Davide Battarino Op 6 Arranged for Orchestra || Synthesia @DemirSezer

Davide Battarino Op 6 Arranged for Orchestra || Synthesia

Demir Sezer 2021-07-01 | Arranged by me

Original Piece: youtube.com/watch?v=WjREbQoyD_0
Sheet music (on asriel's channel): youtu.be/-r9MDQaVQCU

=*=
Red: Strings
Blue: Percussion
Green: Flute
Yellow: Oboe
Purple: Clarinet
Orange: Basson and French Horn
=*=

#waltz
#synthesia
#visualizer

Sergei Prokofiev - On the Dnieper, Op. 51 [1931]

Demir Sezer 2026-08-24 | 00:00 Prelude
SCENE I
02:26 I. The Meeting
05:40 II. Mime Ccene
07:38 III. Pas de deux
12:15 IV. Variation of the First Dancer
SCENE II
16:07 V. Bethrotal
23:16 VI. Bridegroom’s Dance
25:13 VII.Bride’s Dance
29:08 VIII. Men’s Dance
32:02 IX. The Quarrel
34:30 X. Mime Scene
EPILOGUE
38:36 XI. Epilogue

On the Dnieper is one of Prokofiev’s least known stage works. The piece was commissioned, following Diaghilev’s death, by Jacques Rouché for the Paris Opéra in 1930 and premiered in December 1932 under the title of “Sur le Borysthène”.

The plot follows Sergei, a Red Army soldier in the First World War, returning to his village on the Dnieper and finding out that he is no-longer in love with Natasha, his betrothed. Instead, he falls in love with Olga, whose parents intend her to marry another man whom she does not love. Sergei and Olga's friends fight; Sergei falls, but the lovers are saved by the compassionate Natasha who helps the couple to escape the village.

The premiere turned out to be a flop, as audiences and critics found the narrative weak and the music significantly understated when compared to his previous works. Because Prokofiev left for America the next day, he was unaware of the disappointed reviews. The ballet was withdrawn from the stage after a few performances, though some composers such as Stravinsky and Milhaud warmly praised the music after the premiere. Prokofiev nonetheless retained a strong affection to the score and extracted an orchestral suite from the ballet as Op. 51a, including in 6 of the 12 total movements..

Performed by
the USSR Ministry of Culture Symphony Orchestra
under Gennady Rozhdestvensky
in 1982

Kurt Atterberg - Concerto for Violin, Cello and Orchestra, Op. 57 [1960]

Demir Sezer 2026-08-07 | 00:00 Moderato
06:11 Tranquillo Cantando
12:16 Tempo primo, con moto

"Atterberg has told us that the Double Concerto for violin, cello and orchestra, alternating between G minor and C major, is the last piece of his music worth performing.

'The weather turned awful, and 14 August there was a thunderstorm and the hailstones covered the ground in white. But that pushed the work with my double concerto ahead and crowned the commission from our Radio with honour … It was completed as a sketch on 31 August 1960, and as a score on 10 September. After some efforts I succeeded in arranging a rehearsal in my home with the great concertmaster Leo Berlin and with Stig Westerberg at the piano and myself at the cello. We started with lunch, and looked at the piece, and when we started to play. I also started the magnetophone player … But I was startled when I listened to the tape and heard my whining cello playing.'

The Concerto was played in its first version, for violin, cello and symphony orchestra on the radio in April 1961 with Leo Berlin and Folke Bramme as soloists, and Ernst Ludwig Jochum conducting the Radio Orchestra. Two years later Atterberg arranged a version for violin, viola and string orchestra, first performed by Leon Spierer and Kurt Lewin on 13 May 1962 with Hans SchmidtIsserstedt as conductor. Two years later he changed the piece into a Trio Concertante for violin, viola and harp. All these versions have earlier inspiration in a Small Suite on Swedish folk tunes (1957) for two melody instruments, and a great amount of warm popular music is to be found in this concerto. It is a relatively short and attractive concerto in one movement with different episodes, without big gestures, but rather with an old and experienced man’s wise reflections."
Source: Danacord Booklet 836

Performed by
Kerstin Andersson, violin
Mats Levin, cello
and the Örebro Chamber Orchestra
under Thord Svedlund
in 1995

Kurt Atterberg - Symphony No. 6, Op. 31 [1928] // Conducted by Atterberg

Demir Sezer 2026-07-31 | "The exposition of the first movement is kept short. The principal theme conjures up grand style and is initially in the horn. A short subsidiary theme (A flat minor) follows relatively quickly in the strings. It is only in the recapitulation that this theme is sung out to the full in augmented form in the violoncellos (molto espressivo). The theme of the closing group clearly exhibits a folk-musical strain and reinforces the formal orientation, which is easy enough to obtain anyway. Atterberg combines it with the principal theme immediately at the beginning of the development section but then writes an elaboration stamped above all by sequential formations.

The first part of the second movement is pervaded more by the broadness of landscape. In the clarinet Atterberg unfolds a melody obliged to the tone of Swedish folk song over a pedal point maintained for fifty measures. Despite the completely different expressive sphere, Atterberg forms a connection to the first movement in the last measures: the first three tones of the principal theme are concealed in the chordal brass part.

The tone of the finale, scherzo-like and occasionally even biting, seems less weighty. It is in fact more than only a rousing finale bathed in bright colors; the “polytonal” elements are just as set up as the hollowly trumping sections. A fine parody."

Source: CPO Booklet Kurt Atterberg Symphonies Nos 1-9

00:00 I. Moderato
08:41 II. Adagio
17:53 III. Vivace

Performed by
the Berlin Philharmonic Orchestra
under Kurt Atterberg
in 1928

Kurt Atterberg - Sonata for violin and piano, Op. 27 [1925]

Demir Sezer 2026-07-27 | 00:00 I. Allegro molto
06:30 II. Adagio molto
13:25 III. Allegro energico, poco pesante

Performed by
Ilona Prunyi, piano
Eszter Perényi, violin
in 1995

Kurt Atterberg - Suite No. 5 Barocco, Op. 23 [1924] // Conducted by Atterberg

Demir Sezer 2026-07-23 | "I remember that I, in an early phase, visited the library of the Royal Academy of Music to try to find out how the operas of Händel were ‘constructed’. I found out that they often started with minuets, and therefore, in due time, I started the music to The Winter’s Tale with a minuet that is now the third movement of the Suite Barocco.

In my childhood I loved the sonatas of Scarlatti. And in my musical youth I listened with pleasure to old Italian violin music. When I worked at the Dramatic Theatre I often used Corelli’s music as incidental music to Shakespeare’s dramas. My ‘Suite Barocco’ is kept in the old Italian style and was the foundation for my music to The Winter’s Tale … The small ensemble, three wood winds and a small string section proved to suit this archaised style." -Kurt Atterberg

00:00 I. Entrata. Energico
01:28 II. Sarabanda. Lento
04:45 III. Gavotto. (festivale e drammatico) Con moto
06:12 IV. Pastorale e Gagliarda. Andante
10:30 V. Siciliana. Andantino
15:25 VI. Giga. Vivace

Performed by
the Swedish Radio Symphony Orchestra
under Kurt Atterberg
in 1967 or 1968

Kurt Atterberg - Concerto for Cello and Orchestra, Op. 21 [1922]

Demir Sezer 2026-07-21 | Performed by
Edmond Kurtz
with the Swedish Radio Symphony Orchestra
under Georg Ludwig Jochum
in 1957

Kurt Atterberg - Symphony No. 5 Sinfonia Funebre, Op. 20 [1946] // Rasilainen

Demir Sezer 2026-07-20 | 00:00 I. Pesante allegro
09:15 II. Lento
19:05 III. Allegro molto

Performed by the Frankfurt Radio Symphony Orchestra
under Ari Rasilainen
in 2000

Kurt Atterberg - Suite No. 3 for violin, viola and string orchestra, Op. 19 No. 1 [1946]

Demir Sezer 2026-07-19 | "In 1916, Atterberg was appointed conductor and composer at the Royal Dramatic Theatre (Kungliga Dramatiska Teatern, or ‘Dramaten’) in Stockholm. It was a post that established for him a strong element of routine, and challenged him to develop his powers of musical invention. It was not always easy to meet the demands of the plays with the small musical resources at hand.

These experiences proved useful when in 1918 he was also asked to compose music for a production at the Intimate Theatre (Intima Teatern, or ‘Intiman’) of Sœur Béatrice (Sister Beatrice), a Miracle, or mystery play, by the Belgian Nobel Prize winning playwright Maurice Maeterlinck. He only had space for three musicians, playing violin, viola, and harmonium.

The play, set in a convent, centres round a nun who is abducted by her lover while praying beneath a statue of the Virgin Mary. To avoid scandal, Mary herself takes the nun’s place, no one noticing anything different. At the end of her life, the nun returns, repentant and dying. She realises the extent of her offences, and the amount of love that has been extended to her.

Atterberg reworked his music in 1921 by replacing the harmonium with a string orchestra, and known as Suite No. 3 the work has become one of Atterberg’s most frequently played compositions. It is a small masterpiece, notable for both its beauty and passion. The ‘Prélude’ is a slow movement ‘in a certain sacral style’, as the composer described it, and, as in the ‘Pantomim’, from the second act (solo violin and viola portraying the nun and her lover), the music is dominated by the expressive playing of the soloists, set against the rather temperate, partly muted, background of the strings. ‘Vision’, the prelude to the third act, is a dream-like waltz carrying memories of the nun’s sinful past: melancholy, veiled, and not far removed from the ‘Valse triste’ of Sibelius."
Source: chandos.net/chanimages/Booklets/CHSA5116.pdf

00:00 I. Prelude
03:00 II. Pantomim
07:10 III. Vision

Performed by
Sara Trobäck (violin)
Johanna Persson (viola)
with the Swedish Chamber Orchestra
under Petter Sundkvist
in 1995

Kurt Atterberg - Höstballader, Op. 15 [1918]

Demir Sezer 2026-07-15 | Bartje's video lacked the score for the 2nd movement, so here it is!

00:00 I. Molto Agitato
05:05 II. Adagio

Performed by
Ilona Prunyi
in 1990

Kurt Atterberg - Symphony No. 4 Sinfonia Piccola , Op. 14 [1918] // Rasilainen

Demir Sezer 2026-07-14 | In a friendly competition with his Swedish colleague Natanael Berg (1879 – 1957), Atterberg composed his Fourth Symphony in 1918. They had decided that each should write a piece lasting no longer than twenty minutes (a stipulation which neither of them managed to follow), and that a bass tuba should be heard in ‘splendid isolation’ somewhere in the piece.

Atterberg called his work Sinfonia piccola (in G minor, Op. 14), and Berg his Pezzo sinfonico (also, coincidentally, his Fourth Symphony). Atterberg’s symphony, full of humour and wit, has proven popular and received many performances; its language is open and simple, almost neoclassical.

“While the first symphony is a work in which Atterberg felt obliged to traditional generic principles on almost all levels, the “Sinfonia piccola” occupies a special place both because of its form (the movements are stamped with what amounts to classicistic transparency, and one movement proceeds directly into the next) and because of its own proper motivic design.

Throughout this symphony Atterberg draws on the rich repertoire of Swedish folk music in his elaboration of the themes. After his early encounter with this music in an anthology published in 1875, he rediscovered it for himself:

“Especially at the beginning of 1918 I studied and wildly ’botanized’ in this volume, and I found many melodies there that cast an irresistible spell on by minor-key emphasized nature. And that was what I wanted first and foremost to do: to declare my love for this unknown musical treasure by making it accessible to a broad public in an appropriate dosage—not through dance rondos, potpourris, or characteristic rhapsodies but through symphonic form. I hated folk music in choral harmonization—note for note; I wanted only to spray the fragrance from the latent harmony of the melodies. Therefore, in this symphony I presented folk-song motifs before a harmonic background, a number of times. This applies especially to the second theme of the first movement, practically to the whole of the second movement, and especially to the middle part of the finale.”

These references on the part of the composer enable us to pinpoint the origin of the themes. While the principal theme of the first movement is from Västgöta, Atterberg combined melodies from Östergötland and Västergötland in the second theme. The framing parts of the second theme go back to a polka. A variation of another melody from Västgöta, which Atterberg had already employed in his Symphony No. 3 “Västkustbilder”, appears in the middle section. A polka from Södermanland is heard in the extremely short scherzo and is followed by a polka from Västmanland in the trio. The finale is based on the “Hallingen” melody; it is later joined by characteristic melodies, one from Småland and one from Västergötland.

The symphony, which is relatively loosely structured, is lent a special position not by Atterberg’s employment and skillful combination of different melodies but by his recourse to the folk music and the creative reflection following on it. If we recall the task of the study of folk music transmitted only through oral tradition that Béla Bartók took upon himself at a time when folk music was still being almost completely ignored by art music, Atterberg, on Europe’s northern periphery and with his Symphony No. 4, then appears in his own peculiar and very special way to be very much up to date.”

Source: CPO Booklet Kurt Atterberg Symphonies Nos 1-9

00:00 I. Con forza
05:54 II. Andante
14:04 III. Scherzo. Allegro molto
14:24 IV. Rondo-Finale. Allegro molto

Performed by
the Frankfurt Radio Symphony Orchestra
under Ari Rasilainen
in December 1998

Kurt Atterberg - Symphony No. 3 West Coast Pictures, Op. 10 [1916] // Rasilainen

Demir Sezer 2026-07-09 | The Symphony No. 3 op.10 "Västkustbilder" (West Coast Pictures) had an unusual history of composition in several stages. It was originally intended as a loosely connected collection, and initially each of the first two movements was premiered separately in Göteborg. It was only with his composition of the third and last movement, that Atterberg linked together the three characteristic orchestral pieces composed by him between 1914 and 1916. For this reason it was still possible for the third movement to be presented by itself in Göteborg after the premiere of the complete "symphony" in Stockholm on 28 November 1916.

Although the work is not of cyclic design, all three movements are interconnected to some extent by their source of inspiration. Atterberg composed them for the most part in the small town of Stockevik on Skaftölandet, a small island near Göteborg, and assigned them titles representing nature scenes: Soldis (Sun Smoke), Storm, and Sommarnatt (Summer Night). The symphony’s overall title, Västkustbilder, also links it to a series of Nordic depictions of the sea in music: Hugo Alfvén’s Symphony No. 4 op. 39 "Från havsbandet," Jean Sibelius’ overture to Shakespeare’s The Tempest op. 109, and Gösta Nyström’s Sinfonia del Mare.

Atterberg himself explained the three movements in formal terms as well as in an introduction to the symphony written in 1918 and later included in the score:

"The Symphony depicts, in a free form, different aspects of the Swedish west coast. The first movement "Sunhaze" attempts to give the atmosphere of the sea on a still day, suffused with sunlight, when the mist obsoures the horizon and a slow ground swell is all that stirs the utter calm of the 1 sea. The movement opens with a motive in thirds, fourths and fifths which in its rising and falling reflects the unresting spirit of the sea. This motive forms an important accompanying figure in the 2nd movement, and builds the harmonic foundation of the 3rd movement's beginning and end.

In the 2nd movement, the 1st motive, development and end aim to express the violent force of a storm over the seaward skerries. The 2nd motive founded on a Swedish folk song depicts the fjord, far in where the water lies deep and still, while the sea, far out thunders black and threatening, but unable to ruffle the quiet of the fjord.

The 3rd movement, "Summer Night" is free in form. In the quiet of the evening, when only the ground swell stirs the surface of the sea, the exquisite colours and the endless view over land and sea enchant the eye. As midnight approaches, the colours fade and the quiet becomes more intense, until the night breeze gradually begins to blow - a Scherzando, built on a Swedish folk motive. The colours in the north-east grow stronger, the breeze freshens and as the sun rises majestically over the mountains, the cold morning colours become warmer and brighter."

00:00 I. Soldis (Morning haze)
08:30 II. Storm (Storm)
19:10 III. Sommarnatt (Summer night)

Performed by
NDR Radiophilharmonie
under Ari Rasilainen
in 1999

Kurt Atterberg - Symphony No. 2, Op. 6 [1913] // Rasilainen

Demir Sezer 2026-07-06 | Symphony No. 2 was started in 1911 when the twenty-four-year-old Atterberg was still a student of engineering. It was originally conceived and premiered as a two-movement work, but after a hostile critical response Atterberg added a third movement. Like much of Atterberg’s music the symphony is deeply rooted in tradition, following classical forms closely but filling them with harmonies and melodies inspired by Swedish folk music.

00:00 I. Allegro con moto
12:55 II. Adagio - Presto
28:50 III. Allegro con fuoco

Performed by
the Frankfurt Radio Symphony Orchestra
under Ari Rasilainen
in 2000

Kurt Atterberg - Symphony No 8, Op. 48 [1944] // Rasilainen

Demir Sezer 2026-06-28 | 0:00 I. Largo - Allegro
9:03 II. Adagio
18:59 III. Molto vivo
24:15 IV. Con moto

Performed by the Stuttgart Radio Symphony Orchestra under Ari Rasilainen in January of 2000

Kurt Atterberg - Concert Ouverture in A Minor, Op. 4 [1911]

Demir Sezer 2026-06-26 | Performed by the Berlin Radio Symphony Orchestra under Roger Epple in 2004

Kurt Atterberg - Ballad Without Words, Op. 56 [1958]

Demir Sezer 2026-06-24 | Performed by the Norrköping Symphony Orchestra under Jun'ichi Hirokami in 1992

Kurt Atterberg - De Fåvitska Jungfrurna, Op.17 [1920]

Demir Sezer 2026-06-22 | De Fåvitska Jungfrurna, "The Wise and Foolish Virgins", Op. 17, is a one-act pantomime ballet and orchestral suite composed by Kurt Atterberg based on the biblical parable in Matthew 25:1-13.

"From the middle of the 18th century to the end of the 19th, the peasants of Dalecarlia, of Småland and other Swedish Provinces were accustomed to ornament their houses with big paintings, executed by local artists, and representing scenes taken from the Scriptures.

One of the most popular was the parable of The Ten Virgins, as related by Matthew, and at the Nordiska Museet there is still to be seen a tapestry showing the treatment of the subject.

On this theme is founded the ballet. Entitled The Wise and The Foolish Virgins. The music has been inspired by old Swedish folk-songs, that of the opening and the end of the ballet being borrowed from an old hymn which had as its subject the parable: The Wise and the Foolish Virgins."
From the preface of the score.

Performed by the Royal Stockholm Philharmonic Orchestra under Nils Grevillius in 1964

Sergei Prokofiev - The Tale of the Stone Flower, Op. 118 [1953]

Demir Sezer 2026-04-27 | The ballet was written between 1948 and 1950 to a libretto by Leonid Lavrovsky and Mari Mendelson-Prokofieva. The libretto is based on the tales of Pavel Bazhov "The Stone Flower" and "The Mountain Master" with the addition of individual plot motifs from the tales “The Manager’s Boot-Soles” and “The Fire-Fairy.”

The composition of the ballet began on September 18, 1948, and finished on March 24, 1949. The score was completed in 1950. Prokofiev wrote about the ballet the following:
“‘The Stone Flower’ is a ballet about the joy of creative labor for the benefit of the people, about the spiritual beauty of the Russian person, about the power and countless riches of our nature, revealing itself only to a working man. A large place in the ballet is occupied by the theme of faithful love, overcoming many severe trials, the love of the young skilled master Danilo and his fiancée Katerina. As in my previous ballets, in 'The Stone Flower' I strove for our spectator to see on stage characters familiar to him from the tales who do not merely dance, but feel, experience, and move them with their sorrows and joys. In my music I used Ural folk songs.”

In addition to Ural folk songs, the composer used in the ballet two arrangements of Russian folk songs Op. 104 (“Dunyushka” and “The Monk”), the wedding song "White Swan" from the music to the first series of the motion picture “Ivan the Terrible” Op. 116, the mass song “To my Homeland” and the piano pieces "Waltz" and “Evening” from the cycle “Music for Children” Op. 65.

The production of the ballet, scheduled for 1952 at the Bolshoi Theatre in Moscow, was postponed several times and was realized only after the composer's death. During rehearsal work in 1953, at the request of the choreographer Lavrovsky, Prokofiev composed additional individual numbers. On the very last day of his life, March 5, 1953, the composer completed the score of the duet of Katerina and Danilo. The first performance of the ballet took place at the Bolshoi Theatre in Moscow on February 12, 1954.

From the music of the ballet, Prokofiev made in 1951: "Wedding Suite" Op. 126, "Gypsy Fantasy" Op. 127, and "Ural Rhapsody" Op. 128. None of them published within his lifetime, with only the “Wedding Suite” being published some 20 years after his death. In the composer’s list of works, "Mistress of the Copper Mountain" is listed, but this intention remained unrealized. The remaining unorchestrated sections, the end of the Interlude (No. 30) and the Russian Dance (No. 31) have been orchestrated by Dmitry Kabalevsky.

The ballet is in 4 Acts and 9 Scenes as follows:
(intro) 00:00

Prologue
1. The Mistress of the Copper Mountain 00:15
2. Danilo and his work 03:48

ACT 1

Scene 1
3. Danilo in search of the flower 06:19
4. Danilo meets some fellow villagers 08:18
5. Scene and lyrical duet of Katerina and Danilo 10:05
6. Interlude, scene of Severyan with the workers 14:51

Scene 2
7. Round dance 17:42
8. Katerina bids farewell to her friends 20:54
9. The Girls’ dance 23:20
10. Danilo’s dance 26:19
11. The bachelor’s dance 27:31
12. Severyan’s arrival 29:07
13. Dispute over the stone flower 31:59
14. Lyrical scene of Katerina and Danilo 36:09
15. Danilo’s thoughts 38:33

Scene 3
16. Danilo enticed away by the Mistress of the Copper mountain 41:42

ACT 2 47:22

Scene 4
17. The Mistress shows Danilo the treasures of the Earth 47:32
18. Duet of the Mistress and Danilo (First Trial) 49:38
19. Scene and waltz of the diamonds (Second Trial) 54:08
20. Dance of the russian gems (Third Trial) 59:09
21. Waltz 1:02:49
22. Danilo’s Monologue and the Mistress’ Reply 1:06:27
23. The Mistress shows Danilo the stone flower 1:08:30
24. Severyan and the workers; the Mistress’ warning 1:10:18

Scene 5
25. Scene and Katerina’s dance (thoughts of Danilushka) 1:13:31
26. Severyan’s arrival 1:17:08
27. “Where are you, Danilushka?” 1:19:22
28. The appearance of the Mistress and Katerina’s joy 1:20:23

ACT 3 1:22:23

Scene 6
29. Ural rhapsody 1:22:28
30. Interlude 1:30:38
31. Russian dance 1:37:06

Scene 7
32. Gypsy dance 1:41:08
33. Severyan’s dance 1:44:00
34. Solo of the gypsy girl and coda 1:45:43
35. Katerina’s entrance and Severyan’s rage 1:49:12
36. The appearance of the Mistress and scene of Severyan transfixed to the Earth 1:51:35
37. Severyan chases the Mistress 1:52:50
38. Death of Severyan 1:54:48

ACT 4 1:56:46

Scene 8
39. Katerina sits by the fire and yearns for Danilo 1:56:58
40. Scene and Dance of Katerina with the Fire-Fairy 1:58:26
41. Katerina follows the Fire-Fairy 2:01:19

Scene 9
42. Dialogue of Katerina and the Mistress 2:02:58
43. The stone Danilo 2:05:12
44. The joy of Katerina and Danilo’s reunion (Adagio) 2:08:36
45. The Mistress of the Copper Mountain bestows gifts upon Katerina and Danilo 2:12:49
46. Epilogue 2:15:43

Performed by
Bolshoi Theatre Orchestra
under Gennady Rozhdestvensky
In 1968

Kurt Atterberg - Ballade and Passacaglia, Op. 38 [1936]

Demir Sezer 2026-04-21 | Ballade und Passacaglia

Performed by NDR Radiophilharmonie
under Ari Rasilainen

Mendelssohn - Capriccio Brillant, Op. 22 [1832] (Hough)

Demir Sezer 2025-12-25 | ...

Kurt Atterberg - A Varmland Rhapsody, Op. 36 [1933]

Demir Sezer 2025-12-10 | “Selma Lagerlöf (1858– 1940), the Swedish novelist and winner of the Nobel Prize in literature in 1909, lived and worked in the west-central county of Värmland, on the Norwegian border. It is a county rich in traditional culture, especially music.

In 1933, Swedish Radio wanted to celebrate Lagerlöf’s seventy-fifth birthday with the radio broadcast of a new piece of music. Atterberg was asked to compose it, and responded with En värmlandsrapsodi (A Värmland Rhapsody), Op. 36, brimming with quotations of popular melodies. He began the work on 20 October and completed it very quickly – in a week’s time; exactly one month later, on 20 November, Lagerlöf’s birthday, it was given its first performance in the scheduled radio broadcast.

The rhapsody carries a subtitle connected to the very geography – ‘...round the long Löven lake...’ as the lake Fryken is called in Gösta Berlings saga (The Saga of Gösta Berling), Lagerlöf’s debut novel, published in 1891 – surrounding the mansion Mårbacka, in which Lagerlöf had grown up and to which she returned in later life.

The work earns its generic title ‘rhapsody’ by virtue of being rather loosely constructed on the basis of a succession of more or less well-known folk melodies; but it is charming and composed with the utmost feeling for the idiom. Not surprisingly, one hears frequent references to the famous Värmland Tune (‘Ack, Värmeland, du sköna’/‘O Värmland, you beautiful’).

Lagerlöf listened to the broadcast with great interest and in a letter to Atterberg wrote: `It was a solemn moment here at Mårbacka when we heard the Rhapsody streaming from the radio. We listened with great joy and excitement and were gladdened by the echo of melodies from Värmland. May it live and win the people’s ear!’ ”
Source: chandos.net/chanimages/Booklets/CHSA5116.pdf

Performed by Norrköping Symphony Orchestra under Jun'ichi Hirokami

Kurt Atterberg - Älven/The River, Op. 33 [1929]

Demir Sezer 2025-12-08 | Älven: Från fjällen till havet; The River: From the mountains to the sea

"The symphonic poem of about twenty minutes in length thus may also be regarded as a continuation of his symphonic œuvre. In Älven, as in the Värmlandsrapsodi op. 36 completed four years later, a feeling of national pride culminates in the score. This pride was not founded on ideologies or historical events but lent expression through the focus over broad musical stretches on the natural world of the composer’s native land. For this reason, Atterberg’s Älven can be compared to Bedřich Smetana’s Moldau only with certain qualifications. As is well known, Smetana’s work formed one part of the cycle My Fatherland (1875-76 and 1878-79) and its total of six poems.

The cycle as a whole amounted to a musical apotheosis of Smetana’s native land together with its myths and history. Atterberg’s own programmatic text does not describe a specific river course but has his whole country pass in review:

“(I.) From its spring veins in the mountains the river flows through the land with the long, wooded chains of hills. There its rushingly streaming power has given harvests to a hardworking people; the dark depths and the merry play of its water have brought forth sagas and songs and caused them to grow.
(II.) Calming their wild course, the waves of the river merge into the large, wide inland sea. On its sun-shimmering, quiet surface the distant contours of solitary high peaks in the mist of the surrounding flat lands are reflected.
(III.) The water of the river regathers itself on its way to the sea. It plunges down the great fall in raging masses. It breaks through the bedrock, mightily, wildly, inexorably. The human spirit, however, becomes its master, tames its power, and guides its course.
(IV.) From the mountains’ embrace the peaceful, yet mighty masses of water of the river pour through the beautiful broad valley, surrounded by the large mountains shining in many shades of color and standing watch. At every bend in the riverbed new expanses of the rich landscape open up, rich in culture, memories, and songs, until finally, on the horizon, the spires of the great harbor towns appear.
(V.) Broadly and surely, the river flows through them, and there a teeming of movement and activity is seen on its shimmering surface. The mighty ocean steamers glide over it on its way to foreign countries. The air is filled with light: the murmuring human crowd on the quays, foghorns, sailors’ songs, noise from everyday work in the great shipyards.
(VI.) Out into the sea, full of dangers and the primal source of all life, the river flows; its water goes over into that of the ocean, the rushing of its swirling water blends with the song of the endless expanses and with the capricious play of the waves in storm floods and the eternal, regular rhythms of the swell.” "
Source: CPO Booklet Kurt Atterberg Symphonies Nos 1-9

00:00 I. Through mountains and forests
04:01 II. The great lake
06:54 III. The waterfalls
08:58 IV. The quiet, wide stream
12:54 V. The harbour
15:07 VI. The view from the mountains over the sea
17:34 VII. Out to the sea

Performed by NDR Radiophilharmonie under Ari Rasilainen in 2003 in Landesfunkhaus Niedersachsen, Hannover

Taneyev - Symphony No 1 [1874] (Polyansky)

Demir Sezer 2025-06-25 | Sergey Ivanovich Taneyev (25 November 1856 – 19 June 1915) was a Russian composer, pianist, teacher of composition, music theorist and author. Taneyev's specialized field of study was counterpoint. He engrossed himself in the music of J. S. Bach, Palestrina, and such Flemish masters as Johannes Ockeghem, Josquin des Prez, and Orlande de Lassus. Eventually, he became one of the greatest of contrapuntalists.

I. Allegro 00:00
II. Andantino, quasi Allegretto 10:00
III. Scherzo: Vivace assai 13:35
IV. Finale: Allegro Molto 19:00

Performed by
Russian State Symphony Orchestra
under Valeri Polyansky
in 2006

Kurt Atterberg - Symphony No. 1, Op. 3 [1913]

Demir Sezer 2025-05-16 | Performed by the Swedish Radio Symphony Orchestra, under Stig Westerberg in 1986

00:00 I. Allegro con fuoco
10:23 II. Adagio
19:54 III. Presto
27:22 IV. Adagio - Allegro energetico

Born and raised in Gothenburg on the western coast of Sweden in 1887, Kurt Magnus Atterberg had a rather ordinary upbringing. His father, an engineer and pioneering electrician, made a steady living as electricity spread across the Swedish cities, and his mother is said to have had a beautiful singing voice inherited from her father who was a professional opera singer.

Despite his mother’s own musical background, young Kurt did not take up music seriously until 1902 when he heard the touring Brussels String Quartet give an inspiring performance in his home city. Within three years he had begun his first attempts at composition, and within six he had become a skilled enough cello player to join the Stockholm Concert Society, or Royal Stockholm Philharmonic Orchestra as it is known today. In 1910, after submitting his Rhapsody for Piano and Orchestra (Op.1) and then incomplete Symphony No.1 in B minor (Op.3), Atterberg was granted admission to the Stockholm Conservatory where he briefly studied composition with Andreas Hallén. Not but a year later he completed his studies at the Royal Institute of Technology, obtaining a masters degree in engineering, and the following year in 1912 he began his lifelong career at the Swedish Patent and Registration Office. Impressively, Atterberg also made his conducting debut that year at the premier performance of his first symphony, beginning his rapid ascent in the musical world at age 25. Over the next five decades he composed nine symphonies, five operas, several concertos for various instruments, nine orchestral suites, and three string quartets, among other works. Even despite the diversity of his oeuvre and its large spread over time, a distinct style rooted in high romantic ideals and Swedish folk music is woven throughout.

Unfortunately though, as was the case with all of the late romantic composers, Atterberg’s musical popularity faded rapidly after World War II, leaving his works largely forgotten and he himself with no conducting engagements. In 1967 he published his final work, and the following year he was practically forced to retire from his job at the patent office at the age of 80. As a result, the final years of Atterberg’s life held little for him. He was forced to stand by and watch as modern musical developments continued to push his life's work towards obscurity, and it is said that in reflecting on those final years at the end of his life he felt he had become a “living corpse.” In that state of bitterness mingled with the fulfillment of a long and active life, Kurt Atterberg died aged 86 in 1974. Fortunately, in the decades since his death Atterberg’s music has seen a resurgence in popularity, with several professional recordings made of his complete symphonies and other works in the early 2000s

thanks to @MiltonNJohnson for writing this short biography!

Scriabin Op. 51 - Visualization with Scriabins colors

Demir Sezer 2025-02-12 | Performed by
Kissin, Horowitz, Ashkenazy and Sofronitsky

The each note's color correspond to the colors Scriabin associated with each pitch via his synesthesia. Colors taken from en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res

0:00 I. Fragilité - Kissin
2:31 II. Preludé - Horowitz
4:54 III. Poëme ailé - Ashkenazy
5:48 IV. Danse languide - Sofronitsky

Scriabin Op. 48 No 2, E. Zarafiants - Visualization with Scriabins colors

Demir Sezer 2025-01-13 | Each note is colored with the color Scriabin associated with thanks to his synesthesia.

Mendelssohn - Capriccio Brillant, Op. 22 [1832] (Nikolayeva)

Demir Sezer 2024-12-25 | In this recording the coda is handled especially well both by Nikolayeva and the orchestra. This is by far the best orchestra performance among all other recordings of this piece.

Felix Weingartner - Das Gefilde der Seligen, Op. 21 [1896]

Demir Sezer 2024-10-22 | Paul Felix Weingartner, Edler von Münzberg (2 June 1863 – 7 May 1942) was an Austrian conductor, composer and pianist.

Performed by:
Sinfonieorchester Basel
Marko Letonja

Kurt Atterberg - Rondeau Rétrospectif, Op. 26 [1925]

Demir Sezer 2024-08-09 | Kurt Magnus Atterberg (12 December 1887 – 15 February 1974) was a Swedish composer and engineer. He is best known for his symphonies, operas, and ballets.

Performed by:
Sandor Falvai and Ilona Prunyi

Anatoly Alexandrov, Symphony in C major, Op. 92 [1965]

Demir Sezer 2024-08-05 | Anatoly Nikolaevich Aleksandrov (1888 - 1982) - Russian and Soviet composer, conductor, pianist, music teacher, publicist. Doctor of Art History (1941). People's Artist of the USSR (1971). Winner of the Stalin Prize, second degree (1951).

I. Andante - Allegro moderato 00:00
II. Andante mesto 16:33
III. Alla marcia - Festivo 23:32
IV. Andante pensieroso - Allegretto idilico 30:52

Perfored by
Igor Blazhkov
with the USSR Radio & TV Symphony Orchestra

Kurt Atterberg - Horn Concerto, Op. 28 [1926]

Demir Sezer 2024-07-24 | Kurt Magnus Atterberg (12 December 1887 – 15 February 1974) was a Swedish composer and engineer. He is best known for his symphonies, operas, and ballets.

I. Allegro pathetico 00:00
II. Adagio 8:20
III. Allegro molto 17:52

Performed by:
Boris Afanasiev
with the Mosco Radio Symphony Orchestra

A. Scriabin - Romance for Horn and Piano, arr. for Cello [1890]

Demir Sezer 2024-07-19 | Alexander Nikolayevich Scriabin (6 January 1872 – 27 April) was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late-Romantic idiom. Later, and independently of his influential contemporary Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal, which accorded with his personal brand of metaphysics. Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic tones of his scale, while his colour-coded circle of fifths was also inspired by theosophy. He is often considered the main Russian Symbolist composer and a major representative of the Russian Silver Age.

This work was originally written for Horn and Piano. This version has been arranged by Steven Isserlis. However this score is the version for horn.

Performed by
Cello - Mischa Maisky
Piano - Lily Maisky

Kurt Atterberg - Sonata for Horn and Piano, Op. 27a [1925]

Demir Sezer 2024-07-17 | Kurt Magnus Atterberg (12 December 1887 – 15 February 1974) was a Swedish composer and engineer. He is best known for his symphonies, operas, and ballets.

This sonata was originally written for cello (a score video of which can be found here: youtu.be/vG8OO1GH5AQ). The piece was later arranged for the french horn as per the request of one of his friends. The score I had only had the cello part and not the horn part, therefore there are a few discrepancies between the score and the audio. This is most apparent in the third movement where most of the triplets have been modified for ease of the performer.

I. Allegro 00:00
II. Adagio molto 6:31
III. Allegro energetico, poco pesante 13:19

Performed by
Horn - Imre Magyari
Piano - Ilona Prunyi

Kurt Atterberg - Sonata for Cello and Piano, Op 27 [1925]

Demir Sezer 2024-07-15 | Kurt Magnus Atterberg 12 December 1887 – 15 February 1974) was a Swedish composer and engineer. He is best known for his symphonies, operas, and ballets.

I. Allegro 00:00
II. Adagio molto 6:40
III. Allegro energetico, poco pesante 14:14

Performed by:
Cello - Erling Blöndal Bengtsson
Piano - Anker Blyme

Anatoly Alexandrov - Obséssion Passée, Op. 6 [1917]

Demir Sezer 2024-07-01 | Anatoly Nikolaevich Aleksandrov ( 1888 - 1982 ) - Russian and Soviet composer, conductor, pianist, music teacher, publicist. Doctor of Art History (1941). People's Artist of the USSR (1971). Laureate of the Stalin Prize, second degree (1951).

0:00 1. Langueur
2:23 2. Étude
3:26 3. Impression (Boticelli)
4:12 4. Epilogue

Performed by:
Hamish Milne

Anatoly Lyadov - Dance of the Mosquito [1911]

Demir Sezer 2024-06-29 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Performed by Olga Solovieva

Anatoly Lyadov - Novelette, Op. 20 [1889]

Demir Sezer 2024-06-28 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Performed by Olga Solovieva

Anatoly Lyadov - Sur le prairie, Op. 23 [1890]

Demir Sezer 2024-06-27 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Performed by Olga Solovieva

Anatoly Lyadov - Dance of the Amazon, Op. 65 [1910]

Demir Sezer 2024-06-26 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Performed by:
USSR Symphony Orchestra
with Evgeny Svetlanov

Anatoly Lyadov - 4 Arabesques, Op. 4 [1878]

Demir Sezer 2024-06-25 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

0:00 1. Allegro con fuoco (C♯ minor)
1:29 2. Allegretto (A major)
5:13 3. Allegro grazioso (B♭ major)
7:09 4. Vivace (E major)

Performed by Olga Solovieva

Anatoly Lyadov - Intermezzo No. 1 Orchestra Arr., Op. 8b [1883]

Demir Sezer 2024-06-24 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Intermezzo No. 1 from his Intermezzi set, op 8. Arranged for orchestra by the composer.

Performed by:
The Slovak Philharmonic Orchestra
with Stephen Gunzenhauser

Anatoly Lyadov - 2 Intermezzi, Op. 8 [1883]

Demir Sezer 2024-06-24 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

0:00 I. Allegro con fuoco
2:04 II. Allegretto

Performed by Olga Solovieva

Nikolai Medtner - Piano Concerto No. 1, Op. 33 [1918]

Demir Sezer 2024-04-29 | Nikolai Karlovich Medtner (5 January 1880 – 13 November 1951) was a Russian composer and virtuoso pianist. After a period of comparative obscurity in the 25 years immediately after his death, he is now becoming recognized as one of the most significant Russian composers for the piano.

A younger contemporary of Sergei Rachmaninoff and Alexander Scriabin, he wrote a substantial number of compositions, all of which include the piano. His works include 14 piano sonatas, three violin sonatas, three piano concerti, a piano quintet, two works for two pianos, many shorter piano pieces, a few shorter works for violin and piano, and 108 songs including two substantial works for vocalise. His 38 Skazki (generally known as "Fairy Tales" in English but more correctly translated as "Tales") for piano solo contain some of his most original music.

Okay so since this is a single movement piece, how it's divided into different sections is a mess but this should cover all of it:

I. Exposition
00:00 Allegro
II. Development
08:52 Intermezzo
11:42 Tranquillo, meditamente
24:36 Tempo I
II. Recapitulation
26:57 Coda, Allegro

Performed by:
Geoffrey Tozer
Neeme Järvi
London Philharmonic Orchestra

Emil Hartmann - The Vikings at Helgeland, Op. 25 [1878]

Demir Sezer 2024-04-02 | Emil Hartmann (1 February 1836–18 July 1898) was a Danish composer of the romantic period, fourth generation of composers in the Danish Hartmann musical family. Hartmann was born on 1 February 1836 in Copenhagen, the eldest son of composer Johan Peter Emilius Hartmann and of his composer wife Emma Hartmann.

Emil Hartmann was a composer of the Danish Golden Age. He wrote seven symphonies, concertos for respectively violin, cello and piano, several ouvertures, a symphonic poem (Hakon Jarl), orchestral suites, serenades, ballets, operas and singspiels, incidental music and cantatas. He was also the author of multiple works of chamber music (nonet, piano quintet, string quartets, clarinet quartets, piano trios, serenade for clarinet, cello and piano, sonatas for violin and piano, etc), songs and piano music. His opera Ragnhild («Runenzauber» in German) was created by Gustav Mahler in Hamburg. His music is resolutely Nordic, colourful and melodic and won great popularity in his days when performed. At the time, his Nordic folk dances (from 1859-60) as well as his later arrangements of Scandinavian folk music became famous, in line with Brahms’ Hungarian Dances or Dvorak's Slavonic Dances. Stylistically, his works form a Scandinavian pendant to the music of some of his more famous contemporaries such as Dvorak or Tchaikovsky. Most of his works were published by German editors.

Performed by:
The Danish Philharmonic Orchestra
Jean-Pierre Wallez

Prokofiev - Overture on Hebrew themes (Orchestra Arr.), Op. 34bis [1934]

Demir Sezer 2024-01-15 | Sergei Prokofiev wrote the Overture on Hebrew Themes, Op. 34, in 1919 while he was in the United States. It is scored for the rare combination of clarinet, string quartet and piano. Fifteen years later the composer prepared a version for chamber orchestra, his “Op. 34 bis”

Its structure follows the form of a fairly conventional sonata form. It is in the key of C minor. The clarinet and the cello are prominent, introducing the first and second themes respectively. However, all instruments are balanced well, and each instrument plays both themes, often in imitation. The first theme, Un poco allegro, has a jumpy and festive rhythm, unmistakably evoking klezmer music by alternating low and high registers and using "hairpin" dynamics. The second theme, Più mosso, is a nostalgic cantabile theme introduced in the cello and then passed to the first violin

Prokofiev did not regard the work very highly. When a Scots critic, Andrew Fraser, published an article in 1929 describing the Overture as "a beautiful and pathetic work", the composer wrote in response, "its technique is conventional, its form is bad (4 + 4 + 4 + 4)". When his friend Nikolai Myaskovsky praised the second theme, Prokofiev retorted, with reference to the work's coda, "from the musical point of view, the only worthwhile part, if you please, is the final section, and that, I think, is probably the result of my sweetness and diatonicism."

Performed by:
USSR State Symphony Orchestra
with Yevgeny Svetlanov

Alexander Borodin - Songs and Romances [1852-1885]

Demir Sezer 2024-01-01 | Alexander Borodin was a Romantic composer and chemist of Georgian-Russian extraction. He was one of the prominent 19th-century composers known as "The Five", a group dedicated to producing a "uniquely Russian" kind of classical music. Borodin is known best for his symphonies, his two string quartets, the symphonic poem In the Steppes of Central Asia and his opera Prince Igor.

This collection contains all the vocal works of Alexander Porfiryevich Borodin. It did not include only some versions of romances, as well as compositions for several voices. The basis of the publication is laid by the autographs of the composer and the first editions, corrected by Borodin himself. More information about the individual pieces will be in the pinned comment.

00:00 Intro
00:10 1. Why Art Thou ao Early, Dawn (Что ты рано, зоренька)
02:34 2. The Beautiful Fisher Maiden (Красавица-рыбачка)
04:05 3. The Pretty Girl No Longer Loves Me (Разлюбила красна-девица)
08:05 4. Listen to My Song, Little Friend (Слушайте, подруженьки, песенку мою)
11:53 5. The Sleeping Princess (Спящая княжна)
17:21 6. The Sea Princess (Морская царевна)
20:01 7.My Songs are Filled with Poison (Отравой полны мои песни)
21:35 8. Song of the Dark Forest (Песня темного леса)
24:44 9. Dissonance (Фальшивая нота)
26:03 10. The Sea (Море)
29:49 11. From My Tears (Из слез моих)
31:29 12. Pride (Спесь)
34:54 13. For the Shores of Thy Far Native Land (Для берегов отчизны дальной)
38:58 14. At Some Folks' Houses (У людей-то в дому)
42:23 15.The Magic Garden (Чудный сад)
44:39 16. Arabian Melody (Арабская мелодия)

Performed by:
Piano - Yuri Serov
Cello - Irina Molokina
Voice - Nikolai Okhotnikov, Konstantin Pluzhnikov, Andrey Slavny, Marianna Tarassova

Mendelssohn - Capriccio Brillant, Op. 22 [1832] (Shelley)

Demir Sezer 2023-12-25 | Performed by:
London Mozart Players
with Howard Shelley

Anatoly Lyadov - Scherzo for Orchestra, Op. 16 [1879]

Demir Sezer 2023-12-11 | Anatoly Konstantinovich Lyadov (12 May 1855 – 28 August 1914) was a Russian composer, teacher and conductor. Lyadov was born in 1855 in St. Petersburg, Russian Empire, into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin. He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky, Lyubov Streicher, and Boris Asafyev.

Performed by:
The Symphony Orchestra of Russia
with Veronika Dudarova conducting

Nikolai Tcherepnin - Suite from Le Pavillon dArmide, Op. 29a [1906]

Demir Sezer 2023-11-27 | Nikolai Nikolayevich Tcherepnin (May 15 1873 – 26 June 1945) was a Russian composer, pianist, and conductor. He was born in Saint Petersburg and studied under Nikolai Rimsky-Korsakov at the Saint Petersburg Conservatory. He conducted for the first Paris season of Sergei Diaghilev's Ballets Russes.

00:00 I. L'introduction et scène première
07:47 II. Courantes. Danse des heures
10:03 III. La scène d'animation du gobelin
14:42 IV. Grande Valse noble
19:48 V. La plainte d'Armide
23:09 VI. Danse des gamins (du petits esclaves étiopiens)
25:23 VII. Bacchus et les bacchantes (Bacchanale)
29:04 VIII. Entrée des magiciens et danse des ombres
31:52 IX. Danse des bouffons

Performed by:
Staatsphilharmonie Rheinlad-Pfalz
conducted by Igor Blashkov

Darius Milhaud - String Quartet No. 6, Op. 77 [1922]

Demir Sezer 2023-11-20 | Performed by the Parisii Quartet

Darius Milhaud (4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six—also known as The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers. A renowned teacher, he taught many future jazz and classical composers, including Burt Bacharach, Dave Brubeck, Philip Glass, Steve Reich, Karlheinz Stockhausen and Iannis Xenakis among others.

I. 00:00
II. 2:36
III. 7:42

Emil Hartmann - Symphony No. 2, Op. 34 [1880]

Demir Sezer 2023-11-17 | Emil Hartmann (1 February 1836–18 July 1898) was a Danish composer of the romantic period, fourth generation of composers in the Danish Hartmann musical family. Hartmann was born on 1 February 1836 in Copenhagen, the eldest son of composer Johan Peter Emilius Hartmann and of his composer wife Emma Hartmann.

Emil Hartmann was a composer of the Danish Golden Age. He wrote seven symphonies, concertos for respectively violin, cello and piano, several ouvertures, a symphonic poem (Hakon Jarl), orchestral suites, serenades, ballets, operas and singspiels, incidental music and cantatas. He was also the author of multiple works of chamber music (nonet, piano quintet, string quartets, clarinet quartets, piano trios, serenade for clarinet, cello and piano, sonatas for violin and piano, etc), songs and piano music. His opera Ragnhild («Runenzauber» in German) was created by Gustav Mahler in Hamburg. His music is resolutely Nordic, colourful and melodic and won great popularity in his days when performed. At the time, his Nordic folk dances (from 1859-60) as well as his later arrangements of Scandinavian folk music became famous, in line with Brahms’ Hungarian Dances or Dvorak's Slavonic Dances. Stylistically, his works form a Scandinavian pendant to the music of some of his more famous contemporaries such as Dvorak or Tchaikovsky. Most of his works were published by German editors.

00:00 I. Die Barden (Andante maestoso ed Allegro ma non troppo)
11:05 II. Ballade (Andantino cantabile ed Allegretto scherzando)
16:52 III. Rittertanz (Tempo di Minuetto ; Intermezzo: Andante maestoso)
22:16 IV. Turnier (Finale: Allegro energico)

Performed by:
Orchestra: Odense City Orchestra
Conductor: Borge Wagner