![Edvard Grieg - Haugtussa {The Mountain Maid}, op. 67 [With score] @DamonJHK](https://i.ytimg.com/vi/6TronoEtXds/maxresdefault.jpg)
Uploaded September 2020 | Updated September 2026, 2 hours ago
-Composer Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Love Derwinger (Piano)
Haugtussa {The Mountain Maid}, Song Cycle for Voice and Piano, op. 67, written in 1895
00:00 - I. Det syng {The Enticement}
03:30 - II. Veslemöy {Veslemöy. The Young Maiden}
06:20 - III. Blåbær-Li {Blueberry Slope}
09:14 - IV. Møte {The Tryst}
13:30 - V. Elsk {Love}
16:05 - VI. Killingdans {Kid's Dance}
17:42 - VII. Vond Dag {Hurtful Day}
20:22 - VIII. Ved Gjætle-Bekken {At the Brook}
-Composer Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Love Derwinger (Piano)
Haugtussa {The Mountain Maid}, Song Cycle for Voice and Piano, op. 67, written in 1895
00:00 - I. Det syng {The Enticement}
03:30 - II. Veslemöy {Veslemöy. The Young Maiden}
06:20 - III. Blåbær-Li {Blueberry Slope}
09:14 - IV. Møte {The Tryst}
13:30 - V. Elsk {Love}
16:05 - VI. Killingdans {Kid's Dance}
17:42 - VII. Vond Dag {Hurtful Day}
20:22 - VIII. Ved Gjætle-Bekken {At the Brook}
![Edvard Grieg - Haugtussa {The Mountain Maid}, op. 67 [With score]](https://i.ytimg.com/vi/6TronoEtXds/mqdefault.jpg "Edvard Grieg - Haugtussa {The Mountain Maid}, op. 67 [With score]
-Composer Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Love Derwinger (Piano)
Haugtussa {The Mountain Maid}, Song Cycle for Voice and Piano, op. 67, written in 1895
00:00 - I. Det syng {The Enticement}
03:30 - II. Veslemöy {Veslemöy. The Young Maiden}
06:20 - III. Blåbær-Li {Blueberry Slope}
09:14 - IV. Møte {The Tryst}
13:30 - V. Elsk {Love}
16:05 - VI. Killingdans {Kids Dance}
17:42 - VII. Vond Dag {Hurtful Day}
20:22 - VIII. Ved Gjætle-Bekken {At the Brook}")
![Francis Poulenc - Les mamelles de Tirésias [With score]](https://i.ytimg.com/vi/6tdF3lYDRtg/mqdefault.jpg "Francis Poulenc - Les mamelles de Tirésias [With score]
-Composer: Francis Jean Marcel Poulenc (7 January 1899 – 30 January 1963)
-Librettist: Guillaume Apollinaire
-Orchestra, Choir: Orchestre et Chœur du Théatre National de l’Opéra Comique
-Conductor: André Cluytens
-Performers: Denise Duval (Thérèse), Jean Giraudeau (The Husband), Emile Rousseau (The Gendarme), Gilbert Jullia (A Bearded Gentleman), Frédéric Leprin (Lacouf), Julien Thirache (Presto), Serge Rallier (The Journalist), Robert Jeantet (The Manager), Marguerite Legouhy (The Newspaper Vender, A Fat Lady), Jacques Hivert (The Son)
00:00 - Prologue
Act I
06:43 - Scène 1
11:36 - Scène 2
13:25 - Scène 3
13:53 - Scène 4
15:42 - Scène 5
19:33 - Scène 6
23:43 - Scène 7
26:46 - Scène 8
30:11 - Entracte
Act II
32:56 - Scène 1
34:09 - Scène 2
38:23 - Scène 3
39:57 - Scène 4
42:16 - Scène 5
42:58 - Scène 6
43:31 - Scène 7
49:02 - Scène 8
Poulenc wrote four operas and they fall into three distinct categories. His grand opera is Les Dialogues des Carmelites. The work is serious in demeanor, with little of the humor that characterizes much of Poulencs output. In subject matter, and in much of the writing, the work resembles Poulencs numerous religious works. La Voix Humaine is a monologue for a soprano who is, on the phone, begging her lover not to leave her. It is an revealing look at intimate thoughts and personal despair. The second of these monologues was La Dame de Monte Carlo. And then there is Les Mamelles de Tiresias. Witty, zany, rambunctious, ridiculous, and outrageous are appropriate terms for this Opera-bouffe in two acts and a prologue. However there is also a touch of seriousness in the opera. Poulenc stated; Whenever in the midst of the worst buffoonery a phrase can effect a change in the lyric tone, towards a certain melancholy, I have not hesitated thus to alter the character of the music, well knowing what sadness was hidden behind Apollinaires smile. Completed in 1947, the work was originally paired, in performance, with Puccinis La Boheme or Bizets Les Pecheurs des Perles. It is not surprising that it did not please lovers of those two examples of extreme lyricism. The original play was set in 1903 in Zanzibar. Poulenc updated the story to 1917, and changed the location to somewhere between Nice and Monte Carlo. The settings were by Erte. The story comprises a number of sketches that somehow make enough sense to push the opera along. The title character is a feminist, who, by making her breasts fly away, turns her husband, with the help of an incubator, into a baby factory, with an output of thousands of children a day. Around this central theme is interwoven other odd plot devices like the simultaneous dueling deaths of Lacouf and Presto, and the creation of sons, one of whom hoards skim milk, another a journalist turned blackmailer. Poulencs music contains many amusing devices, including the then popular, now forgotten dance, the Boston. The vocal writing is wordy but still trips lightly. The often conflicting influences of Emmanuel Chabrier, Erik Satie, Igor Stravinsky, Jules Massenet, Darius Milhaud, and especially Jacques Offenbach scamper through the piece. It is just this cross fertilization of styles that makes Poulenc so captivating, for he was as capable of sentimentality as hi-jinx. The orchestration, utilizing the same orchestra as Carmen, is clever without being cute, and Poulenc said: The truth is that I believe much more in the novelty of mind than of matter. Occasional revivals of this work prove its viability as a theater piece, although the first recording, with many of the originators of the parts, especially Denise Duval and Jean Giraudeau, is as close to a perfect realization of the characters as one is likely to get.
[allmusic.com]")
![Igor Stravinsky - Symphonies of Wind instruments [With score]](https://i.ytimg.com/vi/72V_OTSiAkM/mqdefault.jpg "Igor Stravinsky - Symphonies of Wind instruments [With score]
-Composer: Igor Fyodorovich Stravinsky (17 June 1882 – 6 April 1971)
-Orchestra: London Sinfonietta
-Conductor: Esa-Pekka Salonen
Symphonies of Wind instruments [Symphonies dinstruments à vent], written in 1920, revised in 1947
If we discount the tribute that Igor Stravinsky composed in 1908 on the occasion of the death of his beloved teacher Rimsky-Korsakov (the work was lost during the Revolution, found in 2015), the composers long string of In memoria by which he pays homage to some of the foremost musical, literary, and even political figures of the twentieth century begins in 1920 with the Symphonies of Wind Instruments, dedicated to the memory of Claude Debussy.
Here Stravinsky consciously used the term symphonies in the old French meaning of a sonorous piece, as in Symphonies and Fanfares for the Kings Supper. The composition dates from 1920 and grew from a short chorale-like work he wrote in Debussys memory; this became the last section of a work about 10 minutes in length, composed for a rather large ensemble of 23 winds. The style and melodism of the work usually results in its being listed as the last of the composers Russian Period works, but because of its austerity this writer tends to regard it as being the first important indication that Stravinsky was ready to shift to an aesthetic that leaves behind sensual appeal. He would soon find the style of neo-Classicism; meantime, there is a sense that the idea behind the work is the realization of the harmonic clashes that result from Stravinskys usual method of mixing two separate chords. The work is of more than just historical interest; Stravinsky was constantly treading new ground here, with effective even if not lovable music. The score was revised in 1947, presumably to obtain copyright for the composer in the U.S.
Obviously the sound of a piece for 23 woodwinds is something that the audience at the 1921 London premiere of the work (with Serge Koussevitzky at the helm) found quite disconcerting (many audiences today still find it so), but coincident with that textural streamlining is an even more significant and startling architectural streamlining: the entire work is based on a handful of sharply defined themes and motives that Stravinsky makes little or no attempt to connect in any way; he instead chooses to isolate them via a very careful and almost thematic use of silence. As a result of this trimming of extraneous detail, the work is extremely brief.
description: [allmusic.com]")
![Edvard Grieg - 2 Elegiac Melodies, op. 34 (Piano, String Orch.) [With score]](https://i.ytimg.com/vi/8OyhcFDIxqA/mqdefault.jpg "Edvard Grieg - 2 Elegiac Melodies, op. 34 (Piano, String Orch.) [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performer (Piano): Einar Steen-Nøkleberg
-Orchestra: Bergen Philharmonic Orchestra
-Conductor: Ole Kristian Ruud
2 Elegiac Melodies (from op. 33-3 and op. 33-2) for Piano or String Orchestra, op. 34, written in 1880
Piano
00:00 - I. Hjertsår (The wounded heart)
03:47 - II. Våren (Last Spring)
String Orchestra
08:34 - I. Hjertsår (The wounded heart)
11:54 - II. Våren (Last Spring)
The Two Elegiac Melodies, Op. 34, (1880) of Norwegian composer Edvard Grieg are piano/string orchestral transcriptions of two songs from his Op. 33 set on texts by Norwegian poet Aasmund Olavsson Vinje. While Grieg has neither expanded nor re-composed the songs for string orchestra, his scoring is so magnificent so full of poignant touches and tender nuances that the works sound almost as beautiful in this guise as they did in their original form. The first Elegiac Melody, The Wounded Heart, begins with two heartbreaking phrases in the minor and closes with two heart-consoling phrases in the major. In three verses, the melody of The Wounded Heart is first quietly stated in the violins, then more emphatically in the cellos, then passionately in the violins with an ardent countermelody in the cellos. The second Elegiac Melody, Last Spring, has one of the most moving tunes Grieg ever composed, a tune that loves the goodness of life and the beauty of the world even as it fades away into infinity. In two verses, Last Spring is quintessential Grieg and replete with felicities: the moment when four solo violins take the tune up to the top of the world in the second verse may be the single most affecting passage in all Grieg.
[allmusic.com]")
![Edvard Grieg - 2 Valse Caprices, op. 37 [With score]](https://i.ytimg.com/vi/8Qm5irP1U5c/mqdefault.jpg "Edvard Grieg - 2 Valse Caprices, op. 37 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: The Cologne Piano Duo
2 Valse Caprices for Piano four hands, op. 37, written in 1883
00:00 - I. Tempo di Valse moderato
04:44 - II. Tempo di Valse")
![Paul Hindemith - String Quartet No. 5, Op. 32 [With score]](https://i.ytimg.com/vi/92tVdEKd6hg/mqdefault.jpg "Paul Hindemith - String Quartet No. 5, Op. 32 [With score]
-Composer: Paul Hindemith (16 November 1895 – 28 December 1963)
-Performers: Amar Quartet [Anna Brunner (Violin), Igor Keller (Violin), Hannes Bärtschi (Viola), Peter Somodari (Cello)]
String Quartet No. 5, Op. 32, written in 1923
00:00 - I. Lebhafte Halbe
06:20 - II. Sehr langsam, aber immer fließend
17:02 - III. Kleiner Marsch. Vivace, sempre crescendo
19:00 - IV. Passacaglia - Fugato (so schnell wie möglich)
The Amar Quartet was founded in 1920 (with Hindemith as violist) for the express purpose of premiering the composers String Quartet No. 2 in C major, Op. 16, but continued on through the decade as one of the finest exponents of the modern string quartet literature. Hindemiths subsequent two quartets were composed for the Amar Quartet. The String Quartet No. 4, Op. 32, was written in 1923.
Fugal elements are the most prominent feature of this virtuosic score. After a four-note gesture that functions as a motivic cell for the entire work, the first movement launches into a fugue of ferocious energy, polytonal and extremely dissonant, with virtuosic writing and highly resourceful disposition of the four instruments. The middle section arrives abruptly: a rhapsodic interlude with textures of great beauty and complex harmony, in which fugal elements continue to drive the rhetoric. The opening section returns via an ingenious conception wherein the violins skirl contrapuntally in close intervals and high range as viola and cello attempt through repeated shoutings of the four-note cell to end the interlude. The lower strings finally succeed in wresting control of the music, and the movement ends with a strict fugue on the main theme.
Rhythmic superimpositions dominate the second movement, a sustained melodic meditation on the implications of the opening gesture. Even here are elements of fugal treatment, as the violins and viola enter one after another in a leisurely 12/8 signature, underpinned by walking-bass pizzicati in 4/4 from the cello. Hindemith employs what would become a favorite technique for the third movement, wherein a lengthy slow movement is followed by a small, humorous one, in this case a cheeky Kleiner Marsch (Little March). The march starts off quietly, as if heard from a distance, and builds to a fine, hysterical climax before it quickly disappears, pianissimo.
The finale is one of Hindemiths most impressive structures up to this time, a passacaglia with 27 variations on a dark, inward-turning theme sounded first by muted cello. The music begins in an air of desolation, with vague echoes of the march just completed, as if Hindemith were evoking the emptiness left in the wake of miltaristic pursuits. The variations quickly become more elaborate, demonstrating a remarkably wide range of mood and expression for so young a composer. The coda is yet another turn of the screw: a fast fugato (marked, in fact, as fast as possible) featuring an insistently sounded low C from the viola that drives the climax much in the same way as the infamous fourth movement of the Op. 25 No. 1 solo Viola Sonata (1922). The last chord is a final surprise, a D flat major chord half a step up from the expected one in C major.")
![Edvard Grieg - Album for Mandssang, op. 30 [With score]](https://i.ytimg.com/vi/9SYBtGxTlq0/mqdefault.jpg "Edvard Grieg - Album for Mandssang, op. 30 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Grex Vocalis
Album for Mandssang {12 Norwegian Folksong arrangements for soli and male choir}, op. 30, written in 1877-78
00:00 - I. Jeg lagde mig så sildig {I lay down so late}
01:38 - II. Bådn-låt {Childrens song}
03:36 - III. Torø liti {Little Toro}
06:05 - IV. Kvålins halling
09:47 - V. Dae ae den største dårleheit {It is the greatest folly}
11:46 - VI. Springdans {Spring dance: When I go out in the evening}
13:05 - VII. Han Ole {Young Ole}
15:32 - VIII. Halling
16:36 - IX. Dejligst blandt kvinder {The fairest of women}
18:52 - X. Den store, hvide flok {The great, white host}
21:49 - XI. Fantegutten {The gypsy lad}
22:58 - XII. Røtnams-Knut")
![Francis Poulenc - Promenades [With score]](https://i.ytimg.com/vi/A-_ktq-eGr0/mqdefault.jpg "Francis Poulenc - Promenades [With score]
Composer: Francis Jean Marcel Poulenc (7 January 1899 – 30 January 1963)
Performer: Pascal Rogé
Promenades for Piano Solo, written in 1921
00:03 - À pied
02:05 - En auto
03:05 - À cheval
04:15 - En bateau
05:22 - En avion
08:12 - En autobus
09:15 - En voiture
11:29 - En chemin de fer
12:09 - À bicyclette
13:06 - En diligence")
![Dmitri Shostakovich - Symphony No. 12 The Year 1917 [With score]](https://i.ytimg.com/vi/A3NT6na2VOQ/mqdefault.jpg "Dmitri Shostakovich - Symphony No. 12 The Year 1917 [With score]
Composer: Dmitri Dmitriyevich Shostakovich (25 September 1906 9 August 1975)
Orchestra: Moscow Philharmonic Orchestra
Conductor: Kirill Kondrashin
Symphony No. 12 in D minor (The Year 1917), Op. 112, written in 1961
00:00 - I. [Revolutionary Petrograd]*
12:38 - II. [Razliv]*
23:15 - III. [Aurora]*
27:07 - IV. [The Dawn of Humanity]*
*(All movements without intermission)
The Symphony No. 12 in D minor, Op. 112, was composed in 1960-1961 and is dedicated to the memory of Vladimir Ilyich Lenin. Shostakovich programatically entitled it The Year 1917, and the titles of the four movements have also reference to the events of that year:
1. Revolutionary Petrograd; 2. Razliv; 3. Aurora; 4. The Dawn of Humanity. The title of the second movement is the name of the place near which Lenin stayed in hiding, that of the third the name of the legendary battle cruiser Aurora whose broadside meant the starting shot of the Revolution, on October 25th, 1917.
The idea of a symphony with Lenin as subject had been on Shostakovichs mind for decades but he changed his plans several times. Lenins death in 1924 became the decisive impulse. But it was only in 1940 that his future work assumed more concrete forms in his imagination; he conceived it as a symphonic vocal cycle in four movements: The first movement will deal with Vladimir Ilyichs youth, the second with Lenin as the leader of the October Revolution, the third with Vladimir Ilyichs death, and the fourth with life without Lenin, but on his way, in his spirit. I already have a number of musical fragments which will be part of this work. Originally, the composer had planned to use excerpts from poetic text of his work; he also wanted to incorporate in his symphony popular songs about Lenin, but his plans were thwarted when World War II broke out.
Only twenty years later, Shostakovich resumed his interrupted work. In a broadcast on October 29th, 1960, he relates to the development of his work and his motivation: I myself have been witness of the events of the October Revolution. I was one of those listening to Vladimir Ilyich on the square in front of the Finland Railway Station on the day of his arrival. And though I was quite young then, this has mad an indelible impression on my mind. My memories of these unforgettable days do of course help me in my work. The composer completed the full score of the symphony - meanwhile a merely instrumental one - on August 22nd, 1961.
The Twelfth Symphony was first performed on October 1st, 1961, in Leningrad, by the Leningrad Philharmonic Orchestra; its first performance in Moscow, by the State Symphony Orchestra of the USSR took place two weeks later.
Original Audio: https://www.youtube.com/watch?v=LU_Yo7NSe1o&t=1s")
![Wolfgang Amadeus Mozart - String Quartet No. 14, K. 387 [With score]](https://i.ytimg.com/vi/A3bAiTtM2Pc/mqdefault.jpg "Wolfgang Amadeus Mozart - String Quartet No. 14, K. 387 [With score]
-Composer: Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791)
-Performers: Quatuor Mosaïques
String Quartet No. 14 in G major, K. 387, written in 1782 [Haydn Quartet I]
00:06 - I. Allegro vivace assai
11:37 - II. Menuetto. Allegro
19:24 - III. Andante cantabile
26:39 - IV. Molto Allegro
Completed on the last day of 1782, this work would serve as the first of a set of six string quartets Mozart would dedicate to Haydn. Over nine years separate the first of this group from its predecessor among the quartets, K. 173 in D minor, composed in 1773. The string quartet was, at this time, a relatively new medium still in the process of development. From the genres beginnings in works that were little more than divertimenti, one man above all others was bringing the string quartet toward the point where it would ultimately be recognized as the most challenging of all forms of composition. That man was Joseph Haydn. A direct impetus for Mozarts return to quartet writing seems to have come from Haydn, who in 1781 published a new set of six as his Op. 33. Mozart almost certainly first met Haydn shortly after settling in Vienna in 1781, and the two men soon established a friendship based on mutual admiration. As is known from a famous anecdote recorded by Irish tenor Michael Kelly, they also played quartets together with two other notable Viennese composers, Johann Vanhal and Karl Ditters von Dittersdorf. The inspiration provided by Haydn is clearly apparent in the quartets Mozart composed in the wake of these encounters. It is therefore hardly surprising that on completing six quartets of his own (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) Mozarts publication would bear a famous dedicatory preface to Haydn that has led to them becoming somewhat confusingly known as Mozarts Haydn quartets. In the course of Mozarts touching tribute to the older master, he refers to the long and laborious endeavor that had gone into them, a unique admission from a man who normally composed with extraordinary facility, and a pointed reminder of the extreme challenge posed by this most pure of musical forms. Cast in four movements, this G major effort may divulge a few characteristics of the older masters style, but would in the end influence Haydn in his subsequent quartets as well. The opening movement, marked Allegro vivace assai, features fairly intricate instrumental writing: thematic lines are often started by one instrument and completed by another. It also contains a complex, substantial development section; yet the music is quite easy for the listener to grasp. The main theme is graceful and light, lengthy in its winding, sunny pathway. For all its seeming lightness, however, the music has considerable expressive depth, even if the alternate theme is carefree and largely devoid of deeper significance. The development section begins in a somewhat ponderous manner, the music at first appearing a bit hesitant before taking on an animated, more serious character. A delightful reprise closes out this joyful and masterful movement. The ensuing Minuet is elegant and light, but can jolt the listener with its sudden changes in dynamics in both the main theme and second subject. The Trio is deftly imagined in its mixture of gruff playfulness and gentle mystery. The Andante cantabile third movement sings its music in an exalted way, the main theme presented in a sort of complex unraveling of its wares, with many highs accompanied by deep lows from the cello. The whole movement conveys a serene, almost celestial quality, at times sounding mysterious, at others rapturous. The finale, marked Molto Allegro, presents a lively, joyous main theme, which Mozart treats contrapuntally for much of the movement, again with instrumental writing divulging much complexity. The alternate theme is just as lively, but more playful, not exhibiting the vigor and glorious manner of the main material. The music effervesces with energy and color throughout the finale, crowning this half-hour quartet with a blissful close.
[allmusic.com]")
![Gabriel Fauré - 13 Barcarolles [With score]](https://i.ytimg.com/vi/AVyz84exhlQ/mqdefault.jpg "Gabriel Fauré - 13 Barcarolles [With score]
-Composer: Gabriel Urbain Fauré (12 May 1845 – 4 November 1924)
-Piano: Delphine Bardin
13 Barcarolles for Piano (1880 – 1921)
00:00 - I. Allegretto moderato, op. 26 (1880)
04:50 - II. Allegretto quasi Allegro, op. 41 (1885)
11:47 - III. Andante quasi Allegretto, op. 42 (1885)
18:43 - IV. Allegretto, op. 44 (1886)
22:42 - V. Allegretto moderato, op. 66 (1894)
28:45 - VI. Allegretto vivo, op. 70 (1896)
32:31 - VII. Allegretto moderato, op. 90 (1905)
35:35 - VIII. Allegretto moderato, op. 96 (1906)
39:10 - IX. Andante moderato, op. 101 (1909)
43:22 - X. Allegretto moderato, op. 104/2 (1913)
46:43 - XI. Allegretto moderato, op. 105 (1913)
51:10 - XII. Allegretto giocoso, op. 106bis (1915)
54:31 - XIII. Allegretto, op. 116 (1921)
Barcarolles were originally folk songs sung by Venetian gondoliers. In Morrisons phrase, Faurés use of the term was more convenient than precise. Fauré was not attracted by fanciful titles for musical pieces, and maintained that he would not use even such generic titles as barcarolle if his publishers did not insist. His son Philippe recalled, he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. so-and-so. Nevertheless, following the precedents of Chopin and most conspicuously Mendelssohn, Fauré made extensive use of the barcarolle, in what his biographer Jessica Duchen calls an evocation of the rhythmic rocking and lapping of water around appropriately lyrical melodies.
Faurés ambidexterity is reflected in the layout of many of his piano works, notably in the barcarolles, where the main melodic line is often in the middle register, with the accompaniments in the high treble part of the keyboard as well as in the bass. Duchen likens the effect of this in the barcarolles to that of a reflection shining up through the water.
Like the nocturnes, the barcarolles span nearly the whole of Faurés composing career, and they similarly display the evolution of his style from the uncomplicated charm of the early pieces to the withdrawn and enigmatic quality of the late works. All are written with compound time signatures (6/8, 9/8, or 6/4).
[more on https://en.wikipedia.org/wiki/Piano_music_of_Gabriel_Faur%C3%A9#Barcarolles]")
![Olivier Messiaen - Catalogue doiseaux (Book 2) [With score]](https://i.ytimg.com/vi/AiJr3ZlUnoA/mqdefault.jpg "Olivier Messiaen - Catalogue doiseaux (Book 2) [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 2 (Deuxième livre)
IV. Le Traquet Stapazin (Western black-eared wheatear)
The tranquil Le traquet stapazin (the black-eared wheatear) comprises the second book; the movement programmatically moves from sunrise to sunset.")
