![Edvard Grieg - Foran sydens kloster, op 20 [With score] @DamonJHK](https://i.ytimg.com/vi/WXBrGo3psfI/maxresdefault.jpg)
Uploaded August 2020 | Updated September 2026, 1 hour ago
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Soloists: Barbara Bonney (Soprano), Randi Stene (Alto)
-Orchestra: Göteborgs Symfoniker
-Conductor: Neeme Järvi
-Choir: Women's 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
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Soloists: Barbara Bonney (Soprano), Randi Stene (Alto)
-Orchestra: Göteborgs Symfoniker
-Conductor: Neeme Järvi
-Choir: Women's 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
![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]")
![Hyunwoo Jung - Nostalgic Thoughts III [With score]](https://i.ytimg.com/vi/YErHmnJJAvw/mqdefault.jpg "Hyunwoo Jung - Nostalgic Thoughts III [With score]
Hyunwoo Jung (정현우) - Nostalgic Thoughts III for Viola and Piano (2022)
Viola: 신일경
Piano: 김지원")
![Edvard Grieg - Four Songs, op. 2 [With score]](https://i.ytimg.com/vi/YHtzx1oWHok/mqdefault.jpg "Edvard Grieg - Four Songs, op. 2 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (voice), Ilmo Ranta (Piano)
Vier Lieder {Four Songs}, for Voice and Piano, op. 2, written in 1861
00:03 - I. Die Müllerin {The Maid of the Mill}
02:47 - II. Eingehüllt in graue Wolken {Closely wrapt in misty billows}
04:28 - III. Ich stand in dunkeln Träumen {I stood in gloomy musing}
07:55 - IV. Was soll ich sagen? {What shall I say?}")
![Igor Stravinsky - Octet for Wind Instruments [With score]](https://i.ytimg.com/vi/YyqLnP0hOnI/mqdefault.jpg "Igor Stravinsky - Octet for Wind Instruments [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 6 April 1971)
Performers: The Columbia Chamber Ensemble
Conductor: Igor Stravinsky
Octet, for wind instruments, written in 1923
00:00 - I. Sinfonia
04:00 - II. Tema con Variazioni
11:14 - III. Finale
Stravinskys neo-Classical works in part reacted against what the composer perceived as ultra-romantic excesses in the music of German symphonic composers. However, these works must also be seen as a rejection of Stravinskys own earlier stylistic thinking. The Octet was the first masterpiece in the composers new style. Scored for flute, clarinet, two bassoons, two trumpets in A and C, and tenor and bass trombones, the Octet reflected Stravinskys general reduction in instrumental forces during and after the First World War. Although the war and its dismal aftermath necessitated economical scoring, these events do not explain the composers intriguing choice of instruments he could have written for eight strings. It seems that Stravinsky was striving for an extreme (and un-Romantic) clarity of timbre and texture. As he explained in his 1924 article, Some Ideas About my Octour [Octet]: Wind instruments seem to me to be more apt to render a certain rigidity of the form I had in mind than other instruments the stringed instruments, for example, which are less cold and more vague. Stravinsky further outlined his neo-Classical credo by stressing that the Octet is not an emotive work, but a musical composition based on elements which are sufficient in themselves. Accordingly, he chose classical forms commonly associated with absolute music: sonata form for the first movement, theme and variations (incorporating a fugue) for the second, and a rondo finale.
Stravinskys application of sonata form in the first movement mostly involves surface features. A slow introduction gives way to a fanfare-like main theme, which in turn is followed by a development section featuring incessant running notes and fragments of the fanfare. The main theme then returns in full, but is performed only once, and the movement closes abruptly. A theme and five variations make up the second movement. The theme is octatonic, and does not point to any tonal center, although the harmonies under the theme strongly suggest D major. The first variation makes use of the first few notes of the Dies irae chant, immersed in flurries of running notes, and returns before the third and fifth variations. The second variation is march-like in character, the third a waltz, the fourth a can-can, and the last a fugue. Stravinsky closes the Octet with a true rondo, which opens with a constant pulsing accompaniment from one of the bassoons while the other plays the main theme. The ensuing episode opens with a brass outburst and trumpet melody, which eventually dissolves into a reappearance of the main theme. The second episode features the flute, while the final appearance of the main theme, re-orchestrated and rhythmically altered, closes the movement.
The work was dedicated secretly to Vera Soudeikine (born de Bosset), whom Stravinsky had met in 1920, and with whom he had fallen in love and eventually married. Stravinsky conducted the first performance of the piece on October 18, 1923, the first time the composer had introduced one of his own works.
[allmusic.com]")
![Edvard Grieg - Six Songs, op. 4 [With score]](https://i.ytimg.com/vi/ZlCV5FXmxHw/mqdefault.jpg "Edvard Grieg - Six Songs, op. 4 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers (Songs 1, 2, 3): Monica Groop (voice), Love Derwinger (Piano)
-Performers (Songs 4, 5, 6): Dietrich Fischer-Dieskau (voice), Hartmut Höll (Piano)
Sechs Lieder {Six Songs}, for Voice and Piano, op. 4, written in 1863-64
00:03 - I. Die Waise {The orphan}
02:35 - II. Morgenthau {Morning dew}
04:01 - III. Abschied {Farewell}
06:31 - IV. Jägerlied {Hunting song}
07:15 - V. Das alte Lied {The old song}
09:54 - VI. Wo sind sie hin? {Where have they gone?}")
![P. I. Tchaikovsky - The Nutcracker, Acte I. Tableau I. N°1 - The Christmas Tree [With score]](https://i.ytimg.com/vi/ZoLPVgCHDdg/mqdefault.jpg "P. I. Tchaikovsky - The Nutcracker, Acte I. Tableau I. N°1 - The Christmas Tree [With score]
Composer: Pyotr Ilyich Tchaikovsky (7 May 1840 - 6 November 1893)
Orchestra: Mariinsky Theatre Orchestra
Conductor: Valery Gergiev
[Scéne de lornement et de lillumination de labre de Noël]
+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")
