![Hyunwoo Jung - Variational Fantasy on a Theme of Bartók (2017) [With score] @DamonJHK](https://i.ytimg.com/vi/EEXl8pu7wnM/maxresdefault.jpg)
Uploaded October 2018 | Updated September 2026, 2 hours ago
Composer: Hyunwoo Jung (b. 2000~)
Performers: Wookyeong Lee (Clarinet), Dongsoo Kim (Piano)
Variational Fantasy on a Theme of Bartók {바르톡 주제에 의한 변주적 환상곡}, written in 2017
Composer: Hyunwoo Jung (b. 2000~)
Performers: Wookyeong Lee (Clarinet), Dongsoo Kim (Piano)
Variational Fantasy on a Theme of Bartók {바르톡 주제에 의한 변주적 환상곡}, written in 2017
![Hyunwoo Jung - Variational Fantasy on a Theme of Bartók (2017) [With score]](https://i.ytimg.com/vi/EEXl8pu7wnM/mqdefault.jpg "Hyunwoo Jung - Variational Fantasy on a Theme of Bartók (2017) [With score]
Composer: Hyunwoo Jung (b. 2000~)
Performers: Wookyeong Lee (Clarinet), Dongsoo Kim (Piano)
Variational Fantasy on a Theme of Bartók {바르톡 주제에 의한 변주적 환상곡}, written in 2017")
![Igor Stravinsky - Symphony in 3 Movements [With score]](https://i.ytimg.com/vi/FB-NzpYwC3Y/mqdefault.jpg "Igor Stravinsky - Symphony in 3 Movements [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 – 6 April 1971)
Orchestra: Berliner Philharmoniker
Conductor: Pierre Boulez
Recorded in: Berlin, 1996
Symphony in Three Movements, written between 1942 and 1945
00:00 - I. [♩=160]
09:54 - II. Andante [♪=76]
16:30 - III. Con moto [♩=108]
Igor Stravinsky completed his Symphony in Three Movements in 1945. The first movement was begun in April 1942, and the final work was completed a few months after the end of World War II. During this time the composer was engaged in contract negotiations to write film scores. Among the film moguls interested in commissioning Stravinsky was Louis B. Mayer, then president of MGM. Stravinsky had already written music before the projects were scrapped, and much of it found its way into Symphony in Three Movements. The outer movements involved wartime news footage, and the central movement was written for the appearance of the Virgin Mary in the film The Song of Bernadette, based on the Franz Werfel novel.
To integrate the different groups of material, Stravinsky chose to feature the piano and harp in separate, concertante roles in the first two movements, and then combined them in the third movement in an extended fugal arrangement. The symphony is a great balancing act, weaving together disparate musical ideas. The outer movements are explosive, indicative of the film score style common to American war footage. Ironic artifice, a signature sound in his music, is particularly understated in this symphony. Likewise, the middle movement, originally intended for the Virgin apparition, is suitably wrought with veneration, though perhaps not to the extent that would have please the films producers. Stravinsky was not the sort of composer who gushed excessively, if at all. His Symphonies of Wind Instruments was an elegy of Debussys passing, a composer and friend of enormous importance to Stravinsky, but any lamentations in the work are under total control. It was not in his character to express his feelings musically, and in fact, felt that musical was incapable of expressing anything. That being the case, for him to depict Bernadettes shock and amazement at encountering the Mother of Christ would have sounded unnatural. The central movement is not rhapsodic or indicative of a human soul overwhelmed in the presence of a divine being. It is contemplative music, subtle and understated, and free of amazement. The outer movements are somewhat more successful in capturing the intended spirit of war footage. They feature tumultuous blasts of brass and driving rhythms but again the composer seems removed from the excitement and concern the music is supposed to convey, instead sounding rather bizarre and exotic. The focused intensity of a believer in either war or religion was too singular a nuance for Stravinsky to sustain for an entire film score. Ultimately, the result of this forgivable failing was an excellent and memorable symphony.
[allmusic.com]")
![Paul Hindemith - Concerto for Woodwinds, Harp and Orchestra [With score]](https://i.ytimg.com/vi/G5EoRR3-YRc/mqdefault.jpg "Paul Hindemith - Concerto for Woodwinds, Harp and Orchestra [With score]
-Composer: Paul Hindemith (16 November 1895 – 28 December 1963)
-Orchestra: Radio-Sinfonie-Orchester Frankfurt
-Conductor: Werner Andreas Albert
-Soloists: Walter Büchsel (Flute), Liviu Varcol (Oboe), Ulrich Mehlhart (Clarinet), Carsten Wilkening (Bassoon), Charlotte Cassedanne (Harp)
Concerto for flute, oboe, clarinet, bassoon, harp and orchestra, written in 1949
00:00 - I. Moderately fast
07:50 - II. Grazioso
10:49 - III. Rondo. Rather fast
The Concerto for Flute, Oboe, Clarinet, Bassoon, Harp, and Strings is Hindemiths reflection upon the concerto grosso. As in Baroque examples, the soloists (concertino) and the accompanying body (ripieno) are generally cast as cooperative elements rather than as antagonists. The only exception in the present work appears in the first movement, where a cadenza, more characteristic of Classical and later concerti, appears: the soloists here unite as a single virtuosic body.
The now-American Hindemith was commissioned to write the Concerto for the fifth Festival of Contemporary American Music in 1949. As the festival was scheduled for May 9 - 15 of that year, Hindemith requested that his work be premiered on the 15th, the date of his silver wedding anniversary. Indeed, he surprised his wife, Gertrude, at the premiere by incorporating into the work quotations of the Wedding March from Mendelssohns music to A Midsummer Nights Dream.
[allmusic.com]")
![Olivier Messiaen - Catalogue doiseaux (Book 1) [With score]](https://i.ytimg.com/vi/G6Izpdkjrhk/mqdefault.jpg "Olivier Messiaen - Catalogue doiseaux (Book 1) [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 1 (Premier livre)
00:15 - I. Le Chocard des Alpes (Alpine chough)
10:38 - II. Le Loriot (Eurasian golden oriole)
19:57 - III. Le Merle bleu (Blue rock thrush)
Catalogue doiseaux begins with Le chocard des alpes (the Alpine chough), not only depicting the bird, but also its mountainous surrounding, in several lengthy sections of colorfully dissonant chords. The call of the raven is juxtaposed with the chough, and long silences, a favorite tool of Messiaen, abound. Le loriot (the golden oriole) follows with a marked contrast to Le chocard; indeed, contrast characterizes the succession of movements throughout the work. The orioles repetitive song takes on virtuosic extremes, homage (along with the title pun) to the works premiere performer, Messiaens second wife, Yvonne Loriod. The homage is one of love as Messiaens harmonies recall harmonies from his earlier Cinq Rechants. The final piece of the book, Le merle bleu (the blue rock thrush), is a forceful and jubilant setting.
Original Audio: https://youtu.be/1qWhpSCHCxg")
![Felix Mendelssohn - Sonata for Cello and Piano No. 1 [With score]](https://i.ytimg.com/vi/G7uR9exPYo0/mqdefault.jpg "Felix Mendelssohn - Sonata for Cello and Piano No. 1 [With score]
-Composer: Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 – 4 November 1847)
-Performers: Antonio Meneses (Cello), Gérard Wyss (Piano)
Sonata for Cello and Piano No. 1 in B flat major, Op. 45, written in 1838
00:03 – I. Allegro vivace
11:28 – II. Andante
17:48 – III. Allegro assai
Felix Mendelssohns Sonata for Cello and Piano No. 1 in B flat major, Op. 45 was composed in October, 1838, during the composers tenure in Leipzig. Although its popularity is overshadowed by that of its sibling, the Sonata for Cello and Piano No. 2, Op. 58, it readily exemplifies the composers fluid, elegant handling of string instruments, and his ability to wring interesting material from standard forms.
Written in a comfortable tessitura for the cellist and fully utilizing the sonorities of the lower strings, the first movement introduces a relaxed atmosphere in which Mendelssohns natural melodic facility at once comes to the fore. The piano provides more than mere accompaniment, assuming the role of an equal to the cello, while never overshadowing that instruments natural cantabile voice. The movement follows a classical sonata form, never straying from expected harmonic developments; still, the musics effectiveness confirms that, in hands as capable as Mendelssohns, predictability and logical development present their own expressive possibilities.
The second movement, an Andante, opens with the piano. The movements primary theme consists of punctuated phrases that suggest a playful, whimsically enigmatic, spirit. This mood eventually yields, without fundamentally changing the character of the theme, to a feeling of drama, enabling the piano to display a certain measure of virtuosity.
Although the principal theme of the final movement recalls elements from the first movement, the mood here is of breezy lightness. In accompanying the melodic line, the piano engages in a pleasant jocosity while never threatening to overpower the cello.
[Allmusic.com]")
![Alban Berg - Lyrische Suite [Lyric suite] [With score]](https://i.ytimg.com/vi/GKAVN5ZUdbw/mqdefault.jpg "Alban Berg - Lyrische Suite [Lyric suite] [With score]
Composer: Alban Maria Johannes Berg (9 February 1885 24 December 1935)
Performers: Juilliard String Quartet - Robert Mann (violin), Earl Carlyss (violin), Samuel Rhodes (viola), Claus Adam (cello)
Year of recording: 1970 (live)
Lyrische Suite [Lyric suite], written between 1925-1926
00:00 - I. Allegretto gioviale
03:09 - II. Andante amoroso
09:26 - III. Allegro misterioso – Trio estatico
12:43 - IV. Adagio appassionato
19:05 - V. Presto delirando – Tenebroso
24:00 - VI. Largo desolato
Bergs Lyric Suite abounds in secret messages. In purely musical terms, Berg here for the first time employs Schoenbergs 12-tone system, basing some of the third and fifth movements on rows using all 12 notes of the chromatic scale. (And in one row, Berg proudly told Schoenberg, he used not only all available notes, but all available intervals.) Also, the fourth movement carries a quotation from the Lyric Symphony of Zemlinsky, to whom the suite is dedicated. In more personal terms, the music documents the course of Bergs extramarital affair with Hanna Fuchs-Robettin. Not only do the movement titles suggest an all-too-familiar sequence (from jovial through amorous and ecstatic to gloomy and sorrowful), but Berg incorporates his and Fuchs-Robettins initials into the melodies and ties the metronome markings to numerological associations with their names. The sixth movements quotation of Wagners Tristan und Isolde is a clear reference to illicit love.
The first movement, though freely atonal, lives up to its designation of Allegretto gioviale; its a short, perky piece. Things become quieter and more intimate with the sensuous Andante amoroso, although the mood is still sometimes rather capricious, despite an elegiac interlude at its center. Intensity builds with the Allegro misterioso, which opens with nocturnal insect music, liberally employing pizzicato and other effects. This is, effectively, the works scherzo movement, and at its center is a Trio estatico still keeping a fairly quick tempo, but now using mostly conventional bowing for longer-lined phrases. The scherzo music reappears, running in reverse to the movements end.
The fourth movement, Adagio appassionato, forms the quartets emotional center, with something tense and foreboding about much of the musics passion. A thrashing, dissonant climax gives way to a long passage of relative, but not quite settled, repose. The ensuing Presto delirando-Tenebroso alternates frantic music with quiet, dark, tense passages. The concluding Largo desolato maintains these moods at a much slower tempo, the music gradually dying away.
[www.allmusic.com]
Original Audio: https://youtu.be/uYIMRXkyJ10")
![Johannes Brahms - Double Concerto [With score]](https://i.ytimg.com/vi/GMurNzAAcLA/mqdefault.jpg "Johannes Brahms - Double Concerto [With score]
-Composer: Johannes Brahms (7 May 1833 – 3 April 1897)
-Soloists: Itzhak Perlman (violin), Mstislav Rostropovich (cello)
-Orchestra: Royal Concertgebouw Orchestra
-Conductor: Bernard Haitink
-Recorded in 1979
Double Concerto [Doppelkonzert] for violin, cello and orchestra, in a minor, op. 102, written in 1887
00:04 - I. Allegro
16:54 - II. Andante
24:41 - III. Vivace non troppo
Brahms wrote this work during the summer of 1887, and conducted the premiere himself on October 18 in Cologne, with Joseph Joachim and Robert Hausmann as, respectively, the violin and cello soloists. Brahms had just turned 20 when he met Joseph Joachim (1831-1907), already a celebrated violinist at 22 and destined to be acclaimed also as a composer, conductor, and educator. It was Joachim who commended his new friend to Robert and Clara Schumann, thereby assuring his celebrity. For 30 years the two were fast friends despite the distance usually separating their power bases: Joachims in Berlin, Brahms in Vienna finally. Jussuf, however, had a weakness obsessive jealousy of his wife Amalie, whom he accused of adultery in 1881 with his (and Brahms and Dvoráks) publisher, Fritz Simrock. Brahms disbelieved, and said so in a consolatory letter to Frau Joachim. During divorce hearings she produced this letter in court, and the judge agreed publicly with its contents.
As a result, Joachim cut off communications with Brahms for six years, although he continued to play the composers music. Finally, seeking to repair the damage, Brahms composed the Double Concerto as a peace offering; the effort was successful, although their camaraderie of former years was never fully restored. In addition to composing the Thun sonatas of 1886 for violin and cello, Brahms had been studying Baroque concerti grossi, so the sound of string instruments was in his ear. This concerto would be his last orchestral work.
From the Swiss vacation resort of Hofstetter on Lake Thun, he wrote to several persons about his strange flight of fancy...for fiddle and cello. But first he sent a postcard to Joachim, received on July 19, 1887, by which time Brahms had completed the work and was copying solo parts. When Joachim responded enthusiastically by return mail, Brahms asked him to arrange a play-through with Robert Hausmann, who had introduced the Op. 99 Cello Sonata a few months prior; Brahms himself would accompany on the piano. This took place at Clara Schumanns home in Baden-Baden in September (her diary notes that Brahms and Joachim have spoken to one another again after years of silence). Although neither the Cologne premiere nor the first Vienna performance was a success, the concerto finally entered the repertory, even if it never enjoyed the success of his violin concerto or the two for piano.
-The opening Allegro (A minor; 4/4) begins with the kernel of the main theme, then a cello recitative, and finally the kernel of a more lyrical second theme. Next, the violin has a turn, though the cello intrudes after five bars, following which the orchestra finally gets to play a 44-bar exposition of themes already previewed. Soloists perform the traditional second exposition, but there is not, in the development or recapitulation, a lot of unison playing. Throughout, the soloists are not stars with a supporting cast, but merely leading characters in a primarily orchestral drama. Unison passages appear in the A and A sections of the sweetly autumnal, folk-flavored, song-form Andante in D major (3/4 time). The solo instruments dovetail or briefly overlap in an F major middle section, until a magical enharmonic transition leads back to unison playing.
The lighthearted but not too lively rondo (vivace non troppo) has repeating A sections with a staccato-marcato rhythm that wrong-headed playing can accelerate and by so doing adulterate. The B section is broader, with chords on the cello that the violin echoes. The C section, in F major, is similarly broad but longer, before the A material returns one more time, with a jaunty tilt of the cap and a kind of jig all the more entertaining in light of Brahms short stature, bushy beard and, by then, Santa-like corpulence.
[allmusic.com]")
![Edvard Grieg - Lyric Pieces (Volume VI), op. 57 [With score]](https://i.ytimg.com/vi/GOsQiTlhn4c/mqdefault.jpg "Edvard Grieg - Lyric Pieces (Volume VI), op. 57 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performer: Gerhard Oppitz
6 Lyric Pieces Book VI, op. 57, written in 1890-93
00:00 - I. Svunne dager {Vanished Days}
07:25 - II. Gade
11:51 - III. Illsjon {Illusion}
16:21 - IV. Hemmelighet {Secret}
22:30 - V. Hun daser {She Dances}
25:22 - VI. Hjemve {Homesickness}
In the spring of 1893, Edvard Grieg was forced to cancel a scheduled tour of England due to ill health. Griegs publisher Max Abraham came to the rescue, booking Grieg in a small number of concerts held in the climate-friendly south of Europe. Grieg, his wife Nina, and Abraham finally settled in Menton, located in southern France along the opulent Côte dAzur, so that the composer could recover. A photograph of the party taken at this time shows Grieg with a baggy, oversize suit hanging off his perilously thin frame. Grieg was also soon to turn 50 and beginning to focus on thoughts of death, though this was not to come for another 14 years. The sixth book of Lyric Pieces, Op. 57, was written while Grieg was in Menton.
The first piece, Svunne dager (Vanished Days) is one of the longest and most fully developed of all Griegs Lyric Pieces. To the ear, Vanished Days seems to contain several sections developed along the lines of a sonata movement, but is actually cast in simple ternary form and is based around a motive of a rising and falling third. The second section consists of an exuberant dance melody. Gade, a tribute to Griegs friend and fellow composer Niels Gade, follows. In it a Norwegian folk melody is woven into a fabric of proper music-school counterpoint that would pass muster as a Conservatoire exercise. Illusjon (Illusion) is another somber minor key piece that works around a motive, this time stated in sixths. Grieg introduces a falling off figure that he attenuates by adding a bar of 9/8 into the 6/8 texture. He further extends the falling off idea in the following piece, Secret. This piece is structurally interesting in that it consists of three brief phrases that are repeated three times, yet the entry of each part is cleverly disguised from the others, so that you get the impression of hearing something through-composed. An analogous scenario would be Nina tells Grieg a secret; Grieg mulls it over in his mind; gets agitated about it; Nina tells Grieg another secret, etc.
Hun danser (She Dances) hearkens back to Anitras Dance from Peer Gynt, except that this is much livelier and rife with between-the-beat sixteenths. The closing movement, Hjemve (Homesickness) is, in certain ways, the most effective piece of the set. As in the first, third, and fourth pieces, Grieg starts out with a slow, somber tune, but here it is harmonized in a spare, four-part texture. In the second section, Grieg sets a folk melody with both hands in the treble registers of the piano, colored in a Lydian modality. This effect is similar to devices favored by so-called New Age pianists; in the context of Grieg, the passage is both highly attractive and surprisingly modern sounding.
[allmusic.com]")
![Edvard Grieg - 6 Poems, op. 25 [With score]](https://i.ytimg.com/vi/GXqhv4ZvWz8/mqdefault.jpg "Edvard Grieg - 6 Poems, op. 25 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performers: Monica Groop (Voice), Love Derwinger (Piano)
6 Poems for Voice and Piano, op. 25, written in 1876
00:00 - I. Spillemænd {Minstrel}
02:14 - II. En Svane {The swan}
04:20 - III. Stambogsrim {Album verse}
05:56 - IV. Med en Vandlilje {With a waterlilly}
07:52 - V. Borte! {Departed!}
09:24 - VI. En Fuglevise {A birdsong}
In these settings of Henrik Ibsens only collection of poetry, Grieg demonstrates a fine intuitive grasp of the great playwrights themes and preoccupations. Primarily a lyricist, Grieg responded intuitively to Ibsens melancholy, somewhat hermetic, poems about love, death, nature, and the mysteries of destiny. Straightforward and expressive, Griegs melodies spring forth, supported by spontaneous, fresh harmonies, which often introduce surprising shadings of color. Ibsens short poems, particularly, the enigmatic Swan, find a convincing musical counterpart in Griegs imaginative rendition of the text. According to a story, Ibsens poem is inspired by a legend of the swan, who, following a lifetime of silence, finds his voice as death approaches, and finally reveals his hidden love. As the music moves from a dramatic climax, representing the swans declaration of love to a repetition of the opening statement, Grieg uses a new, distant tonality in an effort to describe the mysterious realm of death.
[allmusic.com]")
![Paul Hindemith - String Quartet No. 3, Op. 16 [With score]](https://i.ytimg.com/vi/H0A_YQ342dk/mqdefault.jpg "Paul Hindemith - String Quartet No. 3, Op. 16 [With score]
-Composer: Paul Hindemith (16 November 1895 – 28 December 1963)
-Performers: Danish String Quartet
String Quartet No.3 in C Major, op. 16, written in 1920
00:00 - I. Lebhaft und sehr energish
11:08 - II. Sehr langsam. Äußerst ruhige Viertel
24:09 - III. Finale. Äußerst lebhaft
*I couldnt find any informations about this quartet so if anyone knows well or finds something about this quartet, please let me know!")
![Edvard Grieg - Song Transcriptions (Volume II), op. 52 [With score]](https://i.ytimg.com/vi/HaNzQMKLtO8/mqdefault.jpg "Edvard Grieg - Song Transcriptions (Volume II), op. 52 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performer: Gerhard Oppitz
Piano Transcriptions of Songs (Volume II), op. 52, written in 1890
00:00 - I. Modersorg {A Mothers Grief} (from Op. 15/4)
03:21 - II. Det første møre {The first meeting} (from Op. 21/1)
07:08 - III. Du fatter ej bølgernes evige gang {The Poets Heart} (from Op. 5/2)
09:12 - IV. Solveigs sang {Solveigs Song} (from incidental music: Peer Gynt)
13:31 - V. Kjærlighed {Love} (from Op. 15/2)
16:22 - VI. Gamle mor {The Old Mother} (from Op. 33/7)")
![Edvard Grieg - 25 Norwegian Folk Songs and Dances, op. 17 [With score]](https://i.ytimg.com/vi/HrmZMPhKj78/mqdefault.jpg "Edvard Grieg - 25 Norwegian Folk Songs and Dances, op. 17 [With score]
-Composer: Edvard Hagerup Grieg (15 June 1843 – 4 September 1907)
-Performer: Gerhard Oppitz
25 norske folkeviser og danser {25 Norwegian Folk Songs and Dances} for Piano, op. 17, written in 1869
00:00 - I. Springdans
00:53 - II. Ungersvennen {The swain}
01:47 - III. Springdans
02:31 - IV. Niels Tallefjoren
04:13 - V. Jølstring {Dance from Jolster}
05:45 - VI. Brurelåt {Wedding Tune}
07:34 - VII. Halling {Norwegian dance}
08:19 - VIII. Grisen {The pig}
09:08 - IX. Når mitt øye {Religious Song}
11:13 - X. Friervise {The Wooers Soong}
12:34 - XI. Kjempevise {Heroic Ballad}
13:39 - XII. Solfager og Ormekongen {Solfager and the Snake-King}
15:13 - XIII. Reiselaat {Wedding March}
16:11 - XIV. Jeg synger med sorgfullt hjerte {I sing with a sorrowful heart}
17:39 - XV. Den siste lørdagskvelden {The last Saturday evening}
19:23 - XVI. Eg veit ei lita jente {I know a little maiden}
21:12 - XVII. Kleggen og fluga {The Gadfly and the Fly}
22:39 - XVIII. Stabbelåten {Peasant Dance}
24:29 - XIX. Hølje Dale
25:23 - XX. Halling
26:01 - XXI. Saebygga {The woman from Setesdal}
27:06 - XXII. Kulokk {Cow-Call}
28:15 - XXIII. Såg du nokke til kjerringa mi {Peasant Song}
30:00 - XXIV. Brurelåt (Wedding Tune)
30:42 - XXV. Rabnabryllaup (The ravens wedding)
These delightful piano miniatures are based on L.M. Lindemans Aeldre og nyere norske fjeldmelodier (Old and New Norwegian Country Melodies). This selection displays the wonderful variety:
1. Spring Dance is a spirited, lilting melody in 3/4 with a skip on the last beat played over changing accompaniments: (1) a rhythmic drone, (2) contrasting accents (beats 1 and 3 in the first measure, 2 in the second), (3) chromatic descents, and (4) strong, thrilling bass chords for the last verse.
2. The Young Man Asked His Maiden states a question in a rhythmic minor which receives a sweet major-key reply interspersed with two more short, hesitant questions.
3. This Spring Dance has quite a different feeling from number 1. The spinning, cycling melody proceeds from quiet, sometimes sharp harmonies toward a wilder and abandoned double-speed coda.
5. The Dance from Jølster contains many coloristic effects, such as crystalline staccatos, offbeat accents, high treble woodwind-like parts, fast triplets over enthusiastic string-like open fifths, as well as extended endings, surprising sudden halts in the rhythm, and switches from duple to triple meter.
6. The Wedding Tune is a sweet, lyrical Allegretto pastorale which begins in C major and ends in A minor mixing happy and romantic (or, perhaps slight uncertainty about the future) emotions.
8. Oh, the Pig Had a Snout is a brief tune, in a combined comical and cantabile mood in G minor in triple meter.
9. When My Eyes is a touching spiritual song harmonized with beautiful modal harmonies.
10. Ole Once in Anger is a courting song with a jerky, drinking song rhythm to its wide-ranging minor-key melody that concludes in a deep, perhaps apologetic, baritone register.
12. Solfager and the Snake King, played in a moody Andante tempo, has a haunting minor-key melody with snaky chromatics that tells a tale even without words.
14. I Sing With a Sorrowful Heart is introduced by a distant minor third echoed three times in the high treble. The warm, middle register melody then begins with that same interval harmonized in rich but almost funeral chords played at a piano dynamic. The coda suddenly sings forth in a compelling cry that quickly calms into a resigned minor cadence.
17. In The Gadfly Said to the Fly, the first timid, thin-voiced (even insectile) statement is met with a full-voiced loud answer harmonized chromatically. The first voice inquires again twice, and the answers are more measured and simple.
21. The melody of The Woman from Setesdal is built on a simple two-measure rolling gesture that is treated as a very interesting imitative canon, the imitating voice sounding like a flute or birdsong in the higher registers.
23. Did You See Anything of My Wife? is a curious two-part song with a dotted, questioning, backbeat rhythm at the start, followed by quiet reply in longer tones and then a loud, aggressive version of that reply.
[allmusic.com]")
