Uploaded January 2026 | Updated September 2026, 2 weeks ago
I - Intro: 0:00
Renaissance
II - Clément Janequin. Chanson "La Guerre": 1:20
III - Matthias Werrecore. "La Battaglia Taliana" or "Die Schlacht vor Pavia": 4:27
IV - Mateo Flecha "El Viejo". Ensalada "La Guerra": 7:33
V - Annibale Padovano. "Battaglia à 8": 8:53
VI - William Byrd. "The marche to the fighte" from "The Battell": 11:58
Baroque
VII - Claudio Monteverdi. "Il combattimento di Tancredi e Clorinda": 14:26
VIII - John Jenkings. Gallarde from "Newarke Siedge": 16:51
IX - Heinrich Ignaz Franz Biber. "Der Mars" and "Die Schlacht" from "Battalia à 10": 22:04
X - Jean Frarnçois Dandrieu. Movements V-X from "Les Caractères de la Guerre": 23:55
XI - Juan Cabanilles. Primera Batalla Imperial de Quinto Tono: 28:12
Classical
XII - Ferdinand Kauer. "La Conquete d'Oczakow" Sonate Militaire in Re majeur: 33:14
XIII - Joseph Haydn. Second movement from Symphony No.100 in G major "Military": 38:14
XIV - Paul Wranitzky. Third movement from Symphony in C minor, Op. 31: 43:25
XV - Franz Neubauer. Fourth movement from Symphony in D major "La Bataille": 47:52
XVI - Karol Kurpiński. "The Battle of Mozhaysk" or "A Great Symphony Depicting a Battle": 55:24
Romantic
XVII - Ludwig van Beethoven. First part of "Wellington's Victory" or "Battle of Vitoria": 1:03:52
XVIII - Carl Maria von Weber. Battle music from the Cantata "Kampf und Sieg": 1:11:22
XIX - Franz Berwald: "The Battle of Leipzig" Symphonic Poem: 1:14:46
XX - Franz Liszt. "The Battle of the Huns" Symphonic Poem: 1:21:47
XXI - Pyotr Ilyich Tchaikovsky. 1812 Overture: 1:25:59
World War I
XXII - Holst. "Mars, the bringer of War" from "The Planets" Suite: 1:30:23
XXIII - Alfredo Casella. "In Russia: Cossack Cavalry Charge" from "Pagine di Guerra": 1:37:44
XXIV - Nikolai Myaskovsky: Third movement from Symphony No.4 in E minor: 1:39:00
XXV - Heitor Villa-Lobos. "The Battle" from Symphony No.3 "The War": 1:44:40
XXVI - Arthur Bliss. Fourth movement from "Morning Heroes" Choral Symphony: 1:51:36
World War II
XXVII - Sergei Prokofiev. "In the Struggle" from "The Year 1941" Suite: 1:57:10
XXVIII - George Antheil. Fourth movement from Symphony No. 4 "1942": 2:01:46
XXIX - Dmitri Shostakovich. Third movement from Symphony No.8 in C minor: 2:09:37
XXX - Samuel Barber. Third movement from Symphony No.2 "Flight Symphony": 2:15:46
XXXI - Igor Stravinsky. First movement from Symphony in Three movements: 2:22:20
Contemporary
XXXII - Henry Cowell. Sixth movement from Symphony No.11 "Seven Rituals of Music": 2:28:15
XXXIII - Alberto Ginastera. "Canto para la partida de los guerreros" from "Cantata para América Mágica": 2:29:54
XXXIV - Karel Husa. "Tragedy of Destruction" from "Apotheosis of this Earth": 2:32:35
XXXV - Leonardo Balada. Symphony No.6 "Symphony of Sorrows": 2:40:39
XXXVI - Vakhtang Machavariani. "Mariupol" Symphonic Poem: 2:47:47
I - Intro: 0:00
Renaissance
II - Clément Janequin. Chanson "La Guerre": 1:20
III - Matthias Werrecore. "La Battaglia Taliana" or "Die Schlacht vor Pavia": 4:27
IV - Mateo Flecha "El Viejo". Ensalada "La Guerra": 7:33
V - Annibale Padovano. "Battaglia à 8": 8:53
VI - William Byrd. "The marche to the fighte" from "The Battell": 11:58
Baroque
VII - Claudio Monteverdi. "Il combattimento di Tancredi e Clorinda": 14:26
VIII - John Jenkings. Gallarde from "Newarke Siedge": 16:51
IX - Heinrich Ignaz Franz Biber. "Der Mars" and "Die Schlacht" from "Battalia à 10": 22:04
X - Jean Frarnçois Dandrieu. Movements V-X from "Les Caractères de la Guerre": 23:55
XI - Juan Cabanilles. Primera Batalla Imperial de Quinto Tono: 28:12
Classical
XII - Ferdinand Kauer. "La Conquete d'Oczakow" Sonate Militaire in Re majeur: 33:14
XIII - Joseph Haydn. Second movement from Symphony No.100 in G major "Military": 38:14
XIV - Paul Wranitzky. Third movement from Symphony in C minor, Op. 31: 43:25
XV - Franz Neubauer. Fourth movement from Symphony in D major "La Bataille": 47:52
XVI - Karol Kurpiński. "The Battle of Mozhaysk" or "A Great Symphony Depicting a Battle": 55:24
Romantic
XVII - Ludwig van Beethoven. First part of "Wellington's Victory" or "Battle of Vitoria": 1:03:52
XVIII - Carl Maria von Weber. Battle music from the Cantata "Kampf und Sieg": 1:11:22
XIX - Franz Berwald: "The Battle of Leipzig" Symphonic Poem: 1:14:46
XX - Franz Liszt. "The Battle of the Huns" Symphonic Poem: 1:21:47
XXI - Pyotr Ilyich Tchaikovsky. 1812 Overture: 1:25:59
World War I
XXII - Holst. "Mars, the bringer of War" from "The Planets" Suite: 1:30:23
XXIII - Alfredo Casella. "In Russia: Cossack Cavalry Charge" from "Pagine di Guerra": 1:37:44
XXIV - Nikolai Myaskovsky: Third movement from Symphony No.4 in E minor: 1:39:00
XXV - Heitor Villa-Lobos. "The Battle" from Symphony No.3 "The War": 1:44:40
XXVI - Arthur Bliss. Fourth movement from "Morning Heroes" Choral Symphony: 1:51:36
World War II
XXVII - Sergei Prokofiev. "In the Struggle" from "The Year 1941" Suite: 1:57:10
XXVIII - George Antheil. Fourth movement from Symphony No. 4 "1942": 2:01:46
XXIX - Dmitri Shostakovich. Third movement from Symphony No.8 in C minor: 2:09:37
XXX - Samuel Barber. Third movement from Symphony No.2 "Flight Symphony": 2:15:46
XXXI - Igor Stravinsky. First movement from Symphony in Three movements: 2:22:20
Contemporary
XXXII - Henry Cowell. Sixth movement from Symphony No.11 "Seven Rituals of Music": 2:28:15
XXXIII - Alberto Ginastera. "Canto para la partida de los guerreros" from "Cantata para América Mágica": 2:29:54
XXXIV - Karel Husa. "Tragedy of Destruction" from "Apotheosis of this Earth": 2:32:35
XXXV - Leonardo Balada. Symphony No.6 "Symphony of Sorrows": 2:40:39
XXXVI - Vakhtang Machavariani. "Mariupol" Symphonic Poem: 2:47:47




![Symphony No.10 Sumé Pater Patrium: Sinfonia Ameríndia - Heitor Villa-Lobos
Stuttgart Radio Symphony Orchestra, Members of the Staatsopernchor Stuttgart and SWR Vokalensemble Stuttgart conducted by Carl St Clair. Henryk Böhm as the baritone and Jürgen Linn as the Bass-Baritone.
I - The Earth and Its Creatures. Allegro: 0:00
II - War Cry. Lento: 9:37
III - Lurupichuna. Scherzo. Allegretto scherzando: 20:16
IV - The Voice of the Earth and the Appearance of Anchieta. Lento: 27:14
V - Glory in Heaven, and Peace on Earth. Poco allegro: 57:49
Villa-Lobos Symphony No.10 was composed between 1952-3, commissioned to celebrate the 400th anniversary of the founding of the city of São Paulo. It was premiered at the Théâtre des Champs-Élysées in Paris on April 4 of 1957, performed by the Orchestre National et Choeur de la Radiodiffusion Française conducted by the composer with Jean Giraudeau (tenor), Camille Maurane (baritone), and Jacques Chalude (bass). The Brazilian premiere took place six months later in São Paulo’s Theatro Municipal. The score is dedicated to Mindinha (Arminda Neves dAlmeida), the composers companion for the last 23 years of his life.
In five movements, this work is the longest in the symphonic output of the composer, and yet the description Oratorio for soloists, chorus and orchestra makes amply clear that it is not a choral symphony, like Beethovens Ninth. Indeed, it is more akin to Mahlers Eighth or Janáčeks Glagolitic Mass. Effectively a hybrid, it is memorable for its stylistic variety and breath, drawing on several different sources of Brazilian music. An hour-long piece, rich in atmospheric passages, and one that reflects a clash of cultures with a breath of scope that is, at times, larger than life itself. Villa-Lobos was also notorious for the extravagant demands he made on orchestral musicians, and this work is no exception. The writing for strings and voices is extremely difficult, all winds and brass are tripled or quadrupled, the percussion section is vast and there are significant parts for piano, harps and organ.
The text is a historical record made by Father José de Anchieta of his conversion of native people to Christianity and is in Latin, Portuguese, and Tupí, an indigenous language. José de Anchieta was a Jesuit priest who worked indefatigably to protect the indigenous peoples from the slavery and oppression of the Portuguese colonists. Father Anchieta suffered from a spinal condition but, all the same, he climbed the coastal mountain range to the plateau, where, on 25 January 1554, he celebrated Mass for the foundation of the town that would eventually become the metropolis of São Paulo.
The first movement is purely orchestral, not following a standard structure. It begins with a chaotic polytonal introduction, from which several themes emerge; some of these recur in later movements. Villa-Lobos tends to depict the primitive state through ostinatos based on repeated notes, narrow intervals, parallelism and echoes of pentatonic scales. The colourful and luscious nature of the music seems to evocate the jungles of Brazil themselves. One particularly important motif consists of neighbouring notes followed by a descending fifth, and appears in a modified form in the second movement. A long crescendo ends the allegro with a triumphal coda.
The second movement is structured in ternary form. It opens with a solemn introduction, after which a deeply lyrical and melancholic main theme is exposed by clarinet. It is a lament for lost innocence in which the chorus sings wordless melodies. The central section opens with a rhythmic variation of the material, which becomes increasingly dissonant and agitated. After a diminuendo, the main theme is recapitulated by strings, and the wordless singing continues. The bass then begins a brief solo, representing the Voice of the Earth, who calls on the natives to take their weapons and become masters of the Earth. A gentle coda ends the lento.
The third movement is scherzo-like but also very free in form. It begins with a rhythmic and lively main theme, propulsed underneath by an ostinato figure. It continuously transforms as it unfolds. The chorus sings settings of Tupi texts found in XVIII and XIX century travel journals, suggesting the evolution of monkeys into builders of houses; the inference being that this only happened with the arrival of the Europeans. The choral texture is essentially reliant on parallelisms and a question-response structure. After some wordless singing from the baritone and chorus, a powerful climax is reached on the final lines of the poem, with which the scherzo ends.
[Musical analysis continued in the comments section].
[Activate subtitles to follow the lyrics].
Picture: Photograph of Christ the Redeemer (1922-31) with Moon in the background.
Musical analysis partially written by myself. Sources: https://tinyurl.com/2yke8uas, https://tinyurl.com/2xpyyyro and https://tinyurl.com/2bvvvdm4
Unfortunately, the score is not freely available. Symphony No.10 Sumé Pater Patrium: Sinfonia Ameríndia - Heitor Villa-Lobos](https://i.ytimg.com/vi/iF5_2i_X2Rs/mqdefault.jpg)



![Symphony No.7 in C-sharp minor - Sergei Prokofiev
Bergen Philharmonic Orchestra conducted by Andrew Litton.
I - Moderato (𝅘𝅥 = 80) - Poco meno mosso - Tempo I - Poco meno mosso - Tempo I: 0:00
II - Allegretto (𝅗𝅥. = 48) - Allegro (𝅘𝅥. = 72) - Più mosso - Poco a poco meno mosso - Poco più espressivo - Meno animato (tempo primo) - Allegro (𝅗𝅥. = 72) - Meno allegro - Più animato - Più mosso: 10:12
III - Andante espressivo - Meno mosso: 18:15
IV - Vivace (𝅘𝅥 = 144) - Poco meno mosso - Moderato marcato (𝅘𝅥 = 96) - Poco più animato (Tempo I) - Poco meno mosso - Più lento (𝅗𝅥 = 48) - Tranquillo - Meno mosso: 24:03
Prokofievs Symphony No.7 was composed between December 1951 and July 1952, less than a year before his death by hypertensive crisis. It was written for the Soviet Childrens Radio Division, thus is simpler character and more accessible style, being sometimes described as Children’s Symphony. The work was premiered in Moscow on October 11 of 1952, performed by the All-Union Radio Orchestra conducted by Samuil Samosud. Despite the apparent simplicity of the music and its adhesion to the socialist realism aesthetic, there is nothing childish nor superficial about the work. Most of the symphony can be described as emotionally restrained, nostalgic and melancholic in mood.
Sometime between 1952-3, Prokofiev was persuaded by the conductor to revise the finale with the addition of an energetic and optimistic coda. The composer was deeply in debt and hoped he would win a Stalin Prize (worth then 100,000 rubles), which would restore his finances. Also a programmatic content was suggested on the theme of Soviet youth, but these changes werent enough to earn the prize. Only in 1957, four years after Prokofievs death, the symphony was awarded the Lenin Prize. Before he died, Prokofiev indicated that the original quiet ending was to be preferred. The symphony was somewhat divisive later on, some critics found its simplicity and lyricism deeply moving, while others considered it a pale echo of Prokofievs earlier symphonic achievements.
The success Prokofiev enjoyed during the war was short-lived. As the patriotic fervour waned, tight governmental control of the arts returned with an iron fist. Four months later in 1948, a devastating and fierce anti-formalist campaign was launched against some of then most prominent soviet composers like Shostakovich, Prokofiev, Kachaturian or Myaskovsky. Prokofievs career never truly recovered from such campaign; many of his works were banned and the new compositions, written to appease soviet authorities failed to relaunch his career. By August 1948, Prokofiev was in severe financial straits, his personal debt amounting to 180,000 rubles. He felt himself bound to produce hack-work to please again the political authorities that dominated official Soviet music.
Prokofievs health was also on the decline; on January 1945 he had suffered a concussion after fainting in his apartment due to untreated chronic hypertension. He didnt fully recover from the accident, and following medical advice, he substantially had to restrict his composing activity. The last eight years of his life were those of an invalid, and he suffered almost constant headaches. The doctors could only suggest rest: he was to avoid all excitement, there was to be no reading, chess, alcohol or cigarettes and above all no composition: an impossible order, since he protested that he couldn’t help composing in his head. The death of close friends such as Boris Asafiev or Nikolai Myaskovsky also deeply affected him.
The opening Moderato is typical of Prokofiev in its distinctive take on sonata form, texture and harmony. It begins with a sombre piano chord, over which upper strings unfold a wistful theme to which woodwind and lower strings respond in more animated terms. This is repeated in altered guise as transition into the second main theme, set out in eloquent terms by woodwind and lower strings, with a whimsical codetta from flutes and glockenspiel. The development proceeds haltingly on strings and brass, both themes again being heard, along with the codetta now underpinned by subtle shifts in harmony and orchestration. This leads into a reprise that proceeds largely unaltered, but is thrown into relief by a fleeting return of the first theme in a bittersweet coda, the home key being reaffirmed in the deftest of terms.
[Musical analysis continued in the comments section]
Picture: Couple (1966) by the Russian painter Viktor Popkov.
Sources: https://tinyurl.com/2c9xohar and https://tinyurl.com/26cb7ucl
To check the score: https://tinyurl.com/2chr8rhn Symphony No.7 in C-sharp minor - Sergei Prokofiev](https://i.ytimg.com/vi/k3yziKG8pXI/mqdefault.jpg)

![Symphony of Psalms - Igor Stravinsky
Czech Philharmonic Orchestra conducted by Karel Ančerl. Prague Philharmonic Choir conducted by Josef Veselka.
I - Tempo 𝅘𝅥 = 92 - (attacca): 0:00
II - Tempo 𝅘𝅥𝅮 = 60 - (attacca): 3:06
III - Tempo 𝅘𝅥 = 48 - Tempo 𝅗𝅥 = 80 - Tempo I (𝅘𝅥 = 48) - Tempo 𝅗𝅥 = 80 - Tempo 𝅗𝅥 = 48 - Doppio movimento (𝅘𝅥 = 48): 9:20
Stravinskys Symphony of Psalms was composed between December 1929 and August 1930, commissioned by conductor Serge Koussevitzky to celebrate the 50th anniversary of the Boston Symphony Orchestra. It was premiered in Brussels at the Palais des Beaux-Arts on December 13 of 1930, performed by the Chorus and Orchestra of the Société Philarmonique de Bruxelles conducted by Ernest Ansermet. Its Boston performance (and American premiere) took place on December 19, with the Boston Symphony Orchestra with the chorus of the Cecilia Society, all under the direction of Koussevitzky. It was revised in 1948 with slight changes in dynamics, articulation and orchestration.
Stravinsky, who had abandoned the Russian Orthodox Church in his teenage years, had a spiritual crisis in 1925. After meeting Father Nicolas in 1926 and reconnecting with his faith, he began regularly attending services. The composer later wrote that he was contacted by God at a service at the Basilica of Saint Anthony of Padua, leading him to write his first religious composition, the Pater Noster for a cappella choir. It was this spiritual awakening that led Stravinsky to include several psalms from the Vulgate. Stravinsky saw in these poems exultation, but also of anger and judgement, and even of curses. In order to differentiate the work from a standard choral symphony, Stravinsky said that it is not a symphony in which I have included psalms to be sung but it is the singing of psalms that I am symphonizing.
Stravinsky intentionally choose a very distinctive orchestration, with no upper strings (violins and violas) and clarinets. Influences of the sacred music from the Renaissance and Baroque era is perceptible in the score, as well as the austere music of the Russian Orthodox Church. The work is divided in three movements that are played continuously. The harmonic framework of the piece is the key of C as the tonal centre. The C major and minor scales form the skeleton of the three movements. Partial transitions to other tonalities such as the D-flat major or E-flat major scales occur. Evidence supporting this view includes the use of A-flat and F-sharp; the key of E minor; and the beginning and closing chords of each movement, all of which allude to C.
The first movement is a prelude structured in ternary form, setting verses 13-14 of Psalm 38, which is a desperate plea to God for forgiveness and restoration. It begins with a striking introduction composed by E minor chords and G minor figures on oboe and bassoon. The octatonic scale, passed down from Rimsky-Korsakov, is extensively used by Stravinsky in this piece. An expressive main theme is introduced by cello, pianos and horns in the mode of E Phrygian. The chorus then enters with the first stanza (Hear my prayer, O Lord, and with Thine ears consider my calling) Supported by an acid bitonal accompaniment of oboes and bassoons. The chorus also introduces the second theme in E minor (For I am a stranger with Thee) which builds towards a brief climax. The main theme is then recapitulated, modulating to D minor before reaching an ecstatic G major climax, which gives way to the next par.
The second movement takes the form of a double fugue, setting verses 2-4 of Psalm 39. It opens with the oboe introducing the first subject in the key of C minor, to which the rest of the instruments are added as contrapuntal entries while moving to G minor. The second fugue then begins with the entrance of the chorus in E-flat minor, presenting the second subject while the main is on the basses. The voices follow the same dynamic as the instruments, the chorus telling us that God heard my prayers, and brought me out of the pit of misery. After modulating to B-flat minor, the double fugue ends with an F minor stretto, followed by an ambiguous passage in both B-flat major and minor, then C minor. A powerful G minor climax is reached as the chorus sings And he put a new canticle into my mouth, a song to our God. Many shall see, and shall fear. The movement then ends with a consolatory E-flat major coda with the words and they shall hope in the Lord.
[Musical analysis continued in the comments section].
[Activate subtitles to see the lyrics in Latin/English].
Picture: Photograph of the Christ Pantocrator inside the dome of Church of the Saviour on the Blood (Храм Спаса на Крови), St. Petersburg.
Sources: https://tinyurl.com/294loggd and https://tinyurl.com/2933q2tf
To check the score: https://tinyurl.com/25ymfmmg Symphony of Psalms - Igor Stravinsky](https://i.ytimg.com/vi/kCjC5IBmtU4/mqdefault.jpg)