City of London Sinfonia

Composers

Biography

Active: 1971 - ; London, England
The City of London Sinfonia is one of the best known of the several smaller and specialty orchestras that transformed London's concert life in the late 1900s.

Although London had five major full-sized symphony orchestras, interest grew in the 1960s for specialty ensembles, such as modern, avant-garde, period, or chamber orchestras. Richard Hickox founded his own orchestra, the Richard Hickox Orchestra, in 1971. It immediately
Read more commissioned a new work, Fancies by John Rutter. By 1973 its reputation had already grown so that it was invited to play in a performance of Handel's Messiah at a Royal Albert Hall Promenade concert, and in 1975 it made its first recording, a pair of J.S. Bach Masses, on the Argo label.

In the late 1970s, the City of London, a specific and rather small area in greater London that is its commercial center and has its own historic city government, made a decision to build a major concert hall, the Barbican Centre. To ensure its use and distinctive identity, the City made arrangements for permanent resident ensembles: the London Symphony Orchestra and the Hickox Orchestra were the two leading ones, with the latter taking the name The City of London Sinfonia (CLS) in 1979 and moving into the Barbican when it opened in 1982. The Barbican and its ensembles, subsidized by the City, opened with an innovative plan to integrate its operations artistically. The ensembles cooperate in presenting festivals and thematically interrelated concert series. Among the most successful Barbican series in which the CLS participated was "Mahler, Vienna, and the Twentieth Century." Such ideas, and alert marketing strategies based on them, have made the Barbican along with Royal Albert Hall and its long established Proms the most successful concert areas in Greater London.

In 1985, the CLS made its first major international tour with a trip to Germany. Since then it has made numerous tours, which included a tour of Australia in 1993. In 1989, it made its first appearance at the Edinburgh Festival, and 1994 was notable in CLS history for its world premiere of John Tavener's The Apocalypse at the Proms. Since 1985 it has made at least one major international tour every year.

In 1990 it was invited to play at Sadler's Wells' production of Britten's opera A Midsummer Night's Dream, a performance recorded in an acclaimed Virgin Classics release, and in 1995 again made a major Britten recording, a prize-winning rendition of Peter Grimes for Chandos. 1995 also saw a pair of extraordinary special concerts. One was the performance in the Houses of Parliament commemorating the 50th Anniversary of the United Nations Charter in the presence of the Queen, the Prime Minister, and the UN Secretary-General. The other was a special invitation by Patriarch Partherios of Alexandria to play a concert of John Tavener's music at a special symposium at the ruins of Ephesus in Turkey.

The CLS is a medium-sized symphony orchestra, listing as its permanent personnel 22 strings (divided 6-6-4-4-2) and winds in pairs, which is ideal for the Classical era and for numerous post-War modern works. The CLS has become the resident orchestra of the Chelsea and Westminster Hospital, and of the Otto Schiff Housing Association for victims of Nazi persecution. It also has residencies in the cities of Ipswich, King's Lynn, and High Wycombe. In 1997, the CLS won the Royal Philharmonic Society Large Ensemble Music Award for contributions to musical life in the United Kingdom, including the Education & Community Programme. Richard Hickox has continued as musical director, with Marin Alsop as principal guest conductor. Read less

There are 161 City of London Sinfonia recordings available.

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Composers

Formats & Featured

Biography

Active: 1971 - ; London, England
The City of London Sinfonia is one of the best known of the several smaller and specialty orchestras that transformed London's concert life in the late 1900s.

Although London had five major full-sized symphony orchestras, interest grew in the 1960s for specialty ensembles, such as modern, avant-garde, period, or chamber orchestras. Richard Hickox founded his own orchestra, the Richard Hickox Orchestra, in 1971. It immediately
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Prelude: Slow - Appassionata
II. How still this quiet cornfield is tonight!
III. Only a man harrowing clods
IV. We who are left, how shall we look again
Beati misericordes
Iesu parabola iam nobis fiat fabula
Bono nunc animo es, viator
En alter in conspectum venit
Ecce, tertius apparet
To this shrine of the first Christians (Son) -
Ask me not. Never search the inexpressible mystery of death (Mother) -
Wait! Do not forsake your grieving son (Son)
I. Adagio ma non troppo
II. Andante
III. Allegro
I. Allegro
II. Adagio ma non troppo
III. Rondo: Allegretto
Adagio - Andante -
Andante con moto - Con fuoco -
Cadenza - Adagio -
Alla Polacca
I. Allegro
II. Romanza: Andante - Recitativo - Tempo I
III. Alla polacca
Requiem: 1. Requiem aeternam
Requiem: 2. Out of the deep (Jo Cole, cello)
Requiem: 3. Pie Jesu (Edward Saklatvala, treble)
Requiem: 4. Sanctus
Requiem: 5. Agnus Dei (Duke Dobing, flute)
Requiem: 6. The Lord is my shepherd (Christopher Hooker, oboe)
Requiem: 7. Lux aeterna (Thomas Harries, treble)
Psalm 42, for chorus, soprano and orchestra Op. 42: 1. Chorus: Wie der Hirsch schraeit nach frischem Wasser
Psalm 42, for chorus, soprano and orchestra Op. 42: 2. Aria: Meine Seele dürstet nach Gott
Psalm 42, for chorus, soprano and orchestra Op. 42: 3. Recitative and Aria: Meine Tränen sind meine Speise Tag und Nacht
Psalm 42, for chorus, soprano and orchestra Op. 42: 4. Chorus: Was betrübst de dich, meine Seele
Psalm 42, for chorus, soprano and orchestra Op. 42: 5. Recitative: Mein Gott, betrübt ist meine Seele in Mir
Psalm 42, for chorus, soprano and orchestra Op. 42: 6. Quintet: Der Herr hat des Tages verheissen seine Güte
Psalm 42, for chorus, soprano and orchestra Op. 42: 7. Chorus: Was betrübt de dich, meine Seele
An English Suite: I. Prelude
An English Suite: I. Prelude
An English Suite: II. In Minuet Style
An English Suite: II. In Minuet Style
An English Suite: III. Saraband
An English Suite: III. Saraband
An English Suite: IV. Caprice
An English Suite: IV. Caprice
An English Suite: V. Pastoral
An English Suite: V. Pastoral
An English Suite: VI. Air
An English Suite: VI. Air
An English Suite: VII. Frolic
An English Suite: VII. Frolic
Elegy Op. 58
Elegy Op. 58
Sospiri Op. 70
Sospiri Op. 70
Serenade in E minor Op. 20: I. Allegro piacevole
Serenade in E minor Op. 20: I. Allegro piacevole
Serenade in E minor Op. 20: II. Larghetto
Serenade in E minor Op. 20: II. Larghetto
Serenade in E minor Op. 20: III. Allegretto - Come prima
Serenade in E minor Op. 20: III. Allegretto - Come prima
Lady Radnor's Suite: I. Prelude
Lady Radnor's Suite: I. Prelude
Lady Radnor's Suite: II. Allemande
Lady Radnor's Suite: II. Allemande
Lady Radnor's Suite: III. Sarabande
Lady Radnor's Suite: III. Sarabande
Lady Radnor's Suite: IV. Slow Minuet
Lady Radnor's Suite: IV. Slow Minuet
Lady Radnor's Suite: V. Bourrée
Lady Radnor's Suite: V. Bourrée
Lady Radnor's Suite: VI. Gigue
Lady Radnor's Suite: VI. Gigue
Serenade in E minor Op. 20: I. Allegro piacevole
Serenade in E minor Op. 20: II. Larghetto
Serenade in E minor Op. 20: III. Allegretto - Come prima
Tchaikovsky: Serenade in C Major, Op. 48: I. Pezzo in forma di sonatina (Andante non troppo - Allegro moderato)
Serenade in C, Op.48: IV. Finale: Tema russo. (Andante - Allegro con spirito)
Serenade in C, Op.48: III. Elégie. (Larghetto elegiaco)
Serenade in C Op. 48: II. Valse. (Moderato: Tempo di valse)
Serenade in C Op. 48: II. Valse. (Moderato: Tempo di valse)
Symphony in C: IV. Final : Allegro vivace
Symphony in C: IV. Final : Allegro vivace
Armide: Ouverture
Armide: Ouverture
Armide, Act 1, Scene 1: Dans un jour de triomphe...
Armide, Act 1, Scene 1: Dans un jour de triomphe...
Armide, Act 1, Scene 1: Je ne triomphe pas du plus vaillant de tous!
Armide, Act 1, Scene 1: Je ne triomphe pas du plus vaillant de tous!
Armide, Act 1, Scene 1: Les Enfers ont prédit cent fois
Armide, Act 1, Scene 1: Les Enfers ont prédit cent fois
Armide, Act 1, Scene 2: Armide, que le sang qui m'unit avec vous
Armide, Act 1, Scene 2: Armide, que le sang qui m'unit avec vous
Armide, Act 1, Scene 2: La chaine de l'hymen m'étonne
Armide, Act 1, Scene 2: La chaine de l'hymen m'étonne
Armide, Act 1, Scene 2: Pour vous, quand'il vous plait
Armide, Act 1, Scene 2: Pour vous, quand'il vous plait
Armide, Act 1, Scene 2: Si je dois m'engager un jour
Armide, Act 1, Scene 2: Si je dois m'engager un jour
Armide, Act 1, Scene 3: Armide est encore plus aimable
Armide, Act 1, Scene 3: Armide est encore plus aimable
Armide, Act 1, Scene 3: Balletto
Armide, Act 1, Scene 3: Balletto
Armide, Act 1, Scene 3: que la doceur d'une triomphe
Armide, Act 1, Scene 3: que la doceur d'une triomphe
Armide, Act 1, Scene 4: O ciel! O disgrace cruelle!
Armide, Act 1, Scene 4: O ciel! O disgrace cruelle!
Armide, Act 2, Scene 1: Invincible héros c'est par votre courage
Armide, Act 2, Scene 1: Invincible héros c'est par votre courage
Armide, Act 2, Scene 1: Le repos me fait violence
Armide, Act 2, Scene 1: Le repos me fait violence
Armide, Act 2, Scene 2: Arretons-nous ici, c'est dans ce lieu fatal
Armide, Act 2, Scene 2: Arretons-nous ici, c'est dans ce lieu fatal
Armide, Act 2, Scene 2: Espirits de haine et de rage
Armide, Act 2, Scene 2: Espirits de haine et de rage
Armide, Act 2, Scene 3: Plus j'observe ces lieux...
Armide, Act 2, Scene 3: Plus j'observe ces lieux...
Armide, Act 2, Scene 4: Au temps heureux où l'on sait plaire
Armide, Act 2, Scene 4: Au temps heureux où l'on sait plaire
Armide, Act 2, Scene 4: Ah! Quelle erreur! Quelle folie
Armide, Act 2, Scene 4: Ah! Quelle erreur! Quelle folie
Armide, Act 2, Scene 4: Balletto
Armide, Act 2, Scene 4: Balletto
Armide, Act 2, Scene 4: On s'étonnerait moins que la saison nouvelle
Armide, Act 2, Scene 4: On s'étonnerait moins que la saison nouvelle
Armide, Act 2, Scene 5: Enfin, il est en ma puissance
Armide, Act 2, Scene 5: Enfin, il est en ma puissance
Armide, Act 2, Scene 5: Ah! Quelle cruauté de lui ravir le jour
Armide, Act 2, Scene 5: Ah! Quelle cruauté de lui ravir le jour
A Midsummer Night's Dream Op. 64, Act One, Introduction: Over hill, over dale (Fairies/Puck)
A Midsummer Night's Dream Op. 64, ACT ONE: Oberon is passing fell and wrath (Fairies/Oberon/Tytania)
A Midsummer Night's Dream Op. 64, ACT ONE: Well, go thy way (Oberon/Puck)
A Midsummer Night's Dream Op. 64, ACT ONE: How now my love? (Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Be it on lion, bear, or wolf, or bull (Oberon/Demetrius/Helena)
A Midsummer Night's Dream Op. 64, ACT ONE: Welcome wanderer! ... I know a bank (Oberon)
A Midsummer Night's Dream Op. 64, ACT ONE: Is all our company here? (Quince/Bottom/Flute/Snout/Starveling/Snug)
A Midsummer Night's Dream Op. 64, ACT ONE: Fair love, you faint with wand'ring in the wood (Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Through the frost have I gone (Puck/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Stay, thou thou kill me, sweet Demetrius (Helene/Demetrius/Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Come, now a roundel and a fairy song (Tytania)
A Midsummer Night's Dream Op. 64, ACT ONE: You spotted snakes with double tongues (Fairies)
A Midsummer Night's Dream Op. 64, ACT ONE: What thou seest when thou dost wake (Oberon)
A Midsummer Night's Dream Op. 64, ACT TWO: Introduction
A Midsummer Night's Dream Op. 64, ACT TWO: Are we all met? (Bottom/Flute/Snout/Starveling/Snug/Quince/Puck)
A Midsummer Night's Dream Op. 64, ACT TWO: I see their knavery (Bottom/Tytania/Solo fairies)
A Midsummer Night's Dream Op. 64, ACT TWO: Be kind and courteous to this gentleman (Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: Hail! mortal, hail! (Solo fairies/Bottom/Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: I have reas'nable good ear in music (Bottom/Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: How now, mad spirit? (Oberon/Puck/Demetrius/Hermia)
A Midsummer Night's Dream Op. 64, ACT THREE: Now the hungry lions roars (Solo fairies/Puck/Oberon/Tytania/Fairies)
I. First Dance: Moderato - Presto - Meno mosso -
II. Second Dance: Lento, quasi tango
III. Third Dance: Vivo - Piu mosso - Tempo I - Piu mosso - Tempo I - Piu mosso - Moderato - Meno moss
No. 1. Western Wind
No. 2. Letter to Anna, pregnant
No. 3. The Sick Rose
No. 4. Tune for an Ice Cream Van
No. 5.
No. 6. Iron City Love Song
No. 7. Campionesque for Anna
I. Con moto - Piu mosso - Piu mosso - Meno mosso -
II. Lento e calmo - Piu mosso - A tempo I - Meno mosso
III. Vivo - Meno mosso - Lento - Meno mosso - Piu mosso - Meno mosso
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Kyrie
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Gloria: Gloria in excelsis Deo
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Gloria: Qui tollis
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Gloria: Quoniam
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Credo: Credo in unum Deum
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Credo: Et incarnatus est
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Credo: Et resurrexit
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Sanctus
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Benedictus
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Agnus Dei: Agnus Dei qui tollis
Haydn: Missa in angustiis "Nelson Mass", Hob. XXII:11 in D minor - Agnus Dei: Dona nobis pacem
Act I: Prelude
Act I Scene 1: You've got your maps there? (Coyle, Lechmere, Owen)
Act I Scene 1: Sir, I can't go through with it (Owen, Coyle)
Act I Scene 1: Straight out of school they come to me (Coyle) - Interlude
Act I Scene 2: At last it's out. No doubt old Coyle will rage (Owen, Miss Wingrave, Coyle) - Interlude II: Was is the stateman's game (Owen)
Act I Scene 3: Your sherry, Mrs. Coyle (Lechmere, Mrs. Coyle, Coyle, Owen)
Act I Scene 3: Owen, you can't mean it - it's mad, it's your whole life (Lechmere, Owen) - Interlude III
Act I Scene 4: Oh, how unforeseen (Mrs. Julian, Kate, Miss Wingrave)
Act I Scene 4: And now, to face them, all of them, the living and the dead (Owen, Mrs. Julian, Kate, Miss Wingrave)
Act I Scene 4: Sirrah! How dare you! (Sir Philip, Kate) - Scene 5: How dare you! (Miss Wingrave, Kate, Sir Philip, Mrs. Julian)
Act I Scene 6: Coyle, I wish I had not come. It's horrible! (Mrs. Coyle, Coyle)
Act I Scene 6: Ah! Owen! (Mrs. Coyle, Coyle, Owen, Lechmere) - Interlude IV
Act I Scene 7: May God bless the Queen, and this house (Sir Philip, Mrs. Coyle, Kate, Miss Wingrave, Lechmere, Owen, Mrs. Julian)
Aubade - Choreographic Concerto for Piano & 18 instruments: I Toccata
Aubade - Choreographic Concerto for Piano & 18 instruments: II Récitatif (Les compagnes de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: III Rondeau (Diane et compagnes)
Aubade - Choreographic Concerto for Piano & 18 instruments: IV Presto (Toilette de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: V Récitatif (Introduction à la variation de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: V Récitatif (Introduction à la variation de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: VI Andante (Variation de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: VI Andante (Variation de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: VII Allegro Feroce (Désespoir de Diane)
Aubade - Choreographic Concerto for Piano & 18 instruments: VII Allegro Feroce (Désespoir de Diane)
Kyrie
Gloria
Credo
Sanctus and Benedictus
Agnus Dei
No. 1. O magnum mysterium
No. 2. Quem vidistis pastores dicite
No. 3. Videntes stellam
No. 4. Hodie Christus natus est
Serenade Op. 31: Prologue (horn solo)
Serenade Op. 31: 1. Pastoral: The day's grown old (Charles Cotton)
Serenade Op. 31: 2. Nocturne: The splendour falls on castle walls (Alfred, Lord Tennyson)
Serenade Op. 31: 3. Elegy: O Rose, thou art sick (William Blake)
Serenade Op. 31: 4. Dirge: This ae nighte (anon. 15th century)
Serenade Op. 31: 5. Hymn: Queen and huntress (Ben Jonson)
Serenade Op. 31: 6. Sonnet: O soft embalmer of the still midnight (John Keats)
Serenade Op. 31: Epilogue (horn solo)
Nocturne Op. 60: On a poet's lips I slept (Shelley)
Nocturne Op. 60: Below the thunders of the upper deep (Tennyson)
Nocturne Op. 60: Encinctured with a twive of leaves (Coleridge)
Nocturne Op. 60: Midnight's bell goes ting (Middleton)
Nocturne Op. 60: When that night on my bed I lay (Wordsworth)
Nocturne Op. 60: She sleeps on soft, last breaths (Owen)
Nocturne Op. 60: WHat is more gentle than a wind in summer? (Keats)
Nocturne Op. 60: When most I wink, then do mine eyes best see (Shakespeare)
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Sir! heare are lions, lepardes, in
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Wiffe, come in! why standes thou their?
Noye's Fludde, Op.59 The Chester Miricle Play set to music: It is good for to be still
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Eternal Father, strong to save
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Now forty dayes are fullie gone
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Noye, take thy wife anone
Noye's Fludde, Op.59 The Chester Miricle Play set to music: Noye, heare I behette thee a heste
Noye's Fludde, Op.59 The Chester Miricle Play set to music: The spacious firmament on high
A Midsummer Night's Dream Op. 64, ACT ONE: Introduction
A Midsummer Night's Dream Op. 64, ACT ONE: Oberon is passing fell and wrath (Fairies/Oberon/Tytania)
A Midsummer Night's Dream Op. 64, ACT ONE: Well, go thy way (Oberon/Puck)
A Midsummer Night's Dream Op. 64, ACT ONE: How now my love? (Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Be it on lion, bear, or wolf, or bull (Oberon/Demetrius/Helena)
A Midsummer Night's Dream Op. 64, ACT ONE: Welcome wanderer! ... I know a bank (Oberon)
A Midsummer Night's Dream Op. 64, ACT ONE: Is all our company here? (Quince/Bottom/Flute/Snout/Starveling/Snug)
A Midsummer Night's Dream Op. 64, ACT ONE: Fair love, you faint with wand'ring in the wood (Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Through the frost have I gone (Puck/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Stay, thou thou kill me, sweet Demetrius (Helene/Demetrius/Lysander/Hermia)
A Midsummer Night's Dream Op. 64, ACT ONE: Come, now a roundel and a fairy song (Tytania)
A Midsummer Night's Dream Op. 64, ACT ONE: You spotted snakes with double tongues (Fairies)
A Midsummer Night's Dream Op. 64, ACT ONE: What thou seest when thou dost wake (Oberon)
A Midsummer Night's Dream Op. 64, ACT TWO: Introduction
A Midsummer Night's Dream Op. 64, ACT TWO: Are we all met? (Bottom/Flute/Snout/Starveling/Snug/Quince/Puck)
A Midsummer Night's Dream Op. 64, ACT TWO: I see their knavery (Bottom/Tytania/Solo fairies)
A Midsummer Night's Dream Op. 64, ACT TWO: Be kind and courteous to this gentleman (Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: Hail! mortal, hail! (Solo fairies/Bottom/Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: I have reas'nable good ear in music (Bottom/Tytania)
A Midsummer Night's Dream Op. 64, ACT TWO: How now, mad spirit? (Oberon/Puck/Demetrius/Hermia)
A Midsummer Night's Dream Op. 64, ACT THREE: Now the hungry lions roars (Solo fairies/Puck/Oberon/Tytania/Fairies)
Gloria: Gloria in excelsis Deo
Gloria: Laudamus te
Gloria: Domine Deus
Gloria: Domine Fili unigenite
Gloria: Domine Deus, Agnus Dei
Gloria: Qui sedes ad dexteram Patris
I. Molto moderato
II. Vivace
III. Poco andante
IV. Allegro ma non troppo
I. Leggiero
II. Pastoral: Tranquillo
III. March: Alla marcia
IV. Whirligig: Di Ballo
I. Allegro assai
II. Andante
III. Larghetto - Con brio
I. Veni, Emmanuel: Andante
II. Corde natus: Allegretto - Quasi allegro - Tempo I
III. Laetatus sum: Allegro
III. Laetatus sum: Allegro
I. Andante molto
II. Largo
III. Allegro molto
Scene 1: A mountainous place near Bethlehem
Scene 1: Once more I see your green and golden hills, O Judah! (Naomi, Ruth, Orpah)
Scene 1: Turn back, my daughters (Naomi, Ruth, Orpah)
Scene 1: Almighty Father, let my cry come unto thee! (Naomi, Orpah, Ruth)
Scene 1: Ah, must I leave thee? Must we part? (Orpah, Naomi, Ruth)
Scene 1: Whither thou goest, I will go (Ruth, Naomi)
Scene 1: See! Is this Naomi!? (Women, Naomi)
Scene 1: Ah, call me not Naomi, let Mara be my name (Naomi)
Scene 1: Where, ah, where is Naomi? (Women, Naomi, Ruth)
Scene 2: A harvest field belonging to Boaz - Gold grows the barley on hillside and valley (Men)
Scene 2: Greetings, men of Judah! (Women, Head Reaper)
Scene 2: The scatter'd ear of corn (Women, Men)
Scene 2: Come, let us go forth together (Head Reaper, Women, Men, Ruth)
Scene 2: Stay, men of Judah! (Boaz, Men, Women, Head Reaper, Ruth)
Scene 2: I had no wish to anger them (Ruth, Boaz, Head Reaper)
Scene 2: Ah, let not anger fill your eyes! (Ruth, Boaz)
Scene 2: Whence cometh this to me, that thou should'st deign to notice me? (Ruth, Boaz)
Scene 2: The scatter'd ear of corn (Women, Men, Boaz)
Scene 3: A threshing-floor, at night - This is the place! Come, daughter (Naomi, Ruth)
Scene 3: Fear not, beloved Ruth! (Naomi, Ruth)
Scene 3: Golden ripe the barley grows (Women, Men, Naomi, Ruth, Head Reaper, Boaz)
Scene 3: Lord of the Harvest, what are thy commands? (Men, Head Reaper, Women, Boaz)
Scene 3: Winter time is time to plough, aie, the wind does bite! (Men, Women)
Scene 3: Across the field the long slow line of reapers goes a-reaping (Women)
Scene 3: Dance, come dance, dance within the ring (Women, Men, Head Reaper)
Scene 3: O clap your hands, all ye people! (Boaz, Women, Men)
Scene 3: Go now, my daughter (Naomi, Ruth)
Scene 3: Master! (Ruth, Boaz)
Scene 3: Thou comest in the stillness of the night (Boaz, Ruth)
Scene 3: Lo, my beloved, my soul's delight, to thee I give my hand (Boaz, Ruth)
Scene 3: Ho there, my people! (Boaz, Ruth, Naomi, Women, Men)
Scene 3: Behold this maid (Boaz, Ruth, Naomi, Head Reaper, Women, Men)
Scene 3: Rejoice, O Israel, rejoice (Head Reaper, Women, Men, Ruth, Naomi, Boaz)
I. Energico
II. Andante
III. Allegro risoluto - Molto moderato - L'istesso tempo - Allegro risoluto - Molto moderato - Vivace - Molto sostenuto - Poco andante - Poco allegretto - Presto - Grazioso -
IV. Poco adagio - Andante - Allegro assai - Andante molto moderato
Act I Scene 1: My mind beats on (Aschenbach)
Act I Scene 1: Who's that? (Aschenbach)
Act I Scene 1: I have always kept a close watch over my development (Aschenbach)
Act I Scene 2: Hey there, hey there, you! (Youths)
Act I Scene 2: Overture
Act I Scene 3: Ah Serenissima! (Aschenbach)
Act I Scene 3: Mysterious gondola (Aschenbach)
Act I Scene 4: We are delighted to greet the Signore (Hotel Manager)
Act I Scene 4: So I am led to Venice once again (Aschenbach)
Act I Scene 4: The Lido is so charming, is it not? (Hotel Guests)
Act I Scene 4: How does such beauty come about? (Aschenbach)
Act I Scene 5: The wind is from the West (Aschenbach)
Act I Scene 5: Le bele fragole (Strawberry Seller)
Act I Scene 5: Ah, how peaceful to contemplate the sea (Aschenbach)
Act I Scene 5: Adziu, Adziu! (Chorus)
Act I Scene 5: As one who strives to create beauty (Aschenbach)
Act I Scene 6: Aou'! Stagando, aou'! (Gondolier)
Act I Scene 6: Naturally Signore, I understand (Hotel Manager)
Act I Scene 6: There you are, Signore, just in time (Hotel Porter)
Act I Scene 6: I am become like one of my early heroes (Aschenbach)
Act I Scene 6: A thousand apologies to the Signore (Hotel Manager)
Act I Scene 7: Beneath a dazzling sky the sea ... (Chorus of Hotel Guests)
Act I Scene 7: No boy, but Phoebus of the golden hair (Chorus)
Act I Scene 7: See where Hyacinthus plays (Chorus)
Act I Scene 7: Phaedrus learned what beauty is (Chorus)
Act II Scene 17: Ah, no! (Aschenbach)
Scene 1: Salt, pepper, olive oil (Lord Dunmow, Lady Dunmow, Boy)
Scene 1: I'm sorry, Milady, I came through the front door (Mrs. Kneebone, Lady Dunmow, Lord Dunmow)
Scene 1: In the summer of my time (Lord Dunmow, Lady Dunmow, Mrs. Kneebone)
Scene 1: At Missis Ellibank's in Wimbledon (Mrs. Kneebone, Lady Dunmow, Lord Dunmow)
Scene 1: Mother, please can I help? (Susan, Lady Dunmow, Mrs. Kneebone, Lord Dunmow)
Scene 1: He was a quiet little boy (Lady Dunmow, Susan, Mrs. Kneebone, Lord Dunmow)
Scene 1: Prenez 6 belles tomates (Lady Dunmow, Lord Dunmow, Mrs. Kneebone, Susan)
Scene 1: Is this the residence of the Earl and Countess of Dunmow? (Prince Philippe, Mrs. Kneebone)
Scene 2: So this, dear Lady Dunmow, is your drawing room (Duchess, Lady Dunmow, Prince Philippe, Lord Dunmow)
Scene 2: I never moved a muscle (Lord Dunmow, Lady Dunmow, Duchess, Prince Philippe)
Scene 2: Forgive my curiosity, but is your servant that young girl ...? (Prince Philippe, Lord Dunmow, Lady Dunmow, Duchess)
Scene 2: Come and see our little garden (Lady Dunmow, Lord Dunmow, Prince Philippe, Duchess)
Scene 2: This way, Ma'am, through the back door (Lord Dunmow, Duchess, Prince Philippe, Susan)
Scene 2: Oh, shall I kneel in shame ... ? (Susan, Prince Philippe)
Scene 2: I like to imagine how these must have looked (Susan, Prince Philippe)
Scene 2: Mon aimee attend la lune (Prince Philippe)
Scene 2: Kiss her at once! (Duchess, Prince Philippe, Susan, Lord Dunmow, Lady Dunmow, Boy)
Scene 2: Let her beauty be her dowry (Duchess, Susan, Prince Philippe, Lord Dunmow, Lady Dunmow, Boy, Mrs. Kneebone)
Scene 2: My Lords, Ladies, Duchess and gentlemen! (Mrs. Kneebone, Prince Philippe, Susan)
Les Illuminations Op. 18: I. Fanfare
Les Illuminations Op. 18: II. Villes
Les Illuminations Op. 18: IIIa. Phrase
Les Illuminations Op. 18: IIIb. Antique
Les Illuminations Op. 18: IV. Royauté
Les Illuminations Op. 18: V. Marine
Les Illuminations Op. 18: VI. Interlude
Les Illuminations Op. 18: VII. Being Beauteous
Les Illuminations Op. 18: VIII. Parade
Les Illuminations Op. 18: IX. Départ
Serenade Op. 31: Prologue (horn solo)
Serenade Op. 31: 1. Pastoral: The day's grown old (Charles Cotton)
Serenade Op. 31: 2. Nocturne: The splendour falls on castle walls (Alfred, Lord Tennyson)
Serenade Op. 31: 3. Elegy: O Rose, thou art sick (William Blake)
Serenade Op. 31: 4. Dirge: This ae nighte (anon. 15th century)
Serenade Op. 31: 5. Hymn: Queen and huntress (Ben Jonson)
Serenade Op. 31: 6. Sonnet: O soft embalmer of the still midnight (John Keats)
Serenade Op. 31: Epilogue (horn solo)
Nocturne Op. 60: On a poet's lips I slept (Shelley)
Nocturne Op. 60: Below the thunders of the upper deep (Tennyson)
Nocturne Op. 60: Encinctured with a twive of leaves (Coleridge)
Nocturne Op. 60: Midnight's bell goes ting (Middleton)
Nocturne Op. 60: When that night on my bed I lay (Wordsworth)
Nocturne Op. 60: She sleeps on soft, last breaths (Owen)
Nocturne Op. 60: WHat is more gentle than a wind in summer? (Keats)
Nocturne Op. 60: When most I wink, then do mine eyes best see (Shakespeare)
Allegro spiritoso
Largo
Allegretto
Gloria: Gloria in excelsis Deo
Gloria: Laudamus te
Gloria: Domine Deus
Gloria: Domine Fili unigenite
Gloria: Domine Deus, Agnus Dei
Gloria: Qui sedes ad dexteram Patris


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