles Rosen (piano), Daniel Majeske (violin), Robert Marcellus (clarinet), Abraham Weinstein (saxophone)
Conductor: Pierre Boulez
Quartet for violin, clarinet, tenor saxophone and piano, op. 22, written between 1928-1930
00:00 - I. Sehr mäßig
03:30 - II. Sehr schwungvoll
Webern wrote his Quartet for violin, clarinet, tenor saxophone, and piano, Op. 22 (1928-1930) for the 60th birthday of architect Adolf Loos. As happened during the composition of his String Trio, Op. 20 (1926-1927), Webern discarded sketches for a projected third movement after deeming the first two movements a complete entity. Another connection the quartet shares with the String Trio is an opaque structure Stravinsky described as "scatty."
The quartet was originally intended as a sort of reflection of nature, depicting landscapes and flora. After Webern had sketched themes according to this intent, the work gradually morphed into its completely different final form. The canons that had by this time begun to permeate Webern's music are more loosely realized in the quartet than in the composer's previous works. In the first movement, for example, their most conspicuous feature is a two-note "limping" motive, a short-long rhythm that is later reversed; in the middle of the movement, the motive is sounded both in its original rhythmic values and in augmentation.
The second movement alludes to techniques Webern more fully developed in his Concerto, Op. 24 (1931-1934). Most prominent is the splintering of notes within a phrase among the various instruments in the sort of intricate pointillistic texture that became one of the most identifiable hallmarks of the composer's style. When uniformly unfavorable reviews poured in after the quartet's premiere in Vienna on April 13, 1931, Webern was unworried. Though the performance must have been superb -- the personnel included violinist Rudolf Kolisch and pianist Eduard Steuermann -- one critic wrote that the work displayed "amazing similarity to certain basic human utterances of an indecent nature."
Original Audio with description: youtu.be/sXE8ha8-Xx4 and allmusic.com/composition/quartet-for-clarinet-saxophone-piano-violin-op-22-mc0002388432
Composer: Anton Webern (3 December 1883 -- 15 September 1945)
Performers: Charles Rosen (piano), Daniel Majeske (violin), Robert Marcellus (clarinet), Abraham Weinstein (saxophone)
Conductor: Pierre Boulez
Quartet for violin, clarinet, tenor saxophone and piano, op. 22, written between 1928-1930
00:00 - I. Sehr mäßig
03:30 - II. Sehr schwungvoll
Webern wrote his Quartet for violin, clarinet, tenor saxophone, and piano, Op. 22 (1928-1930) for the 60th birthday of architect Adolf Loos. As happened during the composition of his String Trio, Op. 20 (1926-1927), Webern discarded sketches for a projected third movement after deeming the first two movements a complete entity. Another connection the quartet shares with the String Trio is an opaque structure Stravinsky described as "scatty."
The quartet was originally intended as a sort of reflection of nature, depicting landscapes and flora. After Webern had sketched themes according to this intent, the work gradually morphed into its completely different final form. The canons that had by this time begun to permeate Webern's music are more loosely realized in the quartet than in the composer's previous works. In the first movement, for example, their most conspicuous feature is a two-note "limping" motive, a short-long rhythm that is later reversed; in the middle of the movement, the motive is sounded both in its original rhythmic values and in augmentation.
The second movement alludes to techniques Webern more fully developed in his Concerto, Op. 24 (1931-1934). Most prominent is the splintering of notes within a phrase among the various instruments in the sort of intricate pointillistic texture that became one of the most identifiable hallmarks of the composer's style. When uniformly unfavorable reviews poured in after the quartet's premiere in Vienna on April 13, 1931, Webern was unworried. Though the performance must have been superb -- the personnel included violinist Rudolf Kolisch and pianist Eduard Steuermann -- one critic wrote that the work displayed "amazing similarity to certain basic human utterances of an indecent nature."
Original Audio with description: youtu.be/sXE8ha8-Xx4 and allmusic.com/composition/quartet-for-clarinet-saxophone-piano-violin-op-22-mc0002388432
![Anton Webern - Quartet (op. 22) [With score]](https://i.ytimg.com/vi/oF-dk5ieDDg/mqdefault.jpg "Anton Webern - Quartet (op. 22) [With score]
Composer: Anton Webern (3 December 1883 15 September 1945)
Performers: Charles Rosen (piano), Daniel Majeske (violin), Robert Marcellus (clarinet), Abraham Weinstein (saxophone)
Conductor: Pierre Boulez
Quartet for violin, clarinet, tenor saxophone and piano, op. 22, written between 1928-1930
00:00 - I. Sehr mäßig
03:30 - II. Sehr schwungvoll
Webern wrote his Quartet for violin, clarinet, tenor saxophone, and piano, Op. 22 (1928-1930) for the 60th birthday of architect Adolf Loos. As happened during the composition of his String Trio, Op. 20 (1926-1927), Webern discarded sketches for a projected third movement after deeming the first two movements a complete entity. Another connection the quartet shares with the String Trio is an opaque structure Stravinsky described as scatty.
The quartet was originally intended as a sort of reflection of nature, depicting landscapes and flora. After Webern had sketched themes according to this intent, the work gradually morphed into its completely different final form. The canons that had by this time begun to permeate Weberns music are more loosely realized in the quartet than in the composers previous works. In the first movement, for example, their most conspicuous feature is a two-note limping motive, a short-long rhythm that is later reversed; in the middle of the movement, the motive is sounded both in its original rhythmic values and in augmentation.
The second movement alludes to techniques Webern more fully developed in his Concerto, Op. 24 (1931-1934). Most prominent is the splintering of notes within a phrase among the various instruments in the sort of intricate pointillistic texture that became one of the most identifiable hallmarks of the composers style. When uniformly unfavorable reviews poured in after the quartets premiere in Vienna on April 13, 1931, Webern was unworried. Though the performance must have been superb the personnel included violinist Rudolf Kolisch and pianist Eduard Steuermann one critic wrote that the work displayed amazing similarity to certain basic human utterances of an indecent nature.
Original Audio with description: https://youtu.be/sXE8ha8-Xx4 and http://www.allmusic.com/composition/quartet-for-clarinet-saxophone-piano-violin-op-22-mc0002388432")
![Alban Berg - Lulu Suite [With score]](https://i.ytimg.com/vi/ooM3YF2aQBg/mqdefault.jpg "Alban Berg - Lulu Suite [With score]
-Composer: Alban Berg (9 February 1885 - 24 December 1935)
-Orchestra: City of Birmingham Symphony Orchestra
-Conductor: Sir Simon Rattle
-Soprano: Arleen Auger
Lulu-Suite, 5 symphonic pieces from the opera for soprano & orchestra, written in 1934
00:00 - I. Rondo (Andante & hymn)
14:50 - II. Ostinato (Allegro)
18:39 - III. Lied der Lulu [Lulus song] (Comodo)
21:39 - IV. Variationen [Variations] (Moderato)
25:06 - V. Adagio (Sostenuto, lento, grave)
Alban Berg assembled his Lulu Suite for orchestra and soprano in 1934. This suite involves music from his opera Lulu, which was still incomplete when the composer died prematurely at the age of fifty in the following year. The operas short score was already finished, and the first two acts were completely orchestrated. It was from these first two movements that the music for the concert suite was drawn. It is in five movements and is slightly more than a half hour in duration. Earlier in his career, Berg had created a similar assemblage from his first opera, entitled Three Fragments from Wozzeck, but the Lulu Suite is better known and more frequently recorded. This is perhaps because the latter work is more diverse. The Wozzeck pieces concentrate exclusively on the music surrounding the protagonists wife Marie. In the Lulu Suite, listeners hear music concerning a broad range of characters. The opening setting concerns Alwa, one of Lulus many lovers. His father is Doctor Schoen, to whom the main character delivers her Lied der Lulu in Act II of the opera and in the third movement of the concert suite. In the fifth movement, the soprano also performs a brief excerpt from the role of Countess Geschwitz, another fatality to Lulus charms. The orchestral interludes include music set in Paris and the East Side of London, where Jack the Ripper murders Lulu. The concert suite also features different musical forms, including a rondo and a set of variations. There is a lot to hear in this suite, making it something more than a contracted showcase intended to get an audience to the actual opera. It is an outstanding work in its own right.
The text is by Wedekind, an elder peer of the composer who originally conceived of the opera as a play in which he also sometimes performed. In fact, when Berg was a young man, still a teen in 1903, he saw a play production of Lulu featuring Wedekind as Jack the Ripper. The playwrights wife recorded in her diary seeing the young and handsome composer in the audience. The play had an enormous effect on Berg, as his enthusiastic praises of the work in his letters demonstrate. Though he had a stately bearing matched with an outward, bourgeois respectability, the Austrian was no angel. Unlike Webern, his friend and fellow student of Schoenberg at the time, Berg did not shy away from the seamier side of life. He regarded sensuality as an enormous energy deserving of the same respect as other human traits. This may have been used as an excuse for his extramarital affairs, though it was not a part of his life that he shared with his more pious friends. Berg did not go to shocking excesses in order to live out his worldview, but he did attempt to woo married women and did similar sorts of unlovely things. To the benefit of music, his overt sensuality carried over into his art perfectly. His depictions of the darker side of human nature are often more mysterious and ambiguous than a one-dimensional evocation of evil. Though Lulu killed people and Jack the Ripper did the same, the opera unfolds with a musical setting that depicts a raw and unknowable element in the human psyche that civilization grasps blindly at in order to tame it. This setting is transferred from the opera to the Lulu Suite with uncanny perfection, revealing a talented genius that regarded some weaknesses and a misunderstood power.
[allmusic.com]")
![Edvard Grieg - 5 Songs, op. 60 [With score]](https://i.ytimg.com/vi/ouNvW2KgmDA/mqdefault.jpg "Edvard Grieg - 5 Songs, op. 60 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Ilmo Ranta (Piano)
5 songs for Voice and Piano, op. 60, written in 1893-94
00:00 - I. Liden Kirsten {Little Kirsten}
03:48 - II. Moderen synger {The mothers lament}
06:14 - III. Mens jeg venter {While I wait}
08:33 - IV. Der skreg en Fugl {There Screeched a Bird}
10:37 - V. Og jeg vil ha mig en Hjertenskjær {And I will take a sweetheart}
The five songs in Digte (Poems), Op. 60, were completed in 1894 and composed to texts by Vilhelm Krag. Dedicated to the Dutch baritone Johannes Messchaert (regarded as among the finest concert singers of his age), they were premiered by him in Copenhagen on January 20, 1894. Krags arch-Romantic imagery served Grieg well in the creation of these unceasingly interesting lyric expressions.
The first song, Liden Kirsten (Little Kirsten) has a folk-like temperament, well suited to the bright simplicity of the poem. The second song, Moderen synger (The Mother Sings) is an anguished lament, arrestingly modern in its use of a hesitating melody set over an unsettlingly dissonant accompaniment. Mens jeg venter (While I Wait) is frequently performed apart from the other songs in this opus and presents a superb example of the composers sophistication as well as his gift for freshness of utterance. The harmonization is chromatic, often changing key and supporting melodic cells with startling effect. The fourth song, Der skreg en Fugl (There Screeched a Bird) attests to the composers close observation of natures sounds. In the introduction and final measures of this song, Grieg used a motif from one of his sketchbooks, noted as the cry of a seagull heard near the Hardanger fjord. The song is dramatic and impressionistic at the same time, prevailingly bleak and singular in its use of minor seventh chords near the ending, voiced over the sustaining pedal throughout the sequence to create a blurred and dissonant effect. The song seems to simply hang in suspension at its conclusion. The final song, Og jeg vil ha mig en Hjertenskjær (And I will Take a Sweetheart) is an exuberant outburst of high spirits and a superb encore piece. It is found in the song repertoires of many singers who do not otherwise program much of Griegs music.
[allmusic.com]")
![William Walton - Viola Concerto [With score]](https://i.ytimg.com/vi/ozL-R0yWhPs/mqdefault.jpg "William Walton - Viola Concerto [With score]
Composer: Sir William Turner Walton (29 March 1902 – 8 March 1983)
Orchestra: Sofia Symphonic Orchestra
Conductor: Ljubka Biagioni
Viola: Simonide Braconi
Viola Concerto, written in 1928/ revised in 1961
00:00 - I. Andante comodo
09:02 - II. Vivo, con molto preciso
13:34 - III. Allegro moderato
In 1928, the conductor Sir Thomas Beecham suggested to Walton that he write a concerto for the eminent violist Lionel Tertis. The composer agreed and started work on it almost immediately; on completion he sent it to Tertis who, much to Waltons disappointment, rejected it. In his biography, My Viola and I (Elek, 1974) Tertis relented: I had not learnt to appreciate Waltons style. The innovations in his musical language which now seem so logical and so truly in the mainstream of music then struck me as far-fetched. The composer and violist Paul Hindemith gave the first performance in London in October 1929, when the Sunday Times critic Ernest Newman wrote, somewhat unenthusiastically, The composer has a grasp of musical logic, a sense of fitness and a command of craftsmanship that is very unusual in a young man. In 1960, and again in 1961, Walton ever the perfectionist extensively revised the work, but it has never been among his most-admired compositions.
Tertis original reservations may well have had something to do with the fact that the concerto is not, in any obvious sense, a showpiece for the viola. It certainly makes virtuosic demands on the soloist, but its strengths lie in the intimate dialogues between viola and orchestra and the intricate, almost casual, way in which the themes are crafted.
In the first movement, Andante commodo, the music, though lyrical, is haunted by feelings of restlessness, with frequent time changes and shifts of harmony. There is even a trace of impatience in the way, rising to its highest register, the viola delivers its own version of the second subject.
The second movement, Vivo con molto preciso, has three main thematic ideas. It opens with fast, rhythmic figures tossed between orchestra and soloist, abruptly cut short by quiet chords in the brass and followed by lively explorations by the soloist. The movement closes with a more contemplative version of the opening theme, and ends quietly.
The final movement, Allegro moderato, the longest of the three, starts with a rather unpromising melody for bassoon, soon to be expanded, enriched, and brought to a climax by the viola before being passed to the orchestra. The poetic sincerity with which Walton returns to earlier themes as the movement draws to a close is among the concertos finest moments.
[allmusic.com]
Original Performance: https://www.youtube.com/watch?v=nElLYUTuGgs
NB: Please note that both audio and sheet music are NOT mine. If you have complains about this upload concerning copyright issues, please write me a direct message. In that case, I will delete the video immediately.")
![Haram Kim - 24 Pieces for Instruments No. 3 Little French [With score]](https://i.ytimg.com/vi/p5GVl6Eb7f4/mqdefault.jpg "Haram Kim - 24 Pieces for Instruments No. 3 Little French [With score]
Composer: Haram Kim (b. 1998)
Performer: Haram Kim
Composers note: Please understand my lack of professionalism in sound quality and piano playing since I am major in Violin performance. I hope you enjoy the piece!")
![Edvard Grieg - 9 Romances and Songs, op. 18 [With score]](https://i.ytimg.com/vi/pFE6RpwHLrY/mqdefault.jpg "Edvard Grieg - 9 Romances and Songs, op. 18 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Roger Vignoles (Piano)
Romances and Songs for Voice and Piano, op. 18, written in 1865-69
00:00 - I. Vandring i Skoven {Wandering in the woods}
01:57 - II. Hun er saa hvid {She is so white}
03:25 - III. En Digters sidste Sang {A poets last song}
05:42 - IV. Efteraarsstormen {Autumn storms}
09:11 - V. Poesien {Poesy}
12:57 - VI. Ungbirken {The young birch tree}
14:50 - VII. Hytten {The hut} (For danish text turn subtitles on)
16:18 - VIII. Rosenknoppen {The rosebud}
18:27 - IX. Serenade til Welhaven {Serenade to Welhaven}")
![Edvard Grieg - Two symphonic pieces, op. 14 [With score]](https://i.ytimg.com/vi/pNYV14alDNM/mqdefault.jpg "Edvard Grieg - Two symphonic pieces, op. 14 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: The Cologne Piano Duo
Deux pièces symphoniques {Two symphonic pieces} for Piano four hands, op. 14, written in 1869
00:03 - I. Adagio cantabile
04:42 - II. Allegro energico")
![Maurice Ravel - Shéhérazade [With score] (Reupload)](https://i.ytimg.com/vi/paZ7LXd_wKM/mqdefault.jpg "Maurice Ravel - Shéhérazade [With score] (Reupload)
Composer: Joseph-Maurice Ravel (7 March 1875 28 December 1937)
Mezzo-Soprano: Anne Sofie von Otter
Conductor: Pierre Boulez
Orchestra: The Cleveland Orchestra
Shéhérazade - Trois poèmes pour chant et orchestre sur les vers de Tristan Klingsor [Three poems for voice and orchestra on verses by Tristan Klingsor]
00:00 - I. Asie
09:54 - II. La flûte enchantée
13:02 - III. Lindifférent
Ravel was drawn to the sensual allure of the Orient as early as 1898, when he composed the Ouverture de Shéhérazade, a work which quotes a Persian melody while drawing on the spiritual ancestry of Rimsky-Korsakovs Sheherazade of 1888. He returned to its title in 1903 for this cycle of three songs for mezzo-soprano and orchestra, based on the exotic texts of the French poet Tristan Klingsor. With Shéhérazade, his first major statement for orchestra, Ravel demonstrates his mastery of muted and climactic orchestral details, while eliciting equal measures of ecstasy and restraint for the human voice.
Like the story in Rimsky-Korsakovs famous suite, Shéhérazade conjures up Eastern tales of indulgence, perversity, death and danger. The first poem, Asie opens with a hushed string tremolo, followed by a meandering oboe melody, establishing a seductive atmosphere of Oriental fantasy. The opening four lines are declaimed syllabically and recitative-like (Asia, Asia, Asia/marvelous old land of nursery tales/where fantasy sleeps like an empress/in her forest filled with mystery). Pentatonic scale figures, grace notes and fluttering strings further impart the poems chilling decadence, leading to an accelerating climax on the words I would like to see those who die for love as well as those who die for hatred. The piece falls silent and shimmers to a close, as the recitative of the opening concludes the tale over a faintly rolling timpani.
La Flute enchantée and Lindifferent, are considerably shorter than Asie, and each song concludes with a brief yet subtly modified reference to the opening theme.
La Flute enchantée is a timeless portrait of a girl listening to the sounds of a flute, while Lindifferent sometimes regarded as the most beautiful of all of Ravels songs concerns the attraction of the unattainable. If all three of the Tristan Klingsor settings in the cycle are expressions of longing, this final one finds a particularly personal tone, through false modality, and a final pandiatonically extended triad with a major ninth. After Shéhérazade, Ravel wrote no song with an erotic theme until he completed Chansons madécasses in 1926.
[allmusic.com]")
![Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]](https://i.ytimg.com/vi/pyRX_bq3Tds/mqdefault.jpg "Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzkys Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinskys new neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinskys bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw")
![Francis Poulenc - Chansons gaillardes [With score]](https://i.ytimg.com/vi/qGsWD9BxWXE/mqdefault.jpg "Francis Poulenc - Chansons gaillardes [With score]
-Composer: Francis Jean Marcel Poulenc (7 January 1899 – 30 January 1963)
-Performers: Gilles Cachemaille (voice), Pascal Rogé (piano)
Chansons gaillardes, song cycle for voice and piano, FP 42, written in 1925-26
00:00 - I. La Maîtresse volage
00:47 - II. Chanson à boire
03:21 - III. Madrigal
03:55 - IV. Invocation aux Parques
05:45 - V. Couplets bachiques
07:06 - VI. LOffrande
08:03 - VII. La Belle Jeunesse
09:41 - VIII. Sérénade
By 1926, when Heugel published the Chansons gaillardes, Poulenc was already the popular composer of the Trois Mouvements perpétuels, for piano and the hit ballet Les Biches and was in constant touch with everyone who was anyone in Paris Stravinsky (whose influence he gratefully acknowledged) and Falla, Stokowski, and Koussevitzky, Diaghilev and Landowska, Cocteau and Max Jacob, to take names at random. But if his great lyrical gifts and smartalecky chic brought him eager acclaim, he was both avid and insecure regarding technique, his private studies with Koechlin having finished but two years previously. And if the Chansons gaillardes ribald songs do not yet share the exquisite balance and appositeness of his mature mélodies, especially those set to poems by Apollinaire and Eluard, they nevertheless partake imperishably of the insouciance and brilliant whirl of the pampered playboy-composer. In The Diary of My Songs, Poulenc remarked of the Chansons gaillardes, I am fond of this collection where I tried to show that outright obscenity can adapt itself to music...The texts were found in an anthology of songs of the seventeenth century (an old edition). Wry comment on the fidelity of his mistress and frenzied panegyrics to wine and the pleasures of the bed Couplets bachiques and La belle jeunesse must be performed very fast, Poulenc noted alternate with an eerily serene prayer to the Fates and the elegant conceit of Sérénade. The airy madrigal tells little Jeanneton that, while shes lovely as an angel and sweet as a lamb, a girl without breasts is like partridge served without orange. By postmodern standards, LOffrande is the only truly obscene item in the collection a virgin offers the god of love a candle to obtain a lover and he replies that, while she waits, she could always make use of her offering (Servez-vous toujours de loffrande). The first performance of the Chansons gaillardes was given by baritone Pierre Bernac with Poulenc accompanying on May 2, 1926, in company with the premiere of the latters Trio for oboe, bassoon, and piano (dedicated to Falla), and works by Auric at a concert so well attended that over 200 people had to be turned away. From 1934 until his retirement in 1960, Bernac was Poulencs preferred interpreter, giving premieres and recording many of his songs with the composer, including two numbers from Chansons gaillardes.
[allmusic.com]")
![Francis Poulenc - Cocardes [With score]](https://i.ytimg.com/vi/qOnTZGB9yCE/mqdefault.jpg "Francis Poulenc - Cocardes [With score]
-Composer: Francis Jean Marcel Poulenc (7 January 1899 – 30 January 1963)
-Text: Jean Cocteau (5 July 1889 – 11 October 1963)
-Performers: Mario Nuvoli (Tenor), Giulino Plotino (Violin), Francesco Tamiati (Piston), Floriano Rosini (Trombone), Roberto Morini (Percussion)
Cocardes, song cycle for voice and chamber ensemble, FP 16b
00:00 - I. Miel de Narbonne
02:56 - II. Bonne dEnfant
04:26 - III. Enfant de troupe")
![Robert Schumann - Fünf Lieder {Five Songs}, op. 40 [With score]](https://i.ytimg.com/vi/qdHM5a5qjI4/mqdefault.jpg "Robert Schumann - Fünf Lieder {Five Songs}, op. 40 [With score]
-Composer: Robert Schumann (8 June 1810 – 29 July 1856)
-Performers: Dietrich Fischer-Dieskau (Baritone), Christoph Eschenbach (Piano)
Fünf Lieder {Five Songs} for Voice and Piano, op. 40, written in 1840
[00:04] - I. Märzveilchen
[01:33] - II. Muttertraum
[04:19] - III. Der Soldat
[07:11] - IV. Der Spielmann
**[10:19] - V. Verratene Liebe
Schumann wrote these songs to poems by Hans Christian Andersen, an author best known today for his fairy tales, and dedicated them to the poet, who had visited Robert and Clara Schumann earlier that year. The translations were by Adalbert von Chamisso, author of the texts for Frauenliebe und -leben, which Schumann wrote during the same period. They were in the same volume that Frauenliebe came from.
He noted in the letter that he sent with a presentation copy that Andersen may very well find the settings strange, as he himself found the texts strange at first. He continued to say that as he began to understand the poems and their strangeness more deeply, his music started to become increasingly strange as well.
While the situations depicted vary widely, the songs are still linked somewhat loosely by the keys, and considerably more strongly by their place in Schumanns ongoing tendency to explore changes in moods and feelings rather than to express and develop one single emotion, as well as by that element of strangeness.
Part of the strangeness lies in a certain emotional compression; in both Muttertraum and Der Spielmann, Schumann compresses into one song the dramatic and emotional range that he unfolded over the course of a cycle in Dichterliebe and Frauenliebe und -leben, written around the same time.
Another part lies in an almost cinematic quality, such as in Muttertraum, with its changing images: the theme suggesting the mother rocking the baby in her arms, the peaceful image in the vocal lines with the more ominous underlying piano, and the growing forcefulness of the darker mood as the song ends; in Der Soldat, with the powerful scene painting from the imitation of the death march and the almost disturbingly vivid image in the postlude of the actual moment of death and the fall of the body; in Der Spielmann, with the images of dancing and the close-ups of the fiddlers deterioration; and in Verratene Liebe, as the gossip about the kiss spreads, at first quietly, and then thundering cheerfully all through the town.
[allmusic.com]")
