Giuseppe Sinopoli


Born: Nov 2, 1946; Italy   Died: Apr 20, 2001; Germany  
Conductor Giuseppe Sinopoli was one of the world's great conducting stars. He gave powerful, psychologically penetrating, even expressionist, performances that were often highly controversial. At the age of 12, Sinopoli studied harmony and organ at Messina, then harmony and counterpoint at the Venice Conservatory (1965-1967). At the insistence of his father he simultaneously studied medicine. From 1969 to 1973, he attended the Accademia Musicale Read more Chigiana in Siena, studying under Franco Donatoni. He graduated with his doctorate of medicine in psychiatry and a Ph.D. in anthropology from the University of Padua in 1972. His psychiatry dissertation was on the physiology of the areas of the brain concerned with creating the sensations of sound.
After a period as Donatoni's assistant, Sinopoli was appointed to the faculty of the Venice Conservatory as Professor for Contemporary and Electronic Music. In that year he also took up conducting studies with Hans Swarowsky in Vienna. In 1975 he founded the Bruno Maderna Ensemble, an avant-garde music group, while continuing to teach and compose.
He began to make a reputation as a composer. His work, typically, was intense and followed the trend toward serial music that prevailed at the time. He received several major commissions. His largest work was an opera named Lou Salomé, based on the life of a nineteenth century literary figure. It was premiered at the Bavarian State Opera in Munich in 1981.
Meanwhile, his work leading the Bruno Maderna Ensemble had been noticed. He began receiving requests to conduct. In 1976 and 1977, respectively, he led highly acclaimed performances of the Verdi operas Aïda and Macbeth in Venice, then the same composer's Macbeth at the Deutsche Oper Berlin and Atilla at the Vienna State Opera. Sinopoli's London operatic debut was Puccini's Manon Lescaut at Covent Garden (1983) and his New York debut was at the Metropolitan with Puccini's Tosca (1985). As an operatic conductor, he performed frequently at the Bayreuth Festival, La Scala, and other major opera houses. He is particularly known for his electrifying performances of the Richard Strauss operas Salome and Elektra.
In addition to Bayreuth, Sinopoli was also a frequent guest at the Salzburg, Lucerne and Schlewsig-Holstein Music Festivals. From 1990 until his death, Sinopoli was Director of the Taormina Arte Festival in Sicily. He was appointed principal conductor of the Orchestra dell'Accademia di Santa Cecilia in Rome (serving there through 1987) and in 1984 became the principal conductor of the Philharmonia Orchestra in London, remaining through 1994. In 1987, his position was upgraded to that of music director of the Philharmonia, which he held until 1994. From 1992 to 2001Sinopoli was principal conductor of the Staatskapelle Dresden.
Giuseppe Sinopoli recorded exclusively for Deutsche Grammophon. His set of Maderna works won the Grand Prix International du Disque and Premio della Critica Discografia Italiana in 1981. His Manon Lescaut recording won both those prizes in addition to the International Record Critics Award in 1985. Further prizes were a Gramophone Award in 1987 for La forza del destino, the Tokyo Record Academy Prize and Stella d'Oro for Madama Butterfly, three prizes for Tannhäuser, and three for Tosca. Sinopoli's most honored recording was Strauss' Salome, which won the Orphee d'Or, the Stella d'Argento, the Grand Prix de la Nouvelle Academie du Disque, and the Edison Award. In 1994, the Italian government awarded Sinopoli its highest award, the Gran Croce al Merito, for his contribution to arts and music. Giuseppe Sinopoli died at the Deutsche Oper Berlin of a heart attack while conducting the third act of Aïda. Read less

There are 179 Giuseppe Sinopoli recordings available.

Select a specific Composer, Ensemble or Label or browse recordings by Formats & Featured below



Born: Nov 2, 1946; Italy   Died: Apr 20, 2001; Germany  
Conductor Giuseppe Sinopoli was one of the world's great conducting stars. He gave powerful, psychologically penetrating, even expressionist, performances that were often highly controversial. At the age of 12, Sinopoli studied harmony and organ at Messina, then harmony and counterpoint at the Venice Conservatory (1965-1967). At the insistence of his father he simultaneously studied medicine. From 1969 to 1973, he attended the Accademia Musicale Read more
"Zu dem Strande, zu der Barke!"
O laßt mich einen Augenblick noch hier!
Stelle her der goldnen Tage
Sachte kommt! und kommt verbunden!
"Aber Alles verkündet" - "Nein! nicht länger ist zu säumen!"
Weh, was seh' ich, welch ein Bild!
Zurück nur! zurücke
Zum zweiten Mal seh' ich erscheinen
Und umgewandelt seh' ich die Holde
Schon sind sie erhöret
Auf dem Meere - Schlußchor: "Segel schwellen"
Das erfrischet
1. Halleluja! Heil und Preis
2. Lobet unsern Gott
3. Und ich sah den Himmel aufgetan
1. Chor: "Selig sind, die da Leid tragen"
2. Chor: "Denn alles Fleisch, es ist wie Gras"
3. Solo (Bariton) und Chor: "Herr, lehre doch mich"
4. Chor: "Wie lieblich sind deine Wohnungen, Herr Zebaoth!"
5. Solo (Sopran) und Chor: "Ihr habt nun Traurigkeit"
6. Solo (Bariton) und Chor: "Denn wir haben hie keine bleibende Statt"
7. Chor: "Selig sind die Toten, die in dem Herrn sterben"
Orchestral Introduction
"Mein Herr Haushofmeister!"
"Du allmächtiger Gott!"
Hast ein Stückerl Notenpapier?
Ist schon geschehn. Wir sind bereit
Nein, Herr, so kommt es nicht
"Ein Augenblick ist wenig"
"Sein wir wieder gut" - "Musik ist eine heilige Kunst"
"Schläft sie?"
Wo war ich? Tot?
Ein Schönes war: hiess Theseus - Ariadne
"Lieben, Hassen, Hoffen, Zagen"
"Es gibt ein Reich"
"Die Dame gibt mit trüben Sinn" - "Wie sie sich schwingen"
"Großmächtige Prinzessin"
"Hübsch gepredigt! Aber tauben Ohren!" - "Eine Stör- rische zu trösten"
"Ein schönes Wunder!"
"Circe, kannst du mich hören?"
Theseus! Nein, nein!
Das waren Zauberworte!
"Gibt es kein Hinüber?"
1. Adagio - Moderato
2. Lento - Allegro molto
3. Adagio
4. Allegro
Theme (Andante)
1. C.A.E. (L'istesso tempo)
2. H.D.S.-P. (Allegro)
3. R.B.T. (Allegretto)
4. W.M.B. (Allegro di molto)
5. R.P.A. (Moderato)
6. Ysobel (Andantino)
7. Troyte (Presto)
8. W.N. (Allegretto)
9. Nimrod (Adagio)
10. Intermezzo: Dorabella (Allegretto)
11. G.R.S. (Allegro di molto)
12. B.G.N. (Andante)
13. Romanza *** (Moderato)
14. Finale: E.D.U. (Allegro - Presto)
The Old Castle
The Tuileries Gardens
Ballet Of The Chickens In Their Shells
Samuel Goldenberg And Schmuyle
The Market-place At Limoges
The Catacombs (Sepulchrum romanum)
Cum mortuis in lingua mortua
The Hut On Fowl's Legs (Baba-Yaga)
The Great Gate Of Kiev
1. Modéré - très franc
2. Assez lent
3. Modéré
4. Assez animé
5. Presque lent - dans un sentiment intime
6. Assez vif
7. Moins vif
8. Epilogue (Lent)
Liszt: A Faust Symphony, S.108 - 1. Faust
Liszt: A Faust Symphony, S.108 - 2. Gretchen
Liszt: A Faust Symphony, S.108 - 3a. Mephistopheles
Liszt: A Faust Symphony, S.108 - - Final Chorus "Alles Vergängliche ist nur ein Gleichnis" (Chorus, Tenor solo)
Liszt: A Dante Symphony, S.109 - 1. Inferno
Liszt: A Dante Symphony, S.109 - 2. Purgatorio
Liszt: A Dante Symphony, S.109 - - Magnificat
Mascagni: Cavalleria rusticana - Preludio
Mascagni: Cavalleria rusticana - "O lola ch'ai di latti la cammisa" (Siciliana)
Mascagni: Cavalleria rusticana - Siciliana (Inst.) - Tempo I
Mascagni: Cavalleria rusticana - Introduzione - Coro d'introduzione - Allegro giocoso
Mascagni: Cavalleria rusticana - Gli aranci olezzano sui verdi margini
Mascagni: Cavalleria rusticana - Scena - Largo
Mascagni: Cavalleria rusticana - "Dite, mamma Lucia"
Mascagni: Cavalleria rusticana - Il cavallo scalpita
Mascagni: Cavalleria rusticana - "Beato voi, compar Alfio"
Mascagni: Cavalleria rusticana - Regina coeli laetare
Mascagni: Cavalleria rusticana - "Inneggiamo, il Signor non è morto" (Preghiera)
Mascagni: Cavalleria rusticana - "Voi lo sapete, o mama" (Romanza)
Mascagni: Cavalleria rusticana - Tu qui, Santuzza?
Mascagni: Cavalleria rusticana - Fior di giaggiolo
Mascagni: Cavalleria rusticana - "Ah! lo vedi" (Duetto)
Mascagni: Cavalleria rusticana - "Oh! Il Signore vi manda" (Duetto)
Mascagni: Cavalleria rusticana - Comare Santa
Mascagni: Cavalleria rusticana - Intermezzo sinfonico
Mascagni: Cavalleria rusticana - A casa, a casa
Mascagni: Cavalleria rusticana - "Viva il vino spumeggiante" (Brindisi)
Mascagni: Cavalleria rusticana - A voi tutti salute
Mascagni: Cavalleria rusticana - "Mamma, quel vino è generoso"
Puccini: Tosca / Act 1 - "Ah! Finalmente!"
Puccini: Tosca / Act 1 - "Dammi i colori!" - "Recondita armonia" (Aria)
Puccini: Tosca / Act 1 - "Gente là dentro!"
Puccini: Tosca / Act 1 - "Mario! Mario! Mario!"
Puccini: Tosca / Act 1 - "Ah, quegli occhi..." - "Qual occhio al mondo può star di paro"
Puccini: Tosca / Act 1 - "E buona la mia Tosca" - "Siam soli?"
Puccini: Tosca / Act 1 - "Un tal baccano in chiesa! Bel rispetto!"
Puccini: Tosca / Act 1 - Tosca? Che non mi veda (Scarpia, Tosca, Sagrestano)
Puccini: Tosca / Act 1 - "Ed io venivo a lui tutta dogliosa"
Puccini: Tosca / Act 1 - "Tre sbirri... Una carozza... Presto" - Te Deum
Puccini: Tosca / Act 2 - "Tosca è un buon falco!"
Puccini: Tosca / Act 2 - "Ha più forte sapore" - "Spoletta è giunto"
Puccini: Tosca / Act 2 - "Meno male!" - "Egli è là"
Puccini: Tosca / Act 2 - Dov'è dunque Angelotti? (Scarpia, Cavaradossi, Spoletta, Tosca)
Puccini: Tosca / Act 2 - "Ed or fra noi parliam da buoni amici"
Puccini: Tosca / Act 2 - "Sciarrone: che dice il cavalier?"
Puccini: Tosca / Act 2 - "Orsù, Tosca, parlate" - "Non so nulla!" (Scarpia, Tosca, Cavaradossi, Spoletta)
Puccini: Tosca / Act 2 - Nel pozzo, nel giardino! (Tosca, Scarpia, Sciarrone, Cavaradossi)
Puccini: Tosca / Act 2 - Nel pozzo del giardino. (Tosca, Scarpia, Sciarrone)
Puccini: Tosca / Act 2 - "Se la giurata fede"
Puccini: Tosca / Act 2 - "Vissi d'arte, vissi d'amore"
Puccini: Tosca / Act 2 - "Vedi, le man giunte"
Puccini: Tosca / Act 2 - "E qual via scegliete?"
Puccini: Tosca / Act 3 - Prelude - "Io de' sospiri"
Puccini: Tosca / Act 3 - "Mario Cavaradossi?" - "A voi"
Puccini: Tosca / Act 3 - "E lucevan le stelle"
Puccini: Tosca / Act 3 - "Franchigia a Floria Tosca"
Puccini: Tosca / Act 3 - "O dolci mani"
Puccini: Tosca / Act 3 - E non giungono (Tosca, Cavaradossi, Carceriere)
Puccini: Tosca / Act 3 - "Come è lunga l'attesta!"
Puccini: Tosca / Act 3 - "Presto, su! Mario!"
Beethoven: Piano Concerto No.1 in C major, Op.15 - 1. Allegro con brio - Cadenza: Ludwig van Beethoven
Beethoven: Piano Concerto No.1 in C major, Op.15 - 2. Largo
Beethoven: Piano Concerto No.1 in C major, Op.15 - 3. Rondo (Allegro scherzando)
Beethoven: Piano Concerto No.2 in B flat major, Op.19 - 1. Allegro con brio - Cadenza: Ludwig van Beethoven
Beethoven: Piano Concerto No.2 in B flat major, Op.19 - 2. Adagio
Beethoven: Piano Concerto No.2 in B flat major, Op.19 - 3. Rondo (Molto allegro)
Beethoven: Piano Concerto No.2 In B Flat Major, Op.19 - 1. Allegro con brio
Beethoven: Piano Concerto No.2 In B Flat Major, Op.19 - 2. Adagio
Beethoven: Piano Concerto No.2 In B Flat Major, Op.19 - 3. Rondo (Molto allegro)
Brahms: Triumphlied Op.55 - 1. Halleluja! Heil und Preis
Brahms: Triumphlied Op.55 - 2. Lobet unsern Gott
Brahms: Triumphlied Op.55 - 3. Und ich sah den Himmel aufgetan
Overture (Preludio)
Coro di Streghe: "Che faceste? dite su!"
Scena e Duetto: "Giorno non vidi mai"
Coro di Streghe: "S'allontanarono!"
Scena e Cavatina: "Nel dì della vittoria io le incontrai"
Scena e Marcia: "Oh donna mia"
Gran Scena e Duetto: "Sappia la sposa mia"
Scena e Sestetto - Finale I: "Di destarlo per tempo il re m'impose"
Scena: "Perché mi sfuggi"
Aria: "La luce langue"
Coro di Sicari: "Chi v'impose unirvi a noi?"
Gran Scena: "Studia il passo, o mio figlio!"
Finale II: "Salve o re"
Coro d'Introduzione - Incantesimo: "Tre volte miagola la gatta in fregola"
Ballabile I
Ballabile II
Ballabile III (Valzer)
Gran Scena della Apparizioni: "Finché appelli, silenti m'attendete!"
Coro e Ballabile: "Ondine e Silfidi"
Scena e Duetto - Finale III: "Ove son io?"
Coro di Profughi Scozzesi: "Patria oppressa"
Aria: "O figli, o figli miei!"
Scena: "Dove siam?"
Gran Scena del Sonnambulismo: "Vegliammo invan due notti"
Scena ed Aria: "Perfidi!" - "Pietà, rispetto, amore"
Scena e Battaglia: "Via le fronde"
Inno di Vittoria - Finale: "Vittoria!"
1. [quarter] = 72ca.
2. [eighth] = 126-132
3. [quarter] = 120ca.
4. [quarter] = 66ca.
5. [quarter] 120ca.
6. [quarter] = 84
7. Tempo generale da [quarter] = 42 a [quarter] = 84 - Tempo generale [quarter] = 66-72
1. [quarter] = 52
2. [quarter] = 60ca.
1. [quarter] = 42ca.
2. [quarter] = 60ca.
Section C
Overture (Preludio)
Introduzione. "Della mia bella incognita borghese"
"Questa o quella"
"Partite? Crudele!" (Minuetto e Perigordino)
"Gran nuova! Gran nuova!" - "Tutto è gioia, tutto è festa" (Scena e Coro)
"Voi congiuraste contro noi" (Seguito e Stretta dell'Introduzione)
Duetto. "Quel vecchio maledivami"
"Signor?..." "Va, non ho niente"
"Pari siamo"
"Figlia!..Mio padre!"
"Deh, non parlare al misero"
"Quanto dolor"
"Veglia, o donna, questa fior"
Scena e Duetto. "Giovanna, ho dei rimorsi"
"T'amo! T'amo..." - "E il sol dell'anima"
"Che m'ami, deh, ripetimi" - "Addio... speranza ed anima"
"Caro nome - E la...Miratela"
Scena e Coro - Finale I. "Riedo!... Perché?"
"Zitti, zitti"
"Soccorso, padre mio!"
"Ella mi fu rapita"
"Parmi veder le lagrime"
"Duca, duca!" (Scena) - "Scorrendo uniti" (Coro)
"Possente amor"
"Povero Rigoletto!...La rà, la rà"
"Cortigiani, vil razza dannata"
"Ebben piango"
Scena e Duetto. "Mio padre!" "Dio! Mia Gilda!"
"Parla... siam soli" "Tutte le feste al tiempo"
"Piangi, fanciulla"
"Compiuto pur quanto" - "Schiudete..."
"Sì, vendetta"
Scena e Canzona. "E l'ami!"
"La donna è mobile"
Quartetto. "Un dì, se ben rammentomi"
"Bella figlia dell'amore"
"M'odi, ritorna a casa..." - Scena, Terzetto e Tempesta. "Venti scudi hai tu detto?" - "La donna è mobile" - "E amabile invero"
"Ah, più non ragiono!..."
Scena e Duetto - Finale. "Della vendetta alfin" - ("La donna è mobile") "Qual voce"
"Chi è mai"
"V'ho ingannato...Lassù... in cielo"
Part 1: Waldmärchen
Part 2: Der Spielmann
Part 3: Hochzeitsstück
1. Langsam. Schleppend
2. Kräftig bewegt
3. Feierlich und gemessen, ohne zu schleppen
4. Stürmisch bewegt
1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
2. Andante moderato. Sehr gemächlich
3. Scherzo: In ruhig fliessender Bewegung
4. "Urlicht". Sehr feierlich, aber schlicht "O Röschen rot!"
5a. Im Tempo des Scherzos. Wild herausfahrend -
Wieder zurückhaltend - Langsam. Misterioso
1. Kräftig. Entscheiden
2. Tempo di minuetto. Sehr mäßig
3. Comodo. Scherzando. Ohne Hast
4. Sehr langsam. Misterioso: "O Mensch! Gib acht!" 'O Mensch! Gib acht'
5. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel"
6. Langsam. Ruhevoll. Empfunden
Wenn mein Schatz Hochzeit macht
Ging heut' morgen übers Feld
Ich hab' ein glühend Messer
Die zwei blauen Augen von meinem Schatz
1. Bedächtig. Nicht eilen - Recht gemächlich
2. In gemächlicher Bewegung. Ohne Hast
3. Ruhevoll (Poco adagio)
4. Sehr behaglich: "Wir genießen die himmlischen Freuden"
1. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich schneller. Leidenschaftlich. Wild - Tempo I)
2. Stürmisch bewegt. Mit größter Vehemenz - Bedeutend langsamer - Tempo I subito
3. Scherzo (Kräftig, nicht zu schnell)
4. Adagietto (Sehr langsam)
5. Rondo-Finale (Allegro)
1. Allegro energico, ma non troppo. Heftig aber Markig
2. Scherzo (Wuchtig)
3. Andante moderato
4. Finale (Allegro moderato)
Nun will die Sonn' so hell aufgeh'n
Nun seh' ich wohl, warum so dunkle Flammen
Wenn dein Mütterlein
Oft denk' ich, sie sind nur ausgegangen
In diesem Wetter
1. Langsam - Allegro
2. Nachtmusik (Allegro moderato)
3. Scherzo
4. Nachtmusik (Andante amoroso)
5. Rondo - Finale (Allegro ordinario - Allegro moderato ma energico)
"Veni creator spiritus"
"Imple superna gratia"
"Infirma nostri corporis"
Tempo I. (Allegro, etwas hastig)
"Infirma nostri corporis"
"Accende lumen sensibus"
Veni, creator spiritus
"Gloria sit Patri Domino"
Poco adagio
Più mosso (Allegro moderato)
"Waldung, sie schwankt heran"
"Ewiger Wonnebrand"
"Wie Felsenabgrund mir zu Füßen"
"Gerettet ist das edle Glied" - "Hände verschlinget"
"Jene Rosen, aus den Händen"
"Uns bleibt ein Erdenrest"
"Ich spür' soeben" - "Freudig empfangen wir" - "Hier ist die Aussicht frei"
"Höchste Herrscherin der Welt"
"Dir, der Unberührbaren" - "Du schwebst zu Höhen"
"Bei der Liebe" - "Bei dem Bronn" - Bei dem hochgeweihten Orte"
"Neige, neige, du Ohnegleiche"
"Er überwächst uns schon"
"Vom edlen Geisterchor umgeben" - "Komm! hebe dich zu höhern Sphären" - "Blicket auf zum Retterblick"
"Alles Vergängliche"
1. Das Trinklied vom Jammer der Erde
2. Der Einsame im Herbst
3. Von der Jugend
4. Von der Schönheit
5. Der Trunkene im Frühling
6. Der Abschied
Andante comodo
Etwas frischer
Mit Wut. Allegro risoluto
Wie von Anfang
Ploetzlich bedeutend langsamer (Lento) und leise
Im Tempo eines gemaechlichen Laendlers.Etwas taeppisch und sehr derb
Poco più mosso subito (Tempo II)
Tempo III
A tempo II
Tempo I
Tempo II
Tempo I. subito
Rondo-Burleske. Allegro assai. Sehr trotzig.
L'istesso tempo
Sempre l'istesso tempo
L'istesso tempo
Tempo I subito
Più stretto
Adagio. Sehr langsam und noch zurueckhaltend
Ploetzlich wieder sehr langsam (wie zu Anfang) und etwas zoegernd
Molto adagio subito
a tempo (Molto adagio)
Stets sehr gehalten
Fliessender, doch durchaus nicht eilend
Tempo I. Molto adagio
Allegro ma non troppo - "Hast was geseh'n?" (Wachtmeister, Schütze)
La rosa, la rosa che un bel fiore (Piemonteser, Konstabel, Schütze, Musketier, Hornist, Soldaten, Chor)
Hunger! Hunger! - Nur Widerhall (Chor, Konstabel, Wachtmeister, Hornist, Musketier, Offizier, Soldaten)
Hunger! Brot! (Chor, Kommandant, Bürgermeister, Deputation, Prälat, Soldaten, Frontoffizier)
Mein Kommandant! - Rede! (Frontoffizier, Kommandant, Deputation, Frau, 1.2.3.Deputierter)
Es sei! Doch hört (Kommandant, Chor, Deputation, Soldaten)
Zu Magdeburg in der Reitschlacht (Kommandant, Wachtmeister, Konstabel, Schütze, Musketier, Hornist, Chor)
Geht, geht alle! (Kommandant)
Wie? Niemand hier? (Maria)
Nein, leere Hoffnung alles (Maria, Kommandant)
In einer Stunde verschwindet (Kommandant, Maria)
Der Kaiser stand im Saal (Kommandant, Maria)
Erwünschtes Zeichen! Auf eure Posten! (Kommandant, Wachtmeister, Soldaten)
Nein, nicht Todesnebel (Maria, Wachtmeister, Konstabel, Schütze)
Der Feind! Der Feind! Wo steht sein Angriff (Kommandant, Wachtmeister, Schütze, Maria, Offizier)
Das Zeichen, das Ihr uns verheisset (Bürgermeister, Prälat, Deputation, Chor, Soldaten, Kommandant)
Wo ist der Mann (Holsteiner, Kommandant, Maria)
Geliebter, nicht das Schwert (Maria, Chor, Bürgermeister, Prälat)
Warum kämpfen wir Jahre um Jahre (Kommandant, Holsteiner, Maria, Chor)
Wagt es zu denken (Maria, Soli, Chor)
1. Introduction: Adagio - Allegro
2. Sehr langsam
3. Scherzo: Molto vivace - Trio
4. Finale: Adagio - Allegro molto
1. Quartetto e Coro "Stabat mater dolorosa"
2. Quartetto "Quis est homo, qui non fleret"
3. Coro "Eia mater, fons amoris"
4. Basso e Coro "Fac ut ardeat cor meum"
5. Coro "Tui nati vulnerati"
6. Tenore e Coro "Fac me vere tecum flere"
7. Coro "Virgo virginum praeclara"
8. Duo "Fac ut portem Christi mortem"
9. Alto "Inflammatus et accensus"
10. Quartetto e Coro "Quando corpus morietur"
1. Allegro vivace e nobilmente
2. Larghetto
3. Rondo. Presto
4. Moderato e maestoso

Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Already a subscriber? Sign In