Uploaded August 2026 | Updated September 2026, 2 days ago
Tentera Singapura - March of the Singapore Armed Forces
Composed by CPT A. Abdullah
Score: https://go.gov.sg/sg-regimentalmarches
Audio: youtube.com/watch?v=BzKY5jLZIx4
All rights reserved by the SAF Band
Tentera Singapura - March of the Singapore Armed Forces
Composed by CPT A. Abdullah
Score: https://go.gov.sg/sg-regimentalmarches
Audio: youtube.com/watch?v=BzKY5jLZIx4
All rights reserved by the SAF Band
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for oboe, ondes Martenot, celesta, harp, and string sextet
Audio: https://www.youtube.com/watch?v=oQsHXBliBGY
BBC Philharmonic Orchestra
Rumon Gamba, conductor")
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Audio: https://www.youtube.com/watch?v=hVjrsanA3M8
BBC Philharmonic
Rumon Gamba, conductor")
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Music from the opera, Op. 60
Score: https://www.boosey.com/cr/perusals/score?id=38727
Audio: https://www.youtube.com/playlist?list=OLAK5uy_nIomNa91kQ_jWiTPqIgNvoh6DiQHe4Fs4
Buffalo Philharmonic Orchestra
JoAnn Falletta, conductor
_Ariadne auf Naxos_ was written by Richard Strauss for an orchestration of only 36 musicians and the expert chamber-sized orchestration absolutely sparkles. It is remarkable that no significant orchestral suite had previously been published for concert performance.
My aim in extracting and arranging music from _Ariadne_ was to create an orchestral suite that could act as a kind of continuous orchestral symphony in the presentation and development of the main themes from the opera. I maintained Strauss original instrumentation throughout, with the exception of having 2nd oboe double on English horn, an instrument which proved ideal for taking over some vocal lines. The music and original keys remain unchanged, with the addition of orchestrating the musical lines that were originally written for voice. I attempted to create seamless, logical transitions between the excerpts, using Strauss musical material.
The resulting Symphony-Suite was premiered by the Nashville Symphony under Giancarlo Guerrero in 2011, 99 years after the original premiere of the opera in 1912.
The Symphony-Suite is divided into 7 continuous sections:
0:00 Prologue
The Prologue (from music added in 1916) acts as the introduction to the symphony, introducing us to all of the major musical themes from the opera which are developed one at a time in the subsequent sections of the suite.
5:08 Duet
The tender and lyrical Duet Ein Augenblick ist wenig [A glance is greater than a moment], also from the 1916 prologue, was originally between the characters of Zerbinetta and the Composer as she flirts with him to make the changes to his opera that she wants.
9:02 Waltz
The charming Waltz, Eine Störrische zu trösten [Discard such worries] was originally sung by Zerbinetta and 3 of her male admirers. Originally a virtuoso coloratura aria, this waltzs orchestration is no less virtuostic.
15:13 Overture
The Overture is the slow, beautiful music that introduces the opera within an opera, and eventually forms Ariadnes aria Ein Schones war [There was such beauty]. It acts as the slow middle movement of this suite—justly famous for its tranquil beauty, which begins as a string sextet before expanding for the full chamber orchestra.
20:00 Aria
Ariadnes beautiful Aria Es gibt ein Reich [There is a realm] is her belief that death would be liberation from her sorrows. It is a stunning example of the care taken to accompany the female singers Strauss championed.
26:21 Interlude
The Interlude is an absolutely charming orchestral episode that was drastically cut after the 1912 performances (for time reasons). It is Strauss at his instrumental best, building to a feverish climax that gives way, leading directly into the Finale.
30:42 Finale
Ingeniously, Strauss uses a variation of the waltz-like theme from the Interlude as the initial theme in the Finale, considerably slowed down to bring out the deep emotions of Ariadne as she is sheds her grief with a new love Gibt es kein Hinuber? [Where is the passage?] at the conclusion of the opera. The Finale smartly recalls several themes from earlier in the opera, which serves as a fitting closing movement to the symphony-suite. - D. Wilson Ochoa")
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Edited to a fare-thee-well by Professor Peter Schickele
Audio: https://www.youtube.com/watch?v=nsMpaBGJU8c
Jeffrey Biegel, piano
Philharmonia Northwest
Julia Tai, conductor
0:00 I. Shake allegro
8:44 - Cadenza
10:27 II. Kind of slow
14:42 - Cadenza
19:27 III. Moving alongo
23:55 - Cadenza")
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サンバ・デ・ラヴズ・ユー - 数原晋
Audio: https://www.youtube.com/watch?v=9sUTVOOOalI
Kitauji High School Concert Band")
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Audio: https://www.youtube.com/watch?v=uouukb-wLko
English Northern Philharmonia
Paul Daniel, conductor")
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Score: https://petruccimusiclibrary.ca/files/imglnks/caimg/0/00/IMSLP897452-PMLP1407023-Grøndahl Trombone_Concerto Full_Score.pdf
Audio: https://www.youtube.com/playlist?list=OLAK5uy_nqDEHLKzQAWGjTniTS7pXED8mQGqbC-Sw
Jesper Juul Sorensen, trombone
Danish National Symphony Orchestra
Thomas Dausgaard, conductor
0:00 I. Moderato assai ma molto maestoso
5:00 II. Quasi una Leggenda: Andante grave
10:41 III. Finale: Maestoso
11:54 - Rondo")
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Score: https://www.schott-music.com/en/kings-row-suite-no342786.html
Audio: https://www.youtube.com/watch?v=hyn0Twbcnvw
RCA Symphony Orchestra
Charles Gerhardt, conductor")
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Audio: https://www.youtube.com/watch?v=1bDoMflYErE
The Cambridge Singers
City of London Sinfonia
John Rutter, conductor")
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Score: https://www.universaledition.com/en/Works/Concerto/P0022688
Audio: https://www.youtube.com/playlist?list=OLAK5uy_kuB_diZF_hXo6i3q_miiotCVW0C5FRNR4
Julian Bream, guitar
Melos Ensemble
David Atherton, conductor
0:00 - Lento e rubato
1:34 - Vivo
5:34 - Cadenza
6:23 - Lento e rubato
8:22 - Andante lento
14:21 - Lento
15:35 - Con brio")
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Audio: https://www.youtube.com/playlist?list=OLAK5uy_mmp80OPKG_v2IxhqLAyb73KLDVgm6V1ck
Alison Balsom, trumpet
Die Deutsche Kammerphilharmonie Bremen
Thomas Klug, conductor
0:00 I. Allegro con spirito
9:21 II. Andante
14:07 III. Rondò
15:28 - Minore
16:22 - Maggiore
*Is an inaccurate score video better than no score video?*
Until now, the only full/orchestra/conductor score video of Hummels Trumpet Concerto on YouTube was the one made by fellow score video creator TheOneAndOnlyZeno. The problem is that the sheet music used in that video is not the actual score. Its a re-orchestration by trumpeter Michel Rondeau, who uploaded it to IMSLP. As the comment all the way at the bottom of Zenos video points out, the instrumentation is incomplete (omitting the bassoons), and clearly there seem to have been creative liberties with the orchestration taken throughout. On top of that, the audio used is the commonly performed version in E-flat, while the score itself is in Hummels original key of E major.
So the question is, does putting up a score video with the incorrect edition actually benefit the internet? The target audience for such a video is almost certainly students, perhaps trumpet players learning the concerto and wanting to understand the orchestral writing, or orchestral musicians following along with the score. For that audience, an inaccurate score is not just unhelpful, but actively misleading. The videos description reads, The COMPLETE score to Johann Nepomuk Hummels incredible Trumpet concerto in E Major, making it very easy for a student who doesnt know any better to assume this was the real thing. I would argue not only that putting up the incorrect score video defeats the point of using an orchestral score in the first place, but even that it does more harm than good, especially with the added assertion in the description.
When I replied to Zenos response that an incorrect score is better than no score-video by asking, is misinformation better than no information? Zenos reply was, If you dont like it, dont watch it. But how is a viewer supposed to know the score is wrong before clicking, watching, noticing maybe 1 minute in that the music doesnt match, second-guessing themselves, re-reading the description that insists its COMPLETE, before getting their answer by scrolling to the bottom of the comment section? I can say that this is exactly what happened to me (on a few occasions). Who knows how many of the 4k+ views on that video left misinformed, since most of the other comments suggest viewers had no idea anything was off.
Since Zenos final response to my criticism was simply Then make your own loser, well, here we are. Thankfully Im actually able to do something about it - not everyone would have the means to put together a video like this. I found the Breitkopf & Härtel urtext edition and made this video as a correction of sorts. I dont expect that Zeno would take down his video, so Ive also used a different recording. A clean, modern recording thats beneficial for students to hear how this piece is typically played today, in Eb, matching with the score.
In conclusion, I want to encourage fellow score video makers to uphold professionalism and a desire to seek, share and publish accurate information to help the music community. These videos are educational resources, and the people watching them should be able to trust what they see.")
