Symphony no. 5, Mvt 1
By: Beethoven
Type: sonata

The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener’s attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E flat major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, using modulation, sequences and imitation, and including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.

Symphony no. 5, Mvt 2
By: Beethoven
Type: andante

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The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos, and a coda to close the movement.

Symphony no. 5, Mvt 3
By: Beethoven
Type: scherzo

The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio … The Scherzo then contrasts this figure with the famous ‘motto’ (3 + 1) from the first movement, which gradually takes command of the whole movemen

Symphony no. 5, Mvt 4
By: Beethoven
Type: finale

at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the “horn theme” of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third “dance” movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work.

Gretchen am Spinnrade
By: Franz Schubert
Type: leid

This song is in rondo form (ABACADA)

Mazurka in A Minor
By: Fryderyk Chopin
Type: mazurka

The final Mazurka of the set is more characteristic and free than the others. Although it remains in the very homophonic texture, the dynamic variation is much greater. The piece ends with the same four measures as it began, with no pedal, the chords played by the left hand portamento, the tone and time fading away in a perdendosi. These four measures would later be sampled by Henryk Gorecki in the opening of the third movement of his third symphony.

Harlequin
By: Robert Schumann
Type:
Pantaloon
By: Robert Schumann
Type:
Pierrot
By: Robert Schumann
Type:
Columbine
By: Robert Schumann
Type:
Casta Diva
By: Vincenzo Bellini
Type: Giuseppe Verdi
From: Norma
Love Duet
By: Giuseppe Verdi
Type:
From: Otello
Brunnhilde’s Immolation
By: Richard Wagner
Type:
From: Gotterdammerung
Dream of a Witches Sabbath
By:Hector Berlioz
Type:
From: Symphonie fantastique
Brahms Variations
By: Johannes Brahms
Type:
From: Variations on a Theme by Haydn
Furiant
By: Bedrich Smetana
Type:
From: The Bartered Bride
Romeo and Juliet Overture Fantasy
By:Piotr Tchaikovsky
Type:
From: Romeo and Juliet
La Soiree dans Grenade
By: Debussy
Type:
From:
Psalm 24
By: Lili Boulanger
Type:
From:
Maple Leaf Rag
By:Scott Joplin
Type:
From:
St. Louis Blues
By:W. C. Handy
Type:
From:
New East St. Louis Toodle-O
By: Duke Ellington
Type:
From:
Lady Be Good
By:Charlie Parker
Type:
From:
Violin Sonata in A Minor
By: Amy Beach
Type: Violin Sonata
From:
Putnam’s Camp
By: Charles Ives
Type:
From: Three Places in New England
Some Enchanted Evening
By:Rodgers and Hammerstein
Type:
From: South Pacific
Somewhere
By: Leonard Bernstein
Type:
From: West Side Story
excerpts from The Rite of Spring
By: Igor Stravinsky
Type:
From: The Rite of Spring
excerpts from Pierrot Lunaire
By: Arnold Schoenberg
Type:
From: Pierrot Lunaire
Symphony op. 21 (movement 2)
By: Anton Webern
Type:
From:
Philomel (excerpt)
By: Milton Babbit
Type:
From: Philomel
Private Game
By: Shulamit Ran
Type:
From:
Opera in Temple Street
By: Tan Dun
Type:
From: Symphony 1997