Brahms: Four Hand Piano Music, Vol. 3

Editorial Reviews
Amazon.com
Silke-Thora Matthies and Christian Köhn have previously recorded two volumes of Brahms and a disc of Dvorák's Slavonic Dances. Both of the works on this disc are better-known in other scorings, the Sonata as Brahms's Piano Quintet, the Variations in Brahms's orchestral version. While the better-known versions came later, the fact that Brahms did not suppress these scores (as he did with so many others) indicates that he considered them valid alternatives. And even if you miss the color of the strings in the Sonata, or the orchestra in the Variations, the singing tone, nuances, and driving power (but only when called for) make these performances very much worth hearing--different in style from the excellent Argerich-Rabinovitch version, and much less expensive. --Leslie Gerber

Tracks:

Allegro Con Brio
Andante
Un Poco Allegretto
Allegro
Allegro Non Assai
Andante Moderato
Presto Giocoso
Allegro Energico E Passionato

Customer Reviews:

Two powerhouse symphonies - one exhilarating performance.......2007-03-14

As usual, Matthies and Kohn have managed to make another excellent volume in the Naxos's Brahms Four Hand Piano Music series. Their one piano, four hands rendition of the symphonies found on Vol. 6, 7 and 8 are gigantic accomplishments by themselves. But these two piano versions are incredibly symphonic in sound with the doubling of piano registers. Having been so familiar with the one piano version, many differences of phrasing and tempo are noticeable to my ears. While most of these differences were good, one may also nitpick with a few.

Overall, the two piano version of the Third Symphony is played with an identical interpretation as the one piano version. But in these two piano arrangements, Brahms bulks up the textures, allows each piano the freedom to work separately on sonorous effects and thus highlights on some of the nuances not heard in the one piano version. The first movement is a success; I would rate it superior to the one piano version with its raw power and orchestral heaviness which a pair of pianos can surprisingly emulate so well. The Andante and the Un poco allegretto are also passionately expressed; the inner voices of these tender melodies are clearly accentuated in this two piano version. In the last movement, the piano duo breaks through with herculean strength and merciless volition. Two pianos seems so much better than one here.

My only disappointment lies in the delivery of the main theme in the Fourth Symphony's first movement. For some reason, the guttural bass harmony that capitalizes on parts of the theme seems lighter here. In the one piano version, the duo was much more inclined to allow those deep chords to echo longer, like an abyssal pulse. It's a minor gripe when the rest of the movement is so sensationally played and articulated. And despite my little nitpicking, the rest of the symphony is executed with jaw-dropping virtuosity. Most notable is the robust last movement: the sinister opening is wonderfully rich and dark through the timbres of two pianos.

Bottom line: While I think it's vital to explore the one piano versions of these symphonies, Matthies' and Kohn's two piano rendition is on another plane. By the sheer force of two pianos, Brahms's grandiose and noble ideas are unfurled with fantastic results.

The TWO-PIANO versions of Brahms's Symphonies No. 3 & 4.......2006-04-13

From the notes by Leon Botstein for a concert devoted to two-piano and piano four-hand versions of orchestral classics: "Brahms's first presentation of the Fourth Symphony in this two-piano version was to a group of his close friends, whose judgment of the merits of the symphony was based on the piano version rather than on the orchestral realization. It therefore comes as no surprise that the symphonies by Brahms's rival Bruckner were heard in concert form at the Bösendorfer Hall in Vienna also in two-piano versions. In short, piano versions of orchestral music in the late nineteenth century were created not merely for domestic use but also for semi-public, if not public, presentation--for listeners as well as for players." I'm not sure, but I seem to recall that both the Third and Fourth Symphony two-piano versions were premiered by Brahms and Clara Schumann in private performances.

In this CD we hear Brahms's own two-piano versions of the Third and Fourth Symphonies played by the piano duo of Silka-Thora Matthies and Christian Köhn. This is their fifteenth in a series devoted to all of Brahms's own four-hand versions of his works. Indeed, Köhn is in the process of editing these works for B?renreiter. We have earlier had the four-hand version for one piano of Symphonies 3 & 4 (on two separate discs). This two-piano version of the two opens up the scores a bit more and is thus more expansive. And it is no surprise that these are expert performances by this redoubtable German pianistic pair.

I do not know if Symphonies No. 1 & 2 also exist in two-piano versions, but one hopes so. As I said in an earlier review, I secretly wish this series could go on forever -- it has been a source of unfailing delight over the last several years as each new CD has been issued.

Scott Morrison

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Average customer rating:

Marian Anderson - an outstanding collection

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

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Spirituals
Marian Anderson
Prima Voce - Marian Anderson / Shaw
He's Got the Whole World in His Hands
Paul Robeson Live at Carnegie Hall

ASIN: B00000C2C7
Release Date: 1999-11-30

Tracks:

Se Florindo E Fedele
Begrussung
Die Flote Weich Gefuhl
Die Forelle
Der Doppelganger
Wohin?
Der Jungling Und Der Tod
Der Erlkonig
Denn Es Gehet Dem Menschen
Ich Wandte Mich Und Sahe
O Tod, Wie Bitter Bist Du
Wenn Ich Mit Menschen
Befreit
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Var Det En Drom?
When I Am Laid In Earth
O Men From The Fields
When Night Descends (In The Silence Of Night)
Elegie
Let Us Break Bread Together
My Soul's Been Anchored In De Lord
Trampin'
Sinner, Please Doan Let Dis Harves' Pass
Honor, Honor
The Cuckoo
Will O' The Wisp

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The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine

Customer Reviews:

Marian Anderson - an outstanding collection.......2003-05-03

This CD with recordings of Marian Anderson between 1936 and 1952, should be heavily promoted. The CD gives listeners a fantastic opportunity to hear the singer in a variety of song styles and languages. I heard her sing live, once, in the 1960's and was stunned then by her vocal skills and musicality. This is the first record or CD which truly reflects her amazing talent.

Average customer rating:

High quality Brahms masterfully played
Wonderful!

Brahms: Four Hand Piano Music, Vol. 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DAJ5
Release Date: 1998-09-29

Tracks:

Sonata In F Minor, Op.34b: Allegro non troppo
Sonata In F Minor, Op.34b: Andante, un poco adagio
Sonata In F Minor, Op.34b: Scherzo: Allegro
Sonata In F Minor, Op.34b: Finale: Poco sostenuto - Allegro non troppo - Presto, non troppo
Variations On A Theme By Joseph Haydn, Op.56b: Chorale St. Antoni: Andante
Variations On A Theme By Joseph Haydn, Op.56b: Variation 1: Andante con moto
Variations On A Theme By Joseph Haydn, Op.56b: Variation 2: Vivace
Variations On A Theme By Joseph Haydn, Op.56b: Variation 3: Con moto
Variations On A Theme By Joseph Haydn, Op.56b: Variation 4: Andante
Variations On A Theme By Joseph Haydn, Op.56b: Variation 5: Poco presto
Variations On A Theme By Joseph Haydn, Op.56b: Variation 6: Vivace
Variations On A Theme By Joseph Haydn, Op.56b: Variation 7: Grazioso
Variations On A Theme By Joseph Haydn, Op.56b: Variation 8: Poco presto
Variations On A Theme By Joseph Haydn, Op.56b: Finale: Andante

Amazon.com

Silke-Thora Matthies and Christian Köhn have previously recorded two volumes of Brahms and a disc of Dvorák's Slavonic Dances. Both of the works on this disc are better-known in other scorings, the Sonata as Brahms's Piano Quintet, the Variations in Brahms's orchestral version. While the better-known versions came later, the fact that Brahms did not suppress these scores (as he did with so many others) indicates that he considered them valid alternatives. And even if you miss the color of the strings in the Sonata, or the orchestra in the Variations, the singing tone, nuances, and driving power (but only when called for) make these performances very much worth hearing--different in style from the excellent Argerich-Rabinovitch version, and much less expensive. --Leslie Gerber

Customer Reviews:

High quality Brahms masterfully played.......2006-11-21

I first became acquainted with Naxos' Four-Hand Piano series through Vol. 5 which featured the German Requiem for four-hands. At that time, I had never even heard much of Brahms, and certainly not the German Requiem in its orchestral form. After listening to that CD, I was so blown away by the power of Brahms that I've started a course of familiarizing myself with Brahms's music through these four-hand arrangements. Whether that sounds foolish or fascinating, I hope it convinces the reader that there is much worth behind these mere "piano arrangements."

I've heard the Variations on a Theme of Haydn for the orchestra and while I enjoyed the excellent craftsmanship and pleasing harmonies supporting the music, I never cared much for the actual theme. Actually, I just needed the piano to make it pure and coherent. Much to my surprise, I found the piano arrangement more satisfying because of its crystal-like clarity. It took this splendid arrangement to realize that the orchestra has a tendency to drown out some of the complex harmonies. Additionally, I found the piano far superior in highlighting the great moments of delicate counterpoint. And really, I think the piano is aesthetically pleasing for this type of Theme and Variation composition. I don't have to tell Brahms fans how spectacular and elevated these variations are: ranging from simple, delightful and grand. Though I lack the technical words to adequately describe much of the musical complexity behind these variations, I think they speak for themselves. Although I don't think this theme is the most intriguing one, Brahms miraculously transforms it into a powerhouse. He takes it through the deeply meditative to the brilliantly lofty with typical Brahmsian homophonic power and sparkling canonic material. I no longer listen to the orchestral version after this: Matthies and Kohn have transcended the orchestra with their impassioned reading of these Variations.

However, I think the real gem of this disc is the mighty Sonata in F minor, or the Piano Quintet Op. 34 for four-hands. I have obviously never heard this piece before so I can't comment on its transformation through the piano. Regardless, the stellar and inspired music is apparent. The first movement counters a robust and heroic first theme with a light-hearted second subject. For 15 minutes Brahms conquers the standard sonata form and showcases its magnificent potential. The development section is typical Brahmsian melodic/harmonic quality. A surge of gentle reflections, cloudy ideas, and tranquil interludes prepare the way for the intense recapitulation; this kind of music excels on the piano. The second movement is actually less interesting to me. While the heavenly rhythm and romantic mood is pleasing to the ears, there's not enough warmth due to the lack of strong melodies. With the exception of a few beautiful moments, Brahms loses himself into incoherent sentiment without any main idea. I think he was more inspired elsewhere, but needless to say, the music is impossible to dislike, especially when its soft melancholy is exalted through the piano.

The Scherzo is where things reach their peak, I think. What awesome music this is. This must be one of the best Scherzo's I've ever heard. There is nothing to my knowledge that rivals these dramatic accelerandos that explode into fiery storms. The devilish syncopated rhythms are also thrilling when played by this piano duo. The trio section is beautiful and lush, a real infusion of passion under the fingertips of these performers. Once again, though, the scherzo theme is where things reach their apex; it's a fine indication of Brahms's understanding of bold and majestic virtuosity. The last movement is another fantastic vision from Brahms. Darkness and dissonance opens the work but many variants of moods come into play here. Serene tenderness and outbursts of anger are just a few of my impressions. Overall, it's a smashing 10 minute finale and never loses steam. Somehow I imagine the sibling chamber work of this composition would lack the pianistic gravity and richness. Of course I can't be the judge of that until I've heard it, but this four-hand arrangement has displayed yet again how fitting all of Brahms's music is for the solo or two pianos.

Bottom line: The wealth of superior music from Brahms is no less superior under the dynamism and force of the piano. Matthies and Kohn are an elite duo with abundant technique and passionate sensitivity. And the piano should never be underestimated: not only can it faithfully render complex music but it ultimately glorifies it. I encourage any Brahmsian or piano lover to grab this, and many of the other Naxos Four-Hand arrangements of Brahms music.

Wonderful!.......2003-01-29

The Haydn Variations are probably the best-known of Brahms's four-hand arrangements of his orchestral music; two-piano and solo piano versions also exist. They each have their felicities. In this recording the focus is primarily on the working-out of the musical ideas by a four-hand team that obviously breathe and think as one. This ongoing series, which has now reached (as of this writing) its seventh volume, goes from strength to strength. I am waiting eagerly for the volume that will bring us the Fourth Symphony whose last movement is reminiscent of the Haydn Variations in that it is a sprawling but cogently argued set of variations.

Tracks:

Vivace
Andante
Agitato (Allegretto Non Troppo)
Poco Allegretto Con Variazioni
Allegro Non Troppo Ma Con Brio
Grave Ed Appassianato - Allegretto Vivace
Allegro Energico

Customer Reviews:

Masterful Brahms and a worthy performance.......2006-12-07

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original form. Before exploring the Naxos Four Hand Series, I had not heard any orchestral/chamber work from Brahms except the Variations on Haydn and a few Hungarian Dances. I'm on an outlandish and rare path of exposing myself to Brahms exclusively through Naxos' Four Hand Piano series. My first taste was the German Requiem for Four Hands, and I was breathless. I still feel stunned by Brahms's music.

This disc continues a delightful expedition into the four-hand arrangements of Brahms's chamber works. Being unfamiliar with the original chamber version of the Op. 67 String Quartet and the Op. 88 String Quintet, I'll undoubtedly disappoint the reader of this review. I can't make a proper comparison and vouch for this disc from the standpoint of an experienced Brahms listener. I will say, however, that I've familiarized myself with all the music up to this volume in the Brahms Four Hand series from Naxos; I see myself fit enough to recommend it because of the *piano performance* alone. Indeed, I've always thought Brahms's music ideas perfect for any medium. His lush harmonies, fluid counterpoint and other beautiful textures are made clear and gorgeous in this piano recording. Kohn and Matthies have done it once again. They play these pieces with grace, poise, and with a flawless touch. Such attributes are appropriate and crucial for this kind of music. Fortunately, this piano duo delivers that and more.

I would have given this CD 5 stars but I'm afraid I don't share as much affection and appreciation for the String Quartet No. 3 as I do for the Op. 51 (on Vol. 10). It's still a magnificent and tender work, don't get me wrong. The first movement is deceptively dramatic and arousing with its lively rhythms and whirling momentum. It showcases wonderful dynamics on the piano and charms with its light-hearted melodies. Musically, however, I find it a little less-inspired than the Op. 51 string quartets, whose first movements outclass this one in my opinion. The second movement, however, is the glorious achievement in this quartet. There's something about this kind of music from Brahms that carries itself better on the piano. The introspective phrases, the underlying mellowness and the dramatic outbursts make for outstanding piano passage work. It sounds like a majestic piano sonata movement. However, the agitato third movement doesn't sustain my interest. Repeated listenings make it musically attractive, but the main allegretto theme is not my favorite from Brahms. This is no fault on the piano performers, either. On the contrary, they crystallize the musical content and deliver a beautiful interpretation. The fourth movement contains a similar quality of music: eloquent, masterful, beautiful, but sometimes boring and unimaginative. That must seem like an odd combination, but this is just coming from someone who just listened to the Op. 51. I'm afraid this last String Quartet doesn't captivate me like the previous two did. Regardless, there are sublime moments and this is still outstanding music compared to other mediocrities.

The String Quintet, on the other hand, is a gem played with furor and passion. On the piano, it possesses awesome grandeur and beautiful homophony. The first movement is warm and quasi-pastoral with a lovely main theme which is given some superior thematic development. Brahms displays his prowess here with fusing virtuosity and lyricism, sequencing and modulation. I can't compare this with the original string quintet, but the piano sounds indomitable anyway. The performers infuse the instrument with an unwavering stream of energy, and they play with vigor and titanic strength. The second movement celebrates the dark moods and tones only found in the piano. There are moments in this second movement that transcend all of Brahms's musical ideas thus far on this disc. Curiously, this movement loses its power with the irregular and awkward interjection of an allegretto in between the morbid and solemn subjects. I frankly didn't care for the allegretto because I wanted Brahms to stay on course with tragedy. In those tragic moments, the piano highlights some amazing tone colors and dark timbres in the lowest bass. Despite the distracting interlude of cheerfulness, Brahms makes up for it with his spellbinding return to darkness and melancholy. After two sections of the allegretto, the end of the piece reaches the apex of sublime sadness. The piano helps express these few phrases of powerful Chopinesque despair. This tender moment is so brief; it seeps through for just a few seconds and vanishes forever. The last movement is a fugal tour-de-force and the pianists lift the shadows away to reveal the stellar counterpoint. On the whole, this work is a monumental chamber piece from Brahms, and the piano raises the composition to a lofty plane.

Bottom line: Brahms's String Quartet No. 3 is, in my opinion, inferior to the Op. 51 quartets. The String Quintet No. 1 does make up for this, though. And disregarding any of my biases, I still think both works shine under the fingers of this piano duo. But really, Brahms's music is always successful on this medium. To some, the piano may seem lacking. Does it match the intricacies of the string quartet? I don't know. But it does a fine job in both illuminating separate lines, especially in the polyphony, and communicating the power of Brahms's music.

The Last Quartet & the First Quintet for Piano 4-Hands: A++.......2004-06-23

I'm afraid anyone who has read my reviews of earlier issues in this series of much of Brahms's output as he arranged it for piano four-hands will know what to expect in this notice. Yes, another rave. I'm sorry to be so boring, but this series is simply magnificent. Thank you, Silke-Thora Matthies and Christian Köhn, Naxos, and most of all Herr Brahms!

This disc combines Brahms's Third String Quartet, Op. 67, and the First String Quintet, Op. 88. The arrangements are, being by the composer himself, expert and telling. The playing is what we've come to expect from this young four-hand piano team, namely flexible, unfailingly musicianly and full of energy or songful repose whenever needed. My only quibble, and it's not the fault of the executants, is that no piano can successfully imitate the luscious sound of the string quintet in that memorable tune at the beginning of the Op. 88 Quintet, one of Brahms's loveliest creations. Once it gets in my head it stays for days.

One correspondent has asked me why anyone would want to have piano duet recordings of Brahms's music when there are so many excellent recordings of the music with original instrumentation; my answer is that these arrangement add to our understanding of Brahms's craft, his musical thought processes and, as well, they are magnificent music-making, capable of standing on their own. One advantage, for instance, is the frequent clarification of polyphonic textures. Perhaps there is a limited audience for this sort of thing, but since I started writing about this series I've had correspondence with a number of music-lovers who, like me, have been enraptured by the arrangements, the musicianly playing and the crisp, lifelike recorded sound. Of course, there are some of us who simply can't get enough of Brahms; e.g., I recently reviewed a recording, not in this series, of the 'German Requiem' sung by a French chamber choir (Accentus) and accompanied by two pianos, an arrangement Brahms made for a London concert. Stunning!

It's hard to know what might be coming in this series, but one can only hope that the Second Quintet and the two String Sextets are in the pipeline. I fervently hope so!

Heartily recommended.

TT=68:30

Tracks:

Badinerie from Orchestral Suite No. 2 - The London Symphony Orchestra
Air on the G String from Orchestral Suite No. 3 - The London Symphony Orchestra
Brandenburg Concerto, No. 3 - The London Symphony Orchestra
1st Movement from Violin Concerto No. 2 - The London Symphony Orchestra
Polonaise and Rondo from Orchestral Suite No. 2 - The London Symphony Orchestra
Harpischord Concerto No. 5 in F Minor - The London Symphony Orchestra
Jesus Bleibet Meine Freude from Cantata No. 147 - The London Symphony Orchestra
Fugue in G Minor, BWV. 1026 - The London Symphony Orchestra
Toccata and Fugue in D Minor - The London Symphony Orchestra

Tracks:

Canon in D - The London Symphony Orchestra
Brandenburg Concerto No. 4 - The London Symphony Orchestra
Largo from Xerxes - The London Symphony Orchestra
Sonata in C, K. 420 - The London Symphony Orchestra
Adagio in G Minor - The London Symphony Orchestra
Spring from the Four Seasons - The London Symphony Orchestra
Toccata and Fugue in D Minor - The London Symphony Orchestra
Harmonious Blacksmith - The London Symphony Orchestra

Tracks:

Symphony No. 5: 1st Movement - The London Symphony Orchestra
Fse - The London Symphony Orchestra
Egmont Overture - The London Symphony Orchestra
1st Movement from Moonlight Sonata, No. 14 - The London Symphony Orchestra
3rd Movement from Violin Concerto - The London Symphony Orchestra
Finale from Symphony No. 9: Ode to Joy - The London Symphony Orchestra

Tracks:

Waltz No. 1: Grand Waltz Brillante: Op. 18 - The London Symphony Orchestra
Waltz No. 6: Petit Chein - The London Symphony Orchestra
Waltz No. 7, Op. 64, No. 2 - The London Symphony Orchestra
Waltz No. 10, Op. 69, No. 2 - The London Symphony Orchestra
Fantaisie-Impromptu in C-Sharp Minor - The London Symphony Orchestra
Raindrop Prelude, Op. 28, No. 15 - The London Symphony Orchestra
Adieu Etude, Op. 10, No. 3 - The London Symphony Orchestra
Heroic Polonaise, Op 53, No. 6 - The London Symphony Orchestra
Mazurka, Op. 7, No. 1 - The London Symphony Orchestra
Mazurka, Op. 33, No. 4 - The London Symphony Orchestra
Nocturne, Op. 9, No. 2 - The London Symphony Orchestra
Nocturne, Op. 15, No. 2 - The London Symphony Orchestra
Berceuse in D Flat, Op. 57 - The London Symphony Orchestra

Tracks:

Water Music: Allegro Deciso - Royal Philharmonic Orchestra
Mornig from Peer Gynt - Royal Philharmonic Orchestra
Farandole from l'Arlesienne Suite II - Royal Philharmonic Orchestra
Waltz from the Serenade for String - Royal Philharmonic Orchestra
Rhapsody Espa Royal Philharmonic Orchestra
Barcarolle from Tales of Hoffman - Royal Philharmonic Orchestra
Trumpet Voluntary - Royal Philharmonic Orchestra
Slavonic Dance No. 2 - Royal Philharmonic Orchestra
Meditation for Thasis: Classics for Love - Royal Philharmonic Orchestra
Hungarian March - Royal Philharmonic Orchestra
Air on the G String: Classic Strings - Royal Philharmonic Orchestra
Claire de Lune - Royal Philharmonic Orchestra
Ride of the Valkyries - Royal Philharmonic Orchestra

Tracks:

Prelude from Tristan und Isolde - Bayreuth Studio Symphony Orchestra
Gymnopedie No. 1 - The London Symphony Orchestra
Overture to Die Fledermaus - Philharmonic Orchestra Of The Vienna Opera
Dance of the Reed Pipes from the Nutcracker - Moscow State Phil Harmonic Orchestra
Adagietto from Symphony No. 5 - Radio Luxembourg Symphony Orchestra
Barber of Seville Orverture - South American Festival Orchestra
Winter from the Four Seasons, 3rd MVT. - Heidelberg Chamber Orchestra
Fugue in G Minor, BWV. 542 - The London Symphony Orchestra
Spring Sonata (1st Movement) - Simone Gutman, Stanley Wiener
Air from the Water Music - Little Orchestra Of London
Scheherazade Symphonic Suite Op. 35 - South American Festival Orchestra
Sabre Dance - Radio Luxembourg Symphony Orchestra

Tracks:

Prelude to Act III; "Lohengrin" - Halle Orchestra
Flute Concerto "La Notte" in G Minor, Op. 10, No. 2 - Munich Pro Arte Chamber Orchestra
Waltz from Symphony No. 5 in E Minor, Op. 64 - Paris Philharmonic Orchestra
Stranger Op. 68/29 - The London Symphony Orchestra
Clarinet Concerto - Little Orchestra Of London
Quodlibet on Welsh Nursery Tunes - Cardiff Symphony Orchestra
Mars, The Bringer of War from "The Planets" Op. 32 - Philharmonic Promenade Orchestra
Minuet - Spitfields Sinfonietta Of London
Moment Musical - The London Symphony Orchestra
Eine Kleine Nachtmusik K. 525 - The London Symphony Orchestra
Sleepers Wake - The London Symphony Orchestra

Tracks:

Overture Oberon - Vienna Symphony Orchestra
Minuet Op. 13 No. 5 - The London Symphony Orchestra
Radetzky March Op. 228 - Vienna Concert Orchestra
Ensaga - Orion Orchestra
Violin Concerto No. 1 in G Minor Op. 26 - Berlin Symphony Orchestra
Overture from lo Speziale - The London Symphony Orchestra
Die Fledermaus (The Bat) Mein Herr Was Dachten Sie (Act 1) - Hamburg Opera
Campanella - The London Symphony Orchestra
Symphony No. 1 in D Major, 1st MVT. - Vienna Symphony Orchestra

Tracks:

Salzburg Symphony No. 1 in D Major K 136 - Munich Symphony Orchestra
Overture: The Gypsy Princess - Vienna Volksoper Orchestra
Concerto Grosso in D Major Op. 3 No. 6 - Wuttemberg Chamber Orchestra
Little Shepherd (Children's Corner Suite) - The London Symphony Orchestra
Devertimento for Orchestra No. 1 - Little Orchestra Of London
"Your Tiny Hand Is Frozen" la Boheme - Rome Opera Orchestra
Fantasia in G Major for Organ BWV 572 - The London Symphony Orchestra
Entry of the Nobles from Mlada - New Philharmonia Orchestra
Venetian Gondolier's Song - George Levinstein
Violin Concerto in E Minor, Op. 64 - Symphony Orchestra Hamburg
Hungarian Dance No. 12 in D Minor - Munich Symphony Orchestra

Tracks:

Ride of the Valkyries - Dresden State Orchestra
Summer from the Four Seasons - Benito Rossi, Violin Orchestra Da Camera Di Milano
Waltz from the Sleeping Beauty - Bramberg Symphony Orchestra
Canon - Sinfonie Orchester Graunke Munich
Prayer - Paris Opera Orchestra
Riding Piece Op. 68.23 from Album for Youth - The London Symphony Orchestra
Coriolan Overture Op. 62 - Sydney Symphony Orchestra
Brandenburg Concerto No. 3 in G Major BWV 1048 - Munich Bach Orchestra
Waltz Op. 39 No. 15 - The London Symphony Orchestra
Oracion del Toro - Gabrieli Strings
Music from the Royal Fireworks - The London Symphony Orchestra
Clarinet Quintet K. 581 - The London Symphony Orchestra