Oliver Knussen

Biography

Born: June 12, 1952; Glasgow, Scotland  
Oliver Knussen's composing and conducting careers began with early successes, and he has continued to be active in both fields since. His early compositions were influenced by the Russian and American traditions of orchestral writing. A large proportion of these early pieces were also composed with twelve-tone and serial techniques. His later music uses detailed harmonic and rhythmic structures to create complex but clearly defined textures, with Read more fine orchestral color. In all of his work, an accessible sound world is united with highly thought-out structural details.

Knussen was born into a musical family and as a child spent time at London Symphony Orchestra rehearsals, where his father was principal double bass. Oliver was thrown into prominence early in life, when at the age of 15 his First Symphony was performed in London. His precocity as a conductor was demonstrated at the same time when the illness of the scheduled conductor forced Knussen onto the podium. Two weeks later the work was performed in New York under Daniel Barenboim.

Knussen's first composition teacher was John Lambert, a student of Nadia Boulanger, and then from 1970 to 1973 he studied with Gunther Schuller in Tanglewood and Boston. Schuller's influence is evident in the expressionist character of the Second Symphony (1970-1971), which sets verses by the poets Georg Trakl and Sylvia Plath. Other influences in this period appear in the Concerto for Orchestra (1970) that incorporates jazz and the Charleston.

After the spotlight on Knussen receded, rumors abounded that his success was not entirely based on merit, and performances dwindled. He himself felt that early exposure was a mixed blessing and that the smaller pieces he wrote at the time of the First Symphony were more interesting. This trend was evident in his chamber pieces of the 1970s, which were slightly more radical than the larger symphonies, notably Coursing (1979) for chamber orchestra.

In the early '80s, Knussen's compositional energies were concentrated on two large scale projects which he termed fantasy operas, settings of children's books by Maurice Sendak, who became the librettist: Where the Wild Things Are (1979-1983), and Higgledy Piggledy Pop (1984-1990). These works use varied compositional resources, including layers of contrasting rhythms (polyrhythms) and very subtle orchestral colors, to create a range of refined textures. Many styles are also present, from jazz to Mozart references.

Shortly afterwards, the composer became attracted to music on a more miniature time frame, for example in the orchestral Flourish with Fireworks (1988). This work is in a line of pieces which use subtle references to the works of older composers. The Whitman Settings, for soprano and orchestra, although originally composed for voice with piano in 1991, were written as the composer was attracted to four unusually short poems of Walt Whitman.

Knussen's conducting career has encompassed a wide-ranging repertoire, and he specializes in the works of contemporary composers. He has been the music director of the London Sinfonietta (an ensemble which also frequently perform his own music) and the artistic director of Aldeburgh Festival from 1992 to 1998. In that same period, he was principal guest conductor of the Residentie Orchestra, The Hague. In 1989 he was appointed associate guest conductor with the BBC Symphony Orchestra and from 1986-1990 was the coordinator of contemporary music activities at the Tanglewood Music Centre. He was named a commander of the British Empire in 1994 and the following year signed an exclusive contract with Deutsche Grammophon to record contemporary music; many of those albums have won awards. Read less

There are 60 Oliver Knussen recordings available.

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Formats & Featured

Biography

Born: June 12, 1952; Glasgow, Scotland  
Oliver Knussen's composing and conducting careers began with early successes, and he has continued to be active in both fields since. His early compositions were influenced by the Russian and American traditions of orchestral writing. A large proportion of these early pieces were also composed with twelve-tone and serial techniques. His later music uses detailed harmonic and rhythmic structures to create complex but clearly defined textures, with Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Carter: Clarinet Concerto - Scherzando
Carter: Clarinet Concerto - Deciso
Carter: Clarinet Concerto - Tranquillo
Carter: Clarinet Concerto - Presto
Carter: Clarinet Concerto - Largo
Carter: Clarinet Concerto - Giocoso
Carter: Clarinet Concerto - Agitato
Carter: Symphonia: Sum Fluxae Pretium Spei - 1. Partita
Carter: Symphonia: Sum Fluxae Pretium Spei - 2. Adagio tenebroso
Carter: Symphonia: Sum Fluxae Pretium Spei - 3. Allegro scorrevole
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene I (Prelude)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scenes II-IV (The Courtroom; Dance...)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene V (The Night-Club Hostess Sworn In)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VI (The Chorus Girls' First Dance)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VII (First Pas-de-deux)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VIII (Pas-de-deux Continued; First Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene IX-X (The Courtroom; The Honeymoon Couple)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XI (The Chorus Girls Dance With Doves)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XII (Second Pas-de-deux And Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XIII-XIV (The Courtroom; The Waiter Sworn In)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XV (The Chorus Girls' Third Dance)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XVI (Third Pas-de-deux And Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XVII-XVIII (The Verdict; The Courtroom)
I. Recitative
II. Aria
III. Gigue
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I: Prelude
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: The Fool and the Dwarf (David Purser, principal trombone)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: March and Courtiers' Dance (John Harle, alto saxophone)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Entry of the Pages and the Four Kings (Sebastian Bell, principal flute)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of the King of the North
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of the King of the East (Michael Thompson, horn)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of the King of the West
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of the King of the South (John Chimes, timpani; Kevin Nutty, native drums)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: The Kings bow before the Emperor
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of Princess Belle Epine
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Variation of Princess Belle Rose and Pas de deux (Gareth Hulse, oboe; John Miller, trumpet)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: The Kings and Belle Rose
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Belle Epine and the Four Kings
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: The Rage of the Kings
The Prince of the Pagodas - Ballet in three acts Op. 57, Act I, The Palace of the Emperor of the Middle Kingdom: Entry of the Four Winged Frogs (John Orford, principal bassoon)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Introduction: Belle Rose borne in by the Frogs
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Waltz (Clouds, Stars and Moon)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Belle Rose borne in by the Frogs
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Entrée (Sea Horses, Fish Creatures and Waves)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Variation (Sea Horses)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Variation (Fish Creatures) (Helen Tunstall, harp; Joy Farrall, clarinet)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Coda
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Belle Rose borne in by the Frogs
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Pas de deux (Male and Female Flames)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Variation (Male Flame)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Variation (Female Flame)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Coda
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land: Belle Rose, exhausted, borne in by the Frogs
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas: Belle Rose in darkness (Nona Liddell, violin)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas: The Pagodas (James Holland, principal percussion; John Constable, principal keyboard)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas: The Salamander
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas: Pas de deux (The Prince and Belle Rose) (Nicholas Daniel, cor anglais; Helen Tunstall, harp)
The Prince of the Pagodas - Ballet in three acts Op. 57, Act II, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas: Belle Rose hunts for the Prince
Three Occasions for Orchestra: A Celebration of some 100 x 150 Notes
Three Occasions for Orchestra: Remembrance
Three Occasions for Orchestra: Anniversary
Violin Concerto: I. Impulsivo
Violin Concerto, II. Angosciato (violin): Tranquillo (orchestra)
Violin Concerto: III. Scherzando
Concerto for Orchestra: Introduction (Misterioso)
Concerto for Orchestra: I. Allegro non troppo
Concerto for Orchestra: II. Presto volando
Concerto for Orchestra: III. Maestoso
Concerto for Orchestra: IV. Coda
Concerto for Orchestra: Coda (Allegro molto)
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983), I. Aphorisms: i. Inscription
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983), I. Aphorisms: ii. Hum
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983), I. Aphorisms: iii. The Hundred Acre Wood (Nocturne) - Piglet meets a Heffalump
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983), I. Aphorisms: iv. Hum, continued, and Little Nonsense Song
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983): II. Bee Piece and Cadenza (The Fall of Pooh)
Hums and Songs of Winnie-the-Pooh Op. 6 (1970/1983): III. Cloud Piece
Four Late Poems and an Epigram of Rainer Maria Rilke Op. 23 (1988): epigram - I. Idol
Four Late Poems and an Epigram of Rainer Maria Rilke Op. 23 (1988): replica - II. Gravity
Four Late Poems and an Epigram of Rainer Maria Rilke Op. 23 (1988): double - III. Imaginary Life
Four Late Poems and an Epigram of Rainer Maria Rilke Op. 23 (1988): IV. Gong
Océan de terre Op. 10 (1972-3, rev. 1976): I. Misurato -
Océan de terre Op. 10 (1972-3, rev. 1976): II. Scherzo (Vivace - Calmo - Quasi vivace) -
Océan de terre Op. 10 (1972-3, rev. 1976): III. Adagio
Act I Scene 1: A Courtroom: My Lord (John , White Abbot, Council, Richard , Rose, Priest, Boy, Cardinal)
Act I Scene 1: Transition
Act I Scene 2: The Chapel: Hoc opus est Johanni Taverni in regione Lindi nati (Monks, John )
Act I Scene 2: Transition
Act I Scene 3: The Throne Room: Our good Lord Cardinal (King, Jester, Cardinal)
Act I Scene 4: The Throne Room: John , what does the Lord require of thee? (Death, John , White Monk, Black Monk, Antichrist)
Act I Scene 4: The Throne Room: But this is not enough, John (Death, Richard , Rose, John )
Act I Scene 4: The Throne Room: Behold his body, in every place (Demons, God the Father, Archangels, Joking Jesus, Mary, John )
Act I Scene 4: The Throne Room: , sign your confession (Death, John )
Act II Scene 1: The Courtroom: My Lord Abbot (John , White Abbot, Richard , Council, Rose, Priest, Boy, Death)
Act II Scene 1: Transition
Act II Scene 2: The Throne Room: How fares our good Lord Cardinal? (King, Cardinal, Archbishop, Jester)
Act II Scene 3: Transition
Act II Scene 3: The Throne Room: Videbat ergo Dominus in civitate iniquitatem et (White Abbot, Monks, John , Captain)
Act II Scene 3: Transition
Act II Scene 4: The Market-place in Boston, Lincolnshire: This is the work of John (Townspeople, Choirboys, Council, John , White Abbot, Full Chorus, Rose)
Knussen: The Way to Castle Yonder, op.21a - The Journey to The Big White House
Knussen: The Way to Castle Yonder, op.21a - - Kleine Trauermusik
Knussen: The Way to Castle Yonder, op.21a - - The Ride to Castle Yonder
Knussen: Two Organa, op.27 - 1. Notre Dame des Jouets
Knussen: Two Organa, op.27 - 2. Organum to honour the 20th anniversary of the Schoenberg Ensemble
Knussen: Horn Concerto, op.28 - Intrada
Knussen: Horn Concerto, op.28 - - Fantastico
Knussen: Horn Concerto, op.28 - - Cadenza
Knussen: Horn Concerto, op.28 - - Envoi
Knussen: Music for a Puppet Court, op.11 - 1. Puzzle I "Iste tenor ascendit".
Knussen: Music for a Puppet Court, op.11 - 2. Toyshop Music after "tris".
Knussen: Music for a Puppet Court, op.11 - 3. Antiphon after "Iste tenor ascendit...".
Knussen: Music for a Puppet Court, op.11 - 4. Puzzle II "tris".
Knussen: Whitman Settings, op.25a - 1. When I Heard the Learn'd Astronomer
Knussen: Whitman Settings, op.25a - 2. A Noiseless Patient Spider
Knussen: Whitman Settings, op.25a - 3. The Dalliance of the Eagles
Knussen: Whitman Settings, op.25a - 4. The Voice of the Rain
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 1. Intro and Cortège. Entrance of Grohg
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 2. Dance of the Adolescent
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 3. Dance of the Opium-eater (Visions of Jazz)
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 4. Dance of the Street-walker
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 5. Grohg Imagines The Dead Are Mocking Him
Copland: Grohg - Ballet in one act (1922-5, rev. 1932) - 6. Illumination and Disappearance Of Grohg
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene I (Prelude)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scenes II-IV (The Courtroom; Dance...)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene V (The Night-Club Hostess Sworn In)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VI (The Chorus Girls' First Dance)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VII (First Pas-de-deux)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene VIII (Pas-de-deux Continued; First Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene IX-X (The Courtroom; The Honeymoon Couple)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XI (The Chorus Girls Dance With Doves)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XII (Second Pas-de-deux And Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XIII-XIV (The Courtroom; The Waiter Sworn In)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XV (The Chorus Girls' Third Dance)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XVI (Third Pas-de-deux And Murder)
Copland: Hear Ye! Hear Ye! - Ballet in One Act (1934) - Version for small orchestra (1935) - Scene XVII-XVIII (The Verdict; The Courtroom)
Stravinsky: Faun and Shepherdess op.2 - La Bergère
Stravinsky: Faun and Shepherdess op.2 - Le Faune
Stravinsky: Faun And Shepherdess Op.2 - Le Torrent
Stravinsky: The Fairy's Kiss - Prologue
Stravinsky: The Fairy's Kiss - Allegro sostenuto (fig. 11)
Stravinsky: The Fairy's Kiss - (fig. 27)
Stravinsky: The Fairy's Kiss - Andante - Vivace agitato (fig. 40)
Stravinsky: The Fairy's Kiss - Tempo giusto (fig. 51)
Stravinsky: The Fairy's Kiss - Valse (fig. 78)
Stravinsky: The Fairy's Kiss - Doppio movimento (fig. 97)
Stravinsky: The Fairy's Kiss - Moderato (fig. 120)
Stravinsky: The Fairy's Kiss - Allegretto grazioso (fig. 132)
Stravinsky: The Fairy's Kiss - Pas de Deux - A. Entrée (fig. 158)
Stravinsky: The Fairy's Kiss - B. Adagio (fig. 166)
Stravinsky: The Fairy's Kiss - C. Variation (fig. 175)
Stravinsky: The Fairy's Kiss - D. Coda (fig. 181)
Stravinsky: The Fairy's Kiss - Scène (fig. 205)
Stravinsky: The Fairy's Kiss - Berceuse Of The Eternal Dwellings (fig. 215)
Stravinsky: Ode - Eulogy: Lento
Stravinsky: Ode - Eclogue: Con moto
Stravinsky: Ode - Epitaph: Lento
Three Occasions for Orchestra: A Celebration of some 100 x 150 Notes
Three Occasions for Orchestra: Remembrance
Three Occasions for Orchestra: Anniversary
Violin Concerto: I. Impulsivo
Violin Concerto: II. Angosciato (violin)
Violin Concerto: III. Scherzando
Concerto for Orchestra: Introduction (Misterioso)
Concerto for Orchestra: I. Allegro non troppo
Concerto for Orchestra: II. Presto volando
Concerto for Orchestra: III. Maestoso
Concerto for Orchestra: IV. Coda
Concerto for Orchestra: Coda (Allegro molto)
Prelude
I. Flight from the Three Beasts
II. The Mission of Virgil
III. Limbo: They enter Limbo (a) Poets (b) Warriors (c) Philosophers - Leaving Limbo -
IV. Paolo and Francesca: (a) Arrival (b) The Story (c) Departure
V. Monsters of the Prime: (a) Geryon (b) Nimrod (c) Antaeus
VI. Satan
VII. Journey through the Center
I. The Seven Lights
Refrain
II. The Elders
III. The Chariot
Refrain
IV. The Griffin
Refrain
V. The Seven Virtues
VI. The Departure
Refrain
VII. The Unveiling
Stravinsky: The Flood (1961-62) - Prelude: "Te Deum laudamus"
Stravinsky: The Flood (1961-62) - Melodrama: "In A Worm's Likeness Will He Wend"
Stravinsky: The Flood (1961-62) - The Building Of The Ark (Choreography)
Stravinsky: The Flood (1961-62) - The Catalogue Of The Animals:"The Lord Bade That I Should Bring"
Stravinsky: The Flood (1961-62) - The Comedy (Noah And His Wife): "Wife, Come In!"
Stravinsky: The Flood (1961-62) - The Flood (Choreography)
Stravinsky: The Flood (1961-62) - The Covenant Of The Rainbow "A Covenant, Noah, With Thee I Make"
Stravinsky: Requiem Canticles (1965-66) - Prelude
Stravinsky: Requiem Canticles (1965-66) - Exaudi
Stravinsky: Requiem Canticles (1965-66) - Dies irae
Stravinsky: Requiem Canticles (1965-66) - Tuba mirum
Stravinsky: Requiem Canticles (1965-66) - Interlude
Stravinsky: Requiem Canticles (1965-66) - Rex tremendae
Stravinsky: Requiem Canticles (1965-66) - Lacrimosa
Stravinsky: Requiem Canticles (1965-66) - Libera me
Stravinsky: Requiem Canticles (1965-66) - Postlude
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Reliquary
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Variation
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Lament
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Variation continued
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Reliquary
Wuorinen: A Reliquary for Igor Stravinsky (1974-75) - Coda
1. Prelude
2. Dance 1
3. Nocturne
4. Dance 2
Invocation
1. Gathering
2. Offerings and Praises
3. Raising Windhorses
1. Listen and Hear
2. The Palm and its Lines"
3. The reed is broken
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 1 - Jennie - Why am I longing (Jennie, Potted Plant)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 1 - Jennie - You have two windows (Potted Plant, Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 2 - Pig - Hello little Lady (Pig, Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 2 - Pig - Change of scene - "If I could eat experience" (Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 3 - Cat - You must be going to (Cat, Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 3 - Cat - Interlude 1: The Journey to the Big White House
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 4 - Rhoda - Thank you very much for the ride (Jennie, Cat, Rhoda)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 4 - Rhoda - Are you all right, Miss? (Rhoda, Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 5 - Baby - Baby, here is Nurse (Rhoda, Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 5 - Baby - Yum, yum (Jennie, Baby)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 5 - Baby - Who can help me? (Jennie, Baby's Mother)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 6 - Lion - How black it is (Jennie, Lion, Baby)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 6 - Lion - Quiet in there! (Jenny, Baby, Lion)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 7 - Ash-Tree - Now I have nothing (Jennie, Ash-Tree)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 7 - Ash-Tree - Adagio: A little meditation
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 8 - Recognition - Jennie! Jennie! (Rhoda, Cat, Pig, Jennie, Mother Goose, Lion)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 8 - Recognition - Interlude 2. The Ride to Castle Yonder
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 8 - Recognition - Hello, as you probably noticed (Jennie)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 9 - Higglety Pigglety Pop! - Fanfare I - Higglety. Scene 1 - Rhyme 1 (Rhoda, Jennie, Cat, Pig, Lion)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 9 - Higglety Pigglety Pop! - Fanfare II - Higglety. Scene 2 - Rhyme 2 (Rhoda, Jennie, Cat, Pig, Lion)
Knussen: Higglety Pigglety Pop!, op.21 - or, There must be more to Life / Scene 9 - Higglety Pigglety Pop! - Higglety. Scene 3 - Rhyme 3 (Rhoda, Jennie, Cat, Pig)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Overture
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Max - Scherzino: "I'm Max! (Max)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Mama - Scherzo A "Sshh! Sshh!" (Max, Mama)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Scherzo A: Reprise
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Max's Room - Pantom./Ariette 1:"In the wildest woods" (Max)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Transformation/Arietta 2: "I jump and bump" (Max)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Sea Interlude
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - The Wild Things - Recit/Musica interna "It must be" (Max, Wild Things)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Coronation: "... Eat you up" (Wild Things, Max)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - The Wild Rumpus: "Now stop!" (Max, Wild Things)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Max alone: "I dreamed that once" (Max)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Parting: "Fe...! Oh please don't go" (Wild Things)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Second Sea Interlude - "I was very far to" (Max, Mama)
Knussen: Where the Wild Things Are, op.20 - Fantasy opera in Nine Scenes - Max's Room (Max)
Carter: Clarinet Concerto - Scherzando
Carter: Clarinet Concerto - Deciso
Carter: Clarinet Concerto - Tranquillo
Carter: Clarinet Concerto - Presto
Carter: Clarinet Concerto - Largo
Carter: Clarinet Concerto - Giocoso
Carter: Clarinet Concerto - Agitato
Carter: Symphonia: Sum Fluxae Pretium Spei - 1. Partita
Carter: Symphonia: Sum Fluxae Pretium Spei - 2. Adagio tenebroso
Carter: Symphonia: Sum Fluxae Pretium Spei - 3. Allegro scorrevole
Crawford Seeger: Music for Small Orchestra (1926) - 1. Slow, pensive
Crawford Seeger: Music for Small Orchestra (1926) - 2. In roguish humor. Not fast
1. Beginning (Part I) = 60
2. Part II (1)
3. Part II (2)
4. Molto sostenuto (Part II (2))
5. Sempre molto legato e pianissimo (Part III)
1. Allegro (= 152)
2. Tempo giusto (Contrabassoon)
3. (Oboe)
4. Allegro assai
5. Tempo giusto (Viola)
6. (Bass clarinet)
7. Tutti (= 152)
8. Poco meccanicamente
9. Tempo giusto
10. (Piccolo and Bass)
11. Coda
1. Allegro (Introduction I)
2. (Introduction II)
3. (Trio 1: Threnody)
4. Tempo giusto (Scherzo 1)
5. (Trio 2: Parody)
6. Vigoroso (Scherzo 2)
7. Spettrale (Trio 3: Monody)
8. Sostenuto ma agitato (Scherzo 3)
9. Subito sostenuto (Centre)
10. Feroce (Scherzo & Trio 4)
11. Molto vigoroso (Scherzo & Trio 5)
12. Pesante (Scherzo & Trio 6)
13. Molto vivo (Stretto)
14. (Coda)


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