![Edvard Grieg - 6 Romances, op. 39 [With score] @DamonJHK](https://i.ytimg.com/vi/VCR50kgUBOU/maxresdefault.jpg)
Uploaded August 2020 | Updated September 2026, 1 hour ago
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers (Songs 1, 3, 5): Monica Groop (Voice), Ilmo Ranta (Piano)
-Performers (Songs 2, 4): Marianne Hirsti (Voice), Rudolf Jansen (Piano)
-Performers (Song 6): Knut Skram (Voice), Rudolf Jansen (Piano)
00:00 - I. Fra Monte Pincio {From monte Pincio}
04:53 - II. Dulgt kjærlighed {Hidden love}
07:54 - III. I liden højt deroppe {High on the grassy slope}
10:00 - IV. Millom rosor {Among roses}
11:51 - V. Ved en ung hustrus båre {At the grave of a young wife}
16:42 - VI. Hører jeg sangen klinge {Hör’ ich das Liedchen klingen; When I hear that song}
6 Romances for Voice and Piano, op. 39, written in 1869-84
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers (Songs 1, 3, 5): Monica Groop (Voice), Ilmo Ranta (Piano)
-Performers (Songs 2, 4): Marianne Hirsti (Voice), Rudolf Jansen (Piano)
-Performers (Song 6): Knut Skram (Voice), Rudolf Jansen (Piano)
00:00 - I. Fra Monte Pincio {From monte Pincio}
04:53 - II. Dulgt kjærlighed {Hidden love}
07:54 - III. I liden højt deroppe {High on the grassy slope}
10:00 - IV. Millom rosor {Among roses}
11:51 - V. Ved en ung hustrus båre {At the grave of a young wife}
16:42 - VI. Hører jeg sangen klinge {Hör’ ich das Liedchen klingen; When I hear that song}
6 Romances for Voice and Piano, op. 39, written in 1869-84
![Edvard Grieg - 6 Romances, op. 39 [With score]](https://i.ytimg.com/vi/VCR50kgUBOU/mqdefault.jpg "Edvard Grieg - 6 Romances, op. 39 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers (Songs 1, 3, 5): Monica Groop (Voice), Ilmo Ranta (Piano)
-Performers (Songs 2, 4): Marianne Hirsti (Voice), Rudolf Jansen (Piano)
-Performers (Song 6): Knut Skram (Voice), Rudolf Jansen (Piano)
00:00 - I. Fra Monte Pincio {From monte Pincio}
04:53 - II. Dulgt kjærlighed {Hidden love}
07:54 - III. I liden højt deroppe {High on the grassy slope}
10:00 - IV. Millom rosor {Among roses}
11:51 - V. Ved en ung hustrus båre {At the grave of a young wife}
16:42 - VI. Hører jeg sangen klinge {Hör’ ich das Liedchen klingen; When I hear that song}
6 Romances for Voice and Piano, op. 39, written in 1869-84")
![Edvard Grieg - 5 Songs, op. 70 [With score]](https://i.ytimg.com/vi/VH6v0UzKP80/mqdefault.jpg "Edvard Grieg - 5 Songs, op. 70 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Roger Vignoles (Piano)
5 Songs for Voice and Piano, op. 70, written in 1900
00:00 - I. Eros
03:03 - II. Jeg lever et Liv i Længsel {I live a life of longing}
05:42 - III. Lys Nat {Lucent night}
07:42 - IV. Se dig for, når du vælger din Vej {Beware when you choose your way}
09:41 - V. Digtervise (Poets song)")
![Igor Stravinsky - Symphony of Psalms [With score]](https://i.ytimg.com/vi/VUSfrgPQjRM/mqdefault.jpg "Igor Stravinsky - Symphony of Psalms [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 6 April 1971)
Orchestra: Chicago Symphony Orchestra
Conductor: Sir Georg Solti
The Symphony of Psalms, written in 1930
00:00 - 1st movement
03:24 - 2nd movement
10:07 - 3rd movement
The Symphony of Psalms is a three-movement choral symphony and was composed by Igor Stravinsky in 1930 during his neoclassical period. The work was commissioned by Serge Koussevitzky to celebrate the 50th anniversary of the Boston Symphony Orchestra. The symphony derives its name from the use of Psalm texts in the choral parts.
According to Stravinsky, the commission for the work came about from a routine suggestion from Koussevitzky, who was also Stravinskys publisher, that he write something popular for orchestra without chorus. Stravinsky, however, insisted on the psalm-symphony idea, which he had had in mind for some time. The choice of Psalm 150, however, was in part because of the popularity of that text. The symphony was written in Nice and Echarvines, which was Stravinskys summer home in those years. The three movements are performed without a break, and the texts sung by the chorus are drawn from the Vulgate versions in Latin. Unlike many pieces composed for chorus and orchestra, Stravinsky said that “it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.
Although the piece was written for the Boston Symphony Orchestra, the world premiere was actually given in Brussels by the Société Philharmonique de Bruxelles on December 13, 1930, under the direction of Ernest Ansermet. The American premiere of the piece was given soon afterwards by Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society (trained by Arthur Fiedler) on December 19, 1930. The first recording was made by Stravinsky himself with the Orchestre des Concerts Straram and the Alexis Vlassay Choir at the Théâtre des Champs-Élysées in Paris on February 17 and 18, 1931. The choir, throaty, full-blooded, darkly, inwardly passionate, sing with liturgical conviction and intensity in a memorable performance.
Like many of Stravinskys other works, including Petrushka and The Rite of Spring, the Symphony of Psalms occasionally employs the octatonic scale (which alternates whole steps and half steps), the longest stretch being eleven bars between rehearsal numbers 4 and 6 in the first movement. Stravinsky stated that the root of the entire symphony is the sequences of two minor thirds joined by a major third... derived from the trumpet-harp motive at the beginning of the allegro in Psalm 150.
Stravinsky portrays the religious nature of the text through his compositional techniques. He wrote substantial portions of the piece in fugal counterpoint, which was used widely in the church in the Renaissance and Baroque periods. He also uses the large chorus to create a ritual atmosphere like that of the Church.
Original Audio: https://www.youtube.com/watch?v=7AEyByiiN7g (and 2 others)")
![Olivier Messiaen - Catalogue doiseaux (Book 4) [With score]](https://i.ytimg.com/vi/WCdi0BomzJg/mqdefault.jpg "Olivier Messiaen - Catalogue doiseaux (Book 4) [With score]
Composer: Olivier Messiaen (10 December 1908 27 April 1992)
Pianist: Yvonne Loriod (Messiaens wife)
Olivier Messiaen - Catalogue doiseaux, written between 1956-1958, Book 4 (Quatrième livre)
VII. La Rousserolle effarvatte (Eurasian reed warbler)
The fourth book contains the seventh and central movement, La rousserolle effarvatte (the reed warbler), at over half an hour the longest movement. Like the fourth movement and like Messiaens earlier Reveil des oiseaux, it outlines more than a day of birdsong, with dozens of birds heard.")
![Paul Hindemith - String Quartet No. 6 [With score]](https://i.ytimg.com/vi/WLXVWmTDw7U/mqdefault.jpg "Paul Hindemith - String Quartet No. 6 [With score]
-Composer: Paul Hindemith (16 November 1895 - 28 December 1963)
-Performers: The Danish Quartet
String Quartet No. 6 in E flat Major, written in 1943
00:00 - I. Sehr ruhig und ausdrucksvoll
04:44 - II. Lebhaft und sehr energisch
09:25 - III. Ruhig. Variationen
18:55 - IV. Finale. Breit und energisch")
![Edvard Grieg - Foran sydens kloster, op 20 [With score]](https://i.ytimg.com/vi/WXBrGo3psfI/mqdefault.jpg "Edvard Grieg - Foran sydens kloster, op 20 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Soloists: Barbara Bonney (Soprano), Randi Stene (Alto)
-Orchestra: Göteborgs Symfoniker
-Conductor: Neeme Järvi
-Choir: Womens Voices of the Gothenburg Symphony Chorus
Foran Sydens kloster (Before a Southern Convent), for soprano, alto, female chorus and orchestra, Op. 20, written in 1871")
![Robert Schumann - Romanzen und Balladen II, op. 49 [With score]](https://i.ytimg.com/vi/WxpRPYLwFH4/mqdefault.jpg "Robert Schumann - Romanzen und Balladen II, op. 49 [With score]
-Composer: Robert Schumann (8 June 1810 – 29 July 1856)
-Performers: Dietrich Fischer-Dieskau (Bariton; I and II), Christoph Eschenbach (Piano; I and II), Olaf Bär (Bariton; III), Helmut Deutsch (Piano; III)
Romanzen und Balladen II, 3 Songs for Voice and Piano, op. 49, written in 1840
00:00 - I. Die beiden Grenadiere {The two Grenadiers}
03:49 - II. Die feindlichen Brüder {The warring Brothers}
05:59 - III. Die Nonne {The Nun}
1840 was Schumanns first great lieder year, the one that produced the great song cycles Myrthen, the Heine and the Eichendorff Liederkreis, Dichterliebe, Frauenliebe und -Leben, and the Kerner Zwölf Gedichte. As if this was not enough, he also wrote individual songs, many of which, like these, he collected into small Romance and Ballad Collections. He wrote Die feindlichen Bruder in April and Die bieden Grenadiere in May, both to Heine poems, and Die Nonne to a Fröhlich poem in November. They were published, however, with Die beiden Grenadiere as the first, making a cyclic progression from war among nations, to war between brothers, and finally to war with ones emotions in a cloister, supposedly a place of peace.
Die beiden Grenadiere is one of Schumanns masterpieces, setting up in generally less than four minutes a drama that it might take a movie half an hour to present. The music begins dispiritedly, though still with military discipline, slowly grows in pride and resolve, bursting out with passionate energy with the famous quotation from the Marseillaise, and then falling back. This last stroke adds poignancy to a song that otherwise could be just bombast; the listener is left to speculate whether the soldier has fallen prey to despair or to death. Ironically, while Schumanns version is the more insightful and effective, Richard Wagners, written only months before, was far more successful, particularly in France (doubtless Wagners more optimistic ending, using the Marseillaise triumphantly, was more appealing to French sensibilities!).
While this song is certainly the best known and for the most effective, with its vivid characterization and intense drama, the other two songs have their own merits. The deliberately archaic style Heine adopted for Die feindlichen Bruder is reflected in the rushed, slightly breathless vocal lines and subdued piano figures suggesting the flashing of the swords; this is not an eye-witness account of either the duel or a sighting of its ghostly repetition, but rather a fireside narration, evoking a sense of spookiness rather than terror. (Some performers have even interpreted it as an ironic treatment of the craze for Gothic stories of duels, tragic loves and rivalries, and ghosts.) Die Nonne, with its contrasting sorrow and merriment, shows Schumanns ability to handle pathos with a delicate touch that keeps it from becoming overwrought, and so, he makes the final drooping notes a particularly striking portrayal of quiet, unexpressed grief.
[allmusic.com]")
![Robert Schumann - Liederkreis, op. 39 [With score]](https://i.ytimg.com/vi/X0pFd-UQ99c/mqdefault.jpg "Robert Schumann - Liederkreis, op. 39 [With score]
Composer: Robert Schumann (8 June 1810 29 July 1856)
Performers: Dietrich Fischer-Dieskau, Günther Weissenborn (piano)
Year of recording: 1955?
Liederkreis [12 songs for voice and piano], op. 39, written in 1840
00:00 - I. In der Fremde [In a distant land]
01:57 - II. Intermezzo
03:39 - III. Waldesgespräch [Forest conversation]
05:45 - IV. Die Stille [The silence]
07:14 - V. Mondnacht [Moonlit night]
10:47 - VI. Schöne Fremde [Lovely distant land]
12:05 - VII. Auf einer Burg [In a fortress]
15:28 - VIII. In der Fremde
17:00 - IX. Wehmut [Melancholy]
19:11 - X. Zwielicht [Twilight]
22:12 - XI. Im Walde [In the forest]
23:33 - XII. Frühlingsnacht [Spring night]
Schumann was such a quick and prolific composer that its often difficult to draw distinct points of development in his style, but Schumann himself described these songs as my most Romantic music ever. The Eichendorff texts are (with the exception of Intermezzo, in which the location is not specified) all set outdoors, often with direct references to nature, and each refers to travel, whether thoughts traveling to a beloved or a physical journey, both typical Romantic concepts. They are also highly Romantic in their expressive moodiness, whether ecstatic or melancholy, and the occasional aura of mystery, whether the unexplained tears of the bride in Auf einer Burg or the supernatural in Waldesgesprach. Schumanns selection of these varied poems itself creates a Romantic juxtaposition of emotions, and the passionate settings capture and emphasize those aspects.
They also show Schumanns increasing sophistication as a song composer; the piano becomes more important in its own right, and the scene painting from the piano is among Schumanns best, creating the desired effects immediately and with no excess. (The exception is the relentlessly jolly Der frohe Wandersmann, which originally opened the cycle and which Schumann left out of the 1850 and subsequent editions.) For example, Waldesgesprach uses an alluring lyrical figure that quickly paints the seductive, wild figure of the Lorelei, a recitative-like dialog between the protagonists, and a hunting theme that first depicts the man as the hunter and the woman as the object of his hunt, and repeats at the end, ironically, to show the reversal of roles by the end of the song. There are quick characterizations, such as the sudden surge at du schöne Braut suggesting an eager lunge towards the lady, and the almost smugly seductive decrescendo on the honeyed heim.
The cycle is atypical of Schumann in the relative lack of musical linkages between and among the songs. There is no piano postlude reprising a theme from the first song, as there is in Frauenliebe und -leben or Dichterliebe, and while there are tonal connections between songs, most notably between Auf einer Burg and the following In der Fremde (which also share similar imagery), they are less closely constructed than the connections in other song cycles.
Schumann often integrated references to his and Claras love in his songs and his instrumental and orchestral writing. In the second song, Intermezzo, he includes the famous Clara theme, a descending five-note pattern that in German notation spells out her name. Numerous elements of the cycle reflect events of Schumanns own life from blissful love to the wedding procession that fills the listener with sorrow in Im Walde, paranoia in Zwielicht, and finally the various images of death.
[Allmusic.com]
Original Audio: https://www.youtube.com/watch?v=05Z-xfutxrw")
![Pyotr Ilyich Tchaikovsky - The nutcracker - Overture (Der Nussknacker) [With score]](https://i.ytimg.com/vi/X29x79NPR-k/mqdefault.jpg "Pyotr Ilyich Tchaikovsky - The nutcracker - Overture (Der Nussknacker) [With score]
Composer: Pyotr Ilyich Tchaikovsky (7 May 1840 - 6 November 1893)
Orchestra: National Philharmonic Orchestra
Conductor: Richard Bonynge
+This is a test video. In 2017, My friend and I will work together on the famous ballet by Tchaikovsky: The nutcracker. And the result will be uploaded on my friends channel: https://www.youtube.com/channel/UCEH6BN8A5xxnMgg0uPQlU1A")
![Edvard Grieg - Four Pieces for Piano, op. 1 [With score]](https://i.ytimg.com/vi/XWRJNVrzzAY/mqdefault.jpg "Edvard Grieg - Four Pieces for Piano, op. 1 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performer: Gerhard Oppitz
Four Pieces for Piano, op. 1, written in 1861-63
00:03 - I. Allegro con leggerezza
01:30 - II. Non Allegro e molto espressivo
05:40 - III. Mazurka. Con grazia
08:48 - IV. Allegretto con moto")
![Edvard Grieg - Four Romances, op. 15 [With score]](https://i.ytimg.com/vi/Xtzqsd6FRyk/mqdefault.jpg "Edvard Grieg - Four Romances, op. 15 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers (Songs 1, 2): Marianne Hirsti (voice), Rudolf Jansen (Piano)
-Performers (Songs 3, 4): Monica Groop (voice), Ilmo Ranta (Piano)
Four Romances {Romancer} for Voice and Piano, op. 15, written in 1864-68
00:03 - I. Margretes vuggesang {Margarets lullaby}
01:43 - II. Kjærlighed {Love}
04:02 - III. Langelandsk folkemelodi {Folk tune from Langeland}
06:47 - IV. Modersorg {A mothers grief}")
![Francis Poulenc - Nocturnes [With score]](https://i.ytimg.com/vi/YDK45rPV5nA/mqdefault.jpg "Francis Poulenc - Nocturnes [With score]
Composer: Francis Jean Marcel Poulenc (7 January 1899 – 30 January 1963)
Performer: Alexandre Tharaud
Recorded in: 1996
Eight Nocturnes for Piano solo, written in 1929-1938
00:00 - I. Sans traîner
03:05 - II. Très animé [Bal des jeunes filles]
04:22 - III. Modéré mais sans lenteur [Les cloches de Malines]
08:16 - IV. Lent, très las et piano [Bal fantôme]
09:49 - V. Presto misterioso [Phalènes]
11:06 - VI. Très calme mais sans traîner
14:40 - VII. Assez allant
16:38 - VIII. Très modéré [Pour servir de coda au cycle]
Poulencs eight nocturnes span about a decade (1929-1938). Although they are often played separately, Poulenc created a cycle when he composed the eighth nocturne and gave it the title Pour servir de Coda au Cycle (To serve as Coda for the Cycle). Unlike Chopins or Faurés, Poulencs nocturnes are not romantic tone-poems. They are instead night-scenes and sound-images of public and private events.
-The first Nocturne, in C major, acts as a prelude to the set. Composed in 1929, it is typically Poulenc – constructed out of a touching, almost child-like melodic pattern, with some Stravinskian style touches and a weird epilogue marked, le double plus lent.
-The second Nocturne (1933) is entitled Bal de jeunes filles. The young girls, in Poulencs world, are indulging in a quadrille, a dance with both military and theatrical associations. According to Wilfrid Mellers, this Nocturne is a delicious Poulenc image for the vulnerability of youth, perhaps even the vanity of human wishes. In -1934 Poulenc published the Nocturnes, Nos. 3 to 6. The third Nocturne is entitled Les Cloches de Malines. Mellers sees this as a different kind of genre-piece for it aurally depicts a small-town market-square that is probably, at dead of night, destitute of people. Bells toll through fourths between F and C, played by the left hand in equal crotchets but irregular metre, as though the mechanism is defective. It may well be, since the bells are very old, being in one of Poulencs antique pieces – with the proviso that its world, however ancient, is still extant… the cacophony that eventually forms a brief middle section has a programmatic intention… perhaps the frantic clangings warn of some disaster, or maybe the clocks works have gone crazy. In any case, we hear the raucous chaos in psychological as well as physical terms: the hubbub is the ills that flesh is heir to, the slings and arrows of outrageous fortune, things that go bump in the night.
-The fourth Nocturne, Bal fantôme, carries a quotation by Julien Green: Pas une note des valses ou des scottisches ne se perdait dans toute la maison, si bien que le malade eut sa part de la fête et put rêver sur son grabat aux bonnes années de sa jeunesse (Not a note of the waltzes or the schottisches was lost in the whole house, so that the sick man shared in the festival and could dream on his death-bed of the good years of his youth). We are led by Pouleuc through an old-world, phantom ball where the chromatic harmony, sensuously spaced, moves us through a bygone-era waltz. It is dream-like, seductive and welcoming.
-The fifth Nocturne is entitled Phalènes (Moths). In this Presto misterioso, Mellers hears the moths flickering in an irridescent bitonality. It is one of Poulencs more pictorial pieces – the coda is a quivering, sepulchral fragment of music, which Mellers feels may signal a human allegory: we may be moths, jittering directionless:”
-We are again outdoors for the sixth Nocturne. Mellers sees the work as wafting through darkness.
-In the seventh Nocturne, our jeunes filles are back dancing or strolling on a balmy summer night. According to Mellers, since the young girls are recalled in the seventh Nocturne (1935), it makes sense that Poulenc should round off the cycle with an epilogue.
-The eighth Nocturne (1938) is designated Nocturne pour servir de Coda au Cycle. It begins with a tune close to that of the first Nocturne, but in 3/4 instead of 4/4. Mellers sees this as a positive evolution… the music modulates flat wards ending on bare fifths of C, so the tonic C basic to the suite is reinstated, but not strongly affirmed. Fallibly human, Poulenc mistrusted definitive answers. This delectable suite of eight Nocturnes displays the loving care with which Poulenc defined, and protected, his vulnerabilities, even though they are less patent than those of the jeunes filles.
Information: [naxos.com]")
