![[Full Score] Rautavaara - Pelimannit (Fiddlers), Op. 1 (1952/1972) for string orchestra @AndewMole](https://i.ytimg.com/vi/uE5kHL9a_x8/maxresdefault.jpg)
Uploaded April 2025 | Updated September 2026, 4 days ago
Audio: youtube.com/playlist?list=OLAK5uy_n70ei9k2n_Oy-ic4giYozEluQwvb17iw8
Ostrobothnian Chamber Orchestra
Juha Kangas, conductor
The pieces are free fantasies based on dances written by a Finnish 18th century fiddler, Samuel Rinda-Nickola.
0:00 I. Närböläisten braa speli (The Närbö Villagers in Fine Fettle)
The famous fiddlers from Närbö arrive, in a procession full of colour and rustic pomp...
1:48 II. Kopsin Jonas (Mr. Jonas Kopsi)
In the strange light of the Nordic midsummernight Kopsin Jonas plays for the forest, for himself...
3:48 III. Klockar Samuel Dikström (Bellringer Samuel Dikström)
Samuel the village organist "improvising" at a lonely moment of inspiration: he fills the little church with reminiscences of his daily Bach, of wedding tunes heard long ago...
4:55 IV. Pirun polska (Devil's Schottische)
A melancholy devil sits on his rock, listening to the dark, mysterious Finnish forest...
6:31 V. Hypyt (Jumps)
In a stamping, jumping dance they whirl, their broad faces are solemn as in the church, but a strange excitement lurks in their huge legs and hands...
Audio: youtube.com/playlist?list=OLAK5uy_n70ei9k2n_Oy-ic4giYozEluQwvb17iw8
Ostrobothnian Chamber Orchestra
Juha Kangas, conductor
The pieces are free fantasies based on dances written by a Finnish 18th century fiddler, Samuel Rinda-Nickola.
0:00 I. Närböläisten braa speli (The Närbö Villagers in Fine Fettle)
The famous fiddlers from Närbö arrive, in a procession full of colour and rustic pomp...
1:48 II. Kopsin Jonas (Mr. Jonas Kopsi)
In the strange light of the Nordic midsummernight Kopsin Jonas plays for the forest, for himself...
3:48 III. Klockar Samuel Dikström (Bellringer Samuel Dikström)
Samuel the village organist "improvising" at a lonely moment of inspiration: he fills the little church with reminiscences of his daily Bach, of wedding tunes heard long ago...
4:55 IV. Pirun polska (Devil's Schottische)
A melancholy devil sits on his rock, listening to the dark, mysterious Finnish forest...
6:31 V. Hypyt (Jumps)
In a stamping, jumping dance they whirl, their broad faces are solemn as in the church, but a strange excitement lurks in their huge legs and hands...
![[Full Score] Rautavaara - Pelimannit (Fiddlers), Op. 1 (1952/1972) for string orchestra](https://i.ytimg.com/vi/uE5kHL9a_x8/mqdefault.jpg "[Full Score] Rautavaara - Pelimannit (Fiddlers), Op. 1 (1952/1972) for string orchestra
Audio: https://www.youtube.com/playlist?list=OLAK5uy_n70ei9k2n_Oy-ic4giYozEluQwvb17iw8
Ostrobothnian Chamber Orchestra
Juha Kangas, conductor
The pieces are free fantasies based on dances written by a Finnish 18th century fiddler, Samuel Rinda-Nickola.
0:00 I. Närböläisten braa speli (The Närbö Villagers in Fine Fettle)
The famous fiddlers from Närbö arrive, in a procession full of colour and rustic pomp...
1:48 II. Kopsin Jonas (Mr. Jonas Kopsi)
In the strange light of the Nordic midsummernight Kopsin Jonas plays for the forest, for himself...
3:48 III. Klockar Samuel Dikström (Bellringer Samuel Dikström)
Samuel the village organist improvising at a lonely moment of inspiration: he fills the little church with reminiscences of his daily Bach, of wedding tunes heard long ago...
4:55 IV. Pirun polska (Devils Schottische)
A melancholy devil sits on his rock, listening to the dark, mysterious Finnish forest...
6:31 V. Hypyt (Jumps)
In a stamping, jumping dance they whirl, their broad faces are solemn as in the church, but a strange excitement lurks in their huge legs and hands...")
![[Score] Vaughan Williams - The Solent (1903), impression for orchestra](https://i.ytimg.com/vi/uQ6xq2qZBPY/mqdefault.jpg "[Score] Vaughan Williams - The Solent (1903), impression for orchestra
Audio: https://www.youtube.com/watch?v=U2QJcgevlYM
BBC National Orchestra of Wales
Rumon Gamba, conductor")
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Score: https://imslp.org/wiki/Iberia_%28Albéniz%2C_Isaac%29
Audio: https://www.youtube.com/playlist?list=OLAK5uy_lvd3GCc7DTAMadXMsedcTtNxIysBJXV88
0:00 I. Evocación (Book 1, No. 1)
5:37 II. La Fête Dieu à Seville/El Corpus en Sevilla (Book 1, No. 3)
14:23 III. Triana (Book 2, No. 6)
18:58 IV. El Puerto (Book 1, No. 2)
23:25 V. El Albaicin (Book 3, No. 7)")
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Score: https://vmirror.imslp.org/files/imglnks/usimg/a/ad/IMSLP719907-PMLP68282-Rimsky-Massacre-Kerzhents Conductor_Score.pdf
Audio: https://www.youtube.com/watch?v=hzOpOLjKNVA
CSR Symphony Orchestra (Bratislava)
Ondrej Lenard, conductor")
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BBC Philharmonic
Nicholas Collon, conductor")
![[Full Score] Debussy orch. Colin Matthews - Symphony in B minor (1881/2009)](https://i.ytimg.com/vi/w6qmZssQr14/mqdefault.jpg "[Full Score] Debussy orch. Colin Matthews - Symphony in B minor (1881/2009)
Score: https://www.fabermusic.com/music/symphony-in-b-minor-finale-6280
Audio: https://www.youtube.com/watch?v=8oqo4130laQ
Orchestre Philharmonique de Radio France
Mikko Franck, conductor
In 1880 Debussy spent the first of three summers teaching and playing the piano in the household of Tchaikovsky’s patron Nadezhda von Meck, travelling with the family throughout Europe. He had attended the Paris Conservatoire since 1872, but had not shown any great aptitude for composition up to this point. The discovery in Moscow in 1925 of a manuscript of a four-hand piano work with Debussy’s signature entitled ’Symphonie en Si’ reveals one of his earliest surviving works, and, although hardly a pointer to the future composer, is surprisingly accomplished. It was published for the first time in 1933.
A letter from Mme von Meck to Debussy indicates that the symphony was dedicated to her, and sent to her early in 1881, but quite what she received remains open to debate. The surviving manuscript, has the titles of three movements - _Andante, Air de ballet, Final_ - but the music is in one movement headed _Allegro ben marcato,_ and although attempts have been made to establish that the three movements are incorporated within this movement, or that it is the first movement, the musical evidence indicates that it is the Finale. In particular the rather grandiose coda could surely only come at the end of a symphony. The more recent discovery of an E major _Andante cantabile,_ also for four hands and composed in 1881, might perhaps be the second movement.
It is impossible to establish whether or not Debussy intended to - or indeed did - orchestrate it, but it seems more likely that it was an exercise in writing for piano duet: Mme von Meck had shown Debussy the four hand transcription of Tchaikovsky’s recently completed Fourth Symphony. Stylistically the music owes something to Tchaikovsky, along with touches of Franck and Massenet, but with only a very few foreshadowings of Debussy himself. The work falls into three sections before the coda - two sonata like developments separated by a gentle dance-like interlude. In orchestrating it I have not tried to look forward in any way to Debussy’s later style, and the only score I have referred to is his 1889 _Fantaisie_ for piano and orchestra. - Colin Matthews")
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from The Singapore Series
Audio: https://www.youtube.com/watch?v=MPHBxUwOnPg
MacPherson Philharmonic Orchestra
Lester Kong, conductor
For enquiries, please contact the composer at linwei1803@gmail.com https://www.instagram.com/linwei_official/ @Linwei_official")
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Score: https://www.presser.com/116-40529-american-concerto.html
Audio: https://www.youtube.com/watch?v=SZwGjHJF9SI
Philip Smith, trumpet
New York Philharmonic
Bramwell Tovey, conductor")
![[Score] Ferde Grofé - Hudson River Suite (1955) for orchestra](https://i.ytimg.com/vi/xyHFmOpPZn0/mqdefault.jpg "[Score] Ferde Grofé - Hudson River Suite (1955) for orchestra
Score: https://archives.nyphil.org/index.php/artifact/42c51b07-3113-4f24-a4a0-9693291213a9-0.1/fullview
Audio: https://www.youtube.com/playlist?list=OLAK5uy_m5CZE9AsnexB0EEqr87jC_TBZocW0zoeI
Bournemouth Symphony Orchestra
William Stromberg, conductor
Santa Monica, California, May 21, 1955.....
The idea for the Hudson River Suite was born last winter in New York during a luncheon with Andre Kostelanetz, which took place a few days after he had conducted a performance of my Mississippi Suite at one of his regular Non-Subscription concerts with the New York Philharmonic Symphony in Carnegie Hall.
At one point during our meeting he mentioned that for a long time he had had an idea for a composition based on the Hudson River. Although his enthusiasm should not have come as a surprise to me, because he has always been a champion of expressing the American scene in musical terms and has commissioned several important works in the past, he became so persuasive while telling me of his synopsis for his proposed orchestral suite, that without much hesitation I found myself agreeing to compose the work along the lines he has suggested.
And thus the Hudson River Suite tells of:
0:00 I. The River
The River movement starts with the lower reaches of the Hudson, its broad sweeping and majestic flow before it reaches the Atlantic. It also describes the colorful cliffs and woodlands of the Palisades along its shores. This is the mood of the music heard in the broad melodic line with its varied embellishments reflecting the sweep of the mighty Hudson.
5:15 II. Henry Hudson
Henry Hudson is a musical portrait of the famous explorer. The melody is heroic and depicts the temperament and courage of the immortal navigator.
8:02 III. Rip Van Winkle
Rip Van Winkle is the tale of Washington Irving in a musical setting. It begins with Rip whistling for his dog, answered by his barks. Then follows the happy stroll up the mountainside in the Catskills. Eventually Rip meets up with the dwarfish little men with their beards, playing ninepins in the ravine. The rolling of the balls sounds like thunder in the distance. Rip joins them in their festivities. The twenty years sleep follows. Finally his awakening. He whistles for his dog, but there is no answer. His tattered clothes, disheveled appearance, rusty barrel and rotted stock of his gun are all that is left. Eventually he is reunited with his daughter and finds solace with her and his grandchildren, telling them tales of Henry Hudson and his motley crew.
12:30 IV. Albany Night Boat
The music reflects the moonlit night aboard the boat, as expressed in a romantic theme. While the boat glides smoothly over the water, a small jazz band begins to play on deck. There is general gayety, laughter and dancing, while romance highlights the scene.
17:28 V. New York
New York, with its skyline, the myriads of lights, the commotion and excitement of the Big City. The turbulent and unending flow of life brings the suite to a climactic end.
This composition is dedicated to Andre Kostelanetz. - Ferde Grofé")
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Score: https://issuu.com/scoresondemand/docs/classical_variations_28295
Audio: https://www.youtube.com/watch?v=gaS6Ks_9CNA
Pittsburgh Symphony Orchestra
Lorin Maazel, conductor
0:00 Theme - Conquest - William Billings (1786)
0:38 - Var. 1 - Tempo - Meno mosso
1:26 - Var. 2 - Più mosso - Misterioso
2:00 - Var. 3 - Vivace
2:27 - Var. 4 - Tranquillo - Tempo meno mosso
3:11 - Var. 5 - Allegro giusto
3:31 - Var. 6
3:55 - Var. 7 - Più mosso
4:34 Theme - China - Timothy Swan (1793)
5:22 - Var. 1
5:59 - Var. 2
6:57 - Var. 3 - Dolce
7:57 - Var. 4 - Più mosso
9:09 Theme - My Days have been so wondrous free - Francis Hopkinson (1759)
9:26 - Var. 1
9:43 - Var. 2
10:04 - Var. 3
10:26 - Var. 4 - Vivo ma pesante
10:49 - Var. 5 - Leggiero
11:06 - Var. 6 - Più mosso
11:23 - Var. 7 - Fugal Finale")
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Score: https://www.fabermusic.com/music/young-apollo-863
Audio: https://www.youtube.com/watch?v=b4tu-F2-kqw
Nikolai Lugansky, piano
Dara De Cogan and Lyn Fletcher, violins
Tim Pooley, viola
Peter Worrall, cello
Hallé Orchestra
Kent Nagano, conductor")
