National Symphony Orchestra of Ireland

Biography

Active: 1947 - ; Dublin, Ireland
The National Symphony Orchestra of Ireland is the concert music orchestra of Radio Television Ireland. Considered one of Europe's major symphonies it is the primary symphony orchestra of Dublin and, true to its name, the leading orchestra of the Irish Republic.

British ascendancy in Ireland put concert music in the hands of the wealthy, primarily English, ruling class, which followed London's tastes. Tellingly, the major musical event in
Read more Irish classical music history is the premiere performance of Handel's Messiah. Concerts were put together mostly by an ever-shifting group of charitable societies. The first effort to found a permanent symphony orchestra in Dublin did not occur until 1899, when Michele Esposito, an Italian professor of piano at the Royal Irish Academy of Music, founded the 70-piece Dublin Orchestral Society, which lasted until the outbreak of World War I.

After the independence of Southern Ireland, the Royal Dublin Society gave concerts. A 1927 effort to revive the Orchestral Society was undertaken, but did not last long.

Meanwhile, in 1926, a national radio channel began, based in Dublin. It hired staff musicians, who often played together on the radio and in concert as a chamber orchestra. String players from the radio, wind players from the Army School of Music, and other musicians played as the Dublin Philharmonic Society under the direction of Col. Fritz Brase, head of the Army School from 1927.

In 1947, the broadcasting authority, now called Radio Éireann (Radio Ireland), expanded its orchestra to symphonic size by opening its membership to musicians from all over Europe. Ireland, as a neutral, had been spared damage in World War II, so musicians from the wrecked economies of a ruined Europe were easy to attract. The new orchestra was named the Radio Éireann Symphony Orchestra. Its initial conductor was Captain Michael Bowles. After he retired in 1948 (he had been conducting the small predecessor or the RÉSO for several years), the new orchestra drifted without a permanent conductor, but played for such major conductors as Jean Martinon and Hans Schmidt-Isserstedt. Finally in 1953, the orchestra found a principal conductor in Milan Horvat, who remained until 1961. In that year, Ireland added television to its broadcasting service. The name of the government body (in English) established by a new broadcasting act in 1960 was the Irish National Public Service Broadcasting Organisation, and the on-air service now became Radio Telefís Éireann (RTÉ). The orchestra became known as the RTÉ Symphony Orchestra. By now it was, de facto, the national orchestra of Ireland and the main city orchestra of Dublin. Its new chief conductor from 1962 was Tibor Paul. He was succeeded by Albert Rosen, Colman Pearce, Bryden Thomson, and Janos Fürst.

In 1981, it found a new concert home when the National Concert Hall opened in Dublin. Also, at about the same time, it expanded its broadcasting activities. Until 1979, RTÉ had run only one radio channel and one television channel. In 1979, they established more channels, including an arts station called FM3, which aired numerous concerts by the RTÉSO. In 1989, the orchestra was expanded to the size of a large symphony orchestra, and it was renamed the National Symphony Orchestra of Ireland. Its new principal conductor was George Hurst. Kaspar de Roo took that position in 1994, followed by Alexander Anissimov; the current principal conductor is Gerhard Markson.

The National Symphony now gives a 27 concert season, performs on radio, gives several additional concerts, and makes extensive tours of both political divisions of the island of Ireland. Its concert and arts station is now called Lyric FM. Read less

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Biography

Active: 1947 - ; Dublin, Ireland
The National Symphony Orchestra of Ireland is the concert music orchestra of Radio Television Ireland. Considered one of Europe's major symphonies it is the primary symphony orchestra of Dublin and, true to its name, the leading orchestra of the Irish Republic.

British ascendancy in Ireland put concert music in the hands of the wealthy, primarily English, ruling class, which followed London's tastes. Tellingly, the major musical event in
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Andante con moto - Allegro un poco agitato - Andante come prima
II. Vivace non troppo
III. Adagio
IV. Allegro vivacissimo - Allegro maestoso assai
I. Allegro vivace
II. Andante con moto
III. Con moto moderato
IV. Saltarello: Presto
I. Largo: Allegro moderato
II. Allegro molto
III. Adagio
IV. Allegro vivace
I. Rider on the Plains
II. Variations on a Southern Hymn
III. Children's Games
I. Andante grandioso
II. Allegro con spirito
Introit: Adagio
Kyrie: Allegro tranquillo ed espressivo
Gradual: Larghetto
Sequence - Dies irae: Allegro moderato ma energico
Offertorium: Allegro
Ballet Music No. 2
Movement I
Movement II
Movement III
Movement IV
Allegro con moto
Adagio molto
Scherzo
Allegro molto
I. Moderato
II. (Untitled)
III. Drottningens av Saba festmarsch (Allegro maestoso)
IV. Polketta: Tempo di polketta
V. Steklat: Allegretto
VI. Polka
VII. Final: Polska
I: Moderato
II: Andante
III: Allegro
IV (i): Preludio: Adagio
IV (ii): Fuga: Allegro energico
I. Allegro energico
II. Andante con moto
III. Allegro
I. Allegro
II. Andantino
III. Vivace
I. Allegro, ma non tanto
II. Lento
III. Presto
IV. Lento lugubre - Allegro - Andante - Tempo I
I. Tempestuoso
II. Andante con moto
III. Con fuoco
IV. Risoluto
I. Energico
II. Lento
III. Con fuoco
I. Sinfonia: Maestoso con moto - Allegro
I. Allegretto un poco agitato
I. Adagio religioso
II. Allegro moderato maestoso - Allegro di molto
III. Recitativo
IV. A tempo moderato
V. Andante
VI. Allegro un poco agitato
VII. Allegro maestoso e molto vivace
VIII. Chorale: Andante con moto
IX. Andante sostenuto assai
X. Allegro non troppo
I. Largo: Allegro moderato
II. Allegro molto
III. Adagio
IV. Allegro vivace
On the Shores of Lough Neagh
The Fair-Day
In the Antrim Hills
The Twelfth Night
I. Maestoso - Allegro con fuoco
II. Andante tranquillo
III. Presto
I. Larghetto calmato
II. Presto giocoso
III. Largo - Molto allegro
Introduction: Massiges Zeitmass
Don Quixote, The Knight of the Sorrowful Countenance - Sancho Panza: Massig
Variation I: Gemachlich
Variation II: (Kriegerisch)
Variation III: Massiges Zeitmass
Variation IV: Etwas breiter
Variation V: Sehr langsam
Variation VI: Schnell
Variation VII: Ein wenig ruhiger
Variation VIII: --
Variation IX: Schnell und sturmisch
Variation X: Viel breiter
Finale: Sehr ruhig
I. Ziemlich schnell
II. Scherzo: Schnell
III. Andante: Feierlich, etwas bewegt
IV. Finale: Mehr schnell
I. Theme
II. Variation 1: Whimsies and Sunshadows (Grillen und Sonnenschatten)
III. Variation 2: Smiles and Storms (Lacheln und Sturme)
IV. Variation 3: Dreams: Asleep in the Arms of Venus (Traume: Schlummernd in den Armen der Venus)
V. Variation 4: Merryheart as a chivalrous knight chases Bluebeard (Als ritterlicher Kampe verfolgt Merryheart den Blaubart)
VI. Variation 5: Merryheart fights a dragon (Merryheart kampft mit dem Drache)
VII: Variation 6: Merryheart leads a procession of heroes (Merryheart fuhrt einem Zug Helden)
VIII: Variation 7: Merryheart awakes (Merryheart ist wash)
IX. The Dance of Merryheart (Merryhearts Tanz)
I. Adagio
II. Allegro giocoso: section 1
II. Allegro giocoso: section 2
II. Allegro giocoso: section 3
II. Allegro giocoso: section 4
III. Maestoso e pesante - Allegro marcia: section 1
III. Maestoso e pesante - Allegro marcia: section 2
III. Maestoso e pesante - Allegro marcia: section 3
I. Maestoso e marcato
II.
III.
IV. Cantabile e espressivo molto
V.
VI. Allegro con brio
I. Grave - Allegro ma non troppo - Allegro vivace
II. Allegro animato
III. Larghetto
IV. Allegro con fuoco
I. Der Held (The Hero)
II. Des Helden Widersacher (The Hero's Enemies)
III. Des Helden Gefahrtin (The Hero's Companion)
IV. Des Helden Walstatt (The Hero's Field of Battle)
V. Des Helden Friedenswerke (The Hero's Works of Peace)
VI. Des Helden Weltflucht und Vollendung (The Hero's Withdrawal from the World)
Act I: Sinfonia
Act I: No. 1 Coro d'introduzione
Act I: Recitativo e duetto
Act I: Recitativo dopo il duetto
Act I: No. 2 Recitativo e romaza
Act I: Recitativo dopo la romanza d'Elena
Act I: No. 3 Recitativo e terzettino nel finale primo
Act I: Seguito e stretto del finale primo
Act II: No. 4 Recitativo e duetto
Act III: Recitativo e scena finale
I. Allegro moderato
II. Scherzo: Allegro moderato - Trio: Allegro moderato
III. Adagio Feierlich langsam, doch nicht schleppend
III. Scherzo: Presto - Trio: Langsamer und ruhiger
I. Lento - Allegro moderato
II. Adagio ma non troppo
III. Allegro
I. Allegro: Vivace
II. Lento
III. Allegro con brio-Presto
I. Allegro - Poco piu mosso - Tempo primo
II. Vivace ma non troppo
III. Andantino
IV. Con fuoco - Alla marcia - Tempo primo - Maestoso - Allegro molto
I. Andante con moto - Allegro un poco agitato - Andante come prima
II. Vivace non troppo
III. Adagio
IV. Allegro vivacissimo - Allegro maestoso assai
I. Allegro vivace
II. Andante con moto
III. Con moto moderato
IV. Saltarello: Presto
I. Balletto detto 'Il Conte Orlando': Allegretto moderato
II. Gagliarda: Allegro marcato
III. Villanella: Andante cantabile
IV. Passo mezzo e Mascherada: Allegro vivo
I. Laura Soave: Balletto con Gagliarda, Saltarello e Canario: Andantino
II. Danza Rustica: Allegretto
III. Campanae parisiennses - Aria: Andante mosso
IV. Bergamasca: Allegro
I. Italiana: Andantino
II. Arie di Corte: Andante cantabile
III. Siciliana: Andantino
IV. Passacaglia: Maestoso
I. Vivace
II. Allegretto
III. Giubiloso
IV. Lento
I. Allegro
II. Andantino
III. Vivace con fuoco
I. Allegretto
II. Vivace
III. Lento
IV. Allegro con brio
Prologue: Introduction
Prologue: (Scene 1) Chorus
Prologue: (Scene 1) Demon's Monologue
Prologue: (Scene 1) Angel
Prologue: (Scene 1) Demon
Prologue: (Scene 1) Angel
Act I: (Scene 2) Chorus of Maidens
Act I: (Scene 2) Demon
Act I: (Scene 2) Nanny's Recitative and Aria
Act I: (Scene 2) Demon
Act I: (Scene 2) Tamara
Act I: (Scene 2) Tamara
Act I: (Scene 3) Introduction and Chorus
Act I: (Scene 3) Old Servant
Act I: (Scene 3) Entrance of Prince Sinodal and Recitative - Recitative and Aria of Prince Sinodal
Act I: (Scene 3) Old Servant
Act I: (Scene 3) Chorus
Act I: (Scene 3) Old Servant
Act I: (Scene 3) Prince
Act I: (Scene 3) Chours and Prince Sinodal
Act I: (Scene 3) Demon
Act I: (Scene 3) Chorus of Tartars
Act I: (Scene 3) Prince
Act 2: (Scene 4) Entr'acte and Chorus of Guests
Act 2: (Scene 4) Chorus of Men
Act 2: (Scene 4) Tamara
Act 2: (Scene 4) Messenger, Prince Gudal, Old Servant, Nanny and Guests
Act 2: (Scene 4) Demon (off-stage)
Act 2: (Scene 4) Tamara
Act 2: (Scene 4) Gudal
Act 2: (Scene 4) Demon
Act 2: (Scene 4) Demon
Act 2: (Scene 4) Tamara
Act 2: (Scene 4) Tamara
Act 2: (Scene 4) Tamara, Nanny, Messenger, Prince Gudal, Old Servant and Chorus
Act 3: (Scene 5) Entr'acte and Scene - Old Servant
Act 3: (Scene 5) Demon
Act 3: (Scene 5) Demon
Act 3: (Scene 5) Angel
Act 3: (Scene 6) Tamara
Act 3: (Scene 6) Old Servant
Act 3: (Scene 6) Demon
Act 3: (Scene 6) Tamara
Act 3: (Scene 6) Demon
Act 3: (Scene 6) Demon
Act 3: (Scene 6) Chorus of Nuns (off-stage)
Act 3: (Scene 6) Tamara
Act 3: (Scene 6) Demon
Act 3: (Scene 6) Tamara
Act 3: (Scene 6) Angel and Chorus
Epilogue: (Scene 6) Angel
Epilogue: (Scene 6) Demon
Epilogue: (Scene 6) Angel
Epilogue: (Scene 6) Demon
Apotheosis: (Scene 7) Angel and Chorus
I. Allegro di molto
II. Andante
III. Menuetto: Allegro molto
IV. Allegro con fuoco
I. Andante - Allegro con fuoco
II. Allegro vivace
III. Andante
IV. Chorale: Ein' feste burg: Andante con moto - Allegro vivace
Das Trinklied vom Jammer der Erde
Der Einsame im Herbst
Von der Jugend
Von der Schonheit
Der Trunkene im Fruhling
Der Abschied
I. Allegro orgoglioso
II. Andante
III. Allegro comodo
IV. Finale: Allegro con fuoco
I. Tempo giusto
II. Humoreske: Allegretto
III. Proposta Seria: Adagio
IV. Theme with Variations: Allegro
I. Allegro collerico
II. Allegro comodo e flemmatico
III. Andante malincolico
IV. Allegro sanguinoso
I. Allegro espansiva
II. Andante pastorale
III. Allegretto un poco
IV. Finale: Allegro
Preludio
Act I: Si: corre voce che l'Etiope ardisca
Act I: Se quel guerrier io fossi!
Act I: Quale insolita gioia
Act I: Ei si turba
Act I: Il Re...
Act I: Alta cagion v'aduna
Act I: Or di Vulcano al tempio
Act I: Ritorna vincitor!
Act I: I sacri nomi di padre
Act I: Possente, possente Ftha
Act I: Danza sacra delle Sacerdotesse
Act I: Mortal, diletto ai Numi
Act I: Nume, custode e vindice
Act II: Introduzione
Act II: Chi mai fra gl'inni e i plausi
Act II: Danza di piccoli schiavi mori
Act II: Vieni: sul crin ti piovano
Act II: Silenzio! verso noi s'avanza ...
Act II: Fu la sorte dell'armi a'tuoi funesta
Act II: Pieta ti prenda del mio dolor
Act II: Su! del Nilo al sacro lido
Act II: Numi, pieta del mio martir
Act II: Gloria all'Egitto
Act II: Marcia
Act II: Ballabile
Act II: Vieni, o guerriero vindice
Act IV: La fatal pietra sovra me si chiuse
Act IV: Presago il core della tua condanna
Act IV: Morir! si pura e bella
Act IV: Vedi? ... di morte l'angelo
Act IV: Immenso Ftha
Act IV: O terra, addio; addio valle di pianti
I. Nicht zu schnell
II. Langsam
III. Sehr lebhaft
I. Allegro
II. Andante
III. Vivace non troppo
Hochzeitsmarsch: Variationen
Brautlied: Intermezzo
Serenade: Scherzo
Im Garten: Andante
Tanz: Finale


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