Raymond Leppard

Biography

Born: August 11, 1927; London, England  
Raymond John Leppard, one of the foremost British conductors of the twentieth century, has also been a film score composer and a leading scholar and conductor in the movement to restore older music to the stage in performances of authentic style.

Although he was born in London, he was raised in the resort town of Bath. He graduated from Trinity College, Cambridge, in 1952. There, his teachers were Hubert Middleton and Boris Ord. While at
Read more Cambridge, he studied harpsichord and viola, was a choral conductor, and became music director of the Cambridge Philharmonic Society. His professional debut was in 1952 in London's Wigmore Hall, as a conductor.

He specialized in music of the seventeenth and eighteenth centuries, often conducting from the harpsichord as he provided inventive, even witty realizations of the harpsichord continuo parts. He also conducted in British opera houses, still socializing in Baroque and Classical era music. In 1957, he became a lecturing fellow at Trinity, remaining in that position until 1967. In 1959, he debuted at Covent Garden in a production of Handel's Samson, marking the bicentenary of that opera. He first appeared at the Glyndebourne Festival in 1962 and at Sadler's Wells in 1965.

During all this time, he had formed an association with the Goldsborough Orchestra, which later became the English Chamber Orchestra. Many of his early concert recordings and appearances were with the E.C.O. In the meantime, he embarked on two major fields of endeavor outside performing and teaching: film score composition and editing of Baroque operas. He wrote a large number of film scores, including the classic Lord of the Flies (1963). His last score was Hotel New Hampshire (1985). He edited operas of Monteverdi and Cavalli and his first such edition was a realization of Monteverdi's L'incoronazione di Poppea, which he conducted at Glyndebourne in 1962. His editions of these operas and his conducting them brought them back to the public often for the first time in 300 years and was a tremendous boost to the movement to bring back Baroque opera and other music of composers of the century before Bach.

However, Leppard is not a part of what is called the "authentic" or "period" instrument movement, working with the instruments that can be found in the world's opera orchestras of today. The period instrument adherents find points to criticize in his willingness to transpose vocal parts particularly of leading male roles from alto singers to male voice range, his restructuring of the libretti to more modern dramatic tastes, and the general richness of the orchestration. He answers these criticisms in his book Authenticity in Music. As many of his editions are published, they remain the basis for many modern productions of such works as Monteverdi's Orfeo and Il ritorno d'Ulisse in patria and Cavalli's L'Ormindo, La Calista, and L'Orione. The Italian government has honored him with the title of Commendatore for his services in bringing early Italian music back to the repertory.

Meanwhile, he expanded is activities into the standard repertory. He was principal conductor of the BBC Northern Symphony Orchestra (now the BBC Philharmonic) (1973-1980). His American debut was in 1969 with the Westminster Choir and the New York Philharmonic in a concert during which he played and conducted the Haydn D major harpsichord concerto. His theatrical debut in the U.S. was at the Santa Fe Opera in 1974, leading L'Egisto. He also conducted a memorable revival of Virgil Thomson's The Mother of Us All at Santa Fe and debuted at the Metropolitan Opera in 1978 leading Britten's Billy Budd.

He settled in the United States in 1976 and became principal guest conductor of the Saint Louis Symphony Orchestra (1984-1990). His major orchestral appointment was as music director of the Indianapolis Symphony Orchestra (1987), where he stepped down at the expiration of his latest contract in the early 2000s. His avowed purpose was to keep this 87-piece, full-time orchestra the same size (which he considers ideal for Classical repertory and that part of the Romantic and twentieth century repertory that adheres to neo-Classical symphonic tradition) and make it the best "Classical orchestra" in the world.

He has made more than 170 recordings in Britain and the U.S. on many major and independent labels, including EMI, London, Lyrita, and Koss Classics, and has won virtually every international recording prize. In Indianapolis, he has created a warm, elegant sound to add to his recognized virtues of clarity of line, lightness of rhythmic touch, and superb phrasing. Read less

There are 183 Raymond Leppard recordings available.

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Biography

Born: August 11, 1927; London, England  
Raymond John Leppard, one of the foremost British conductors of the twentieth century, has also been a film score composer and a leading scholar and conductor in the movement to restore older music to the stage in performances of authentic style.

Although he was born in London, he was raised in the resort town of Bath. He graduated from Trinity College, Cambridge, in 1952. There, his teachers were Hubert Middleton and Boris Ord. While at
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Marche pour le combat
Premier air pour les combattants
Deuxième air pour les combattants - Marche (reprise)
Le sommeil
Entrée des songes agréables
Entrée des songes funestes
Gavotte en rondeau et air pour la suite de Flore
Chaconne
Prélude
Ouverture
Trio pour les habitants de l'isle enchantée
Air de trompette
Air pour les jeunes gens
Entrée de Polyphème et de sa suite
Air pour le printemps
Air à danser
Petit air gay et Bourrée pour les egyptiens
Gavotte en rondeau pour Triton
Trio des hautbois
Marche des sacrificateurs et des combattants
Marche des Masques Galantes
Air
La Forlana
Menuet
Premier Air pour les Espagnols
Sarabande
Louré
Rigaudon I & II
Passepied I & II
Air (Gavotte en Rondeau)
Prelude
Air en Rondeau
Guitar Concerto No.1 in A Major, Op.30: I. Allegro maestoso
Guitar Concerto No.1 in A Major, Op.30: II. Siciliana (Andantino)
Guitar Concerto No.1 in A Major, Op.30: III. Polonaise (Allegretto)
Guitar Concerto No.3 in F Major, Op.70: I. Allegro moderato
Guitar Concerto No.3 in F Major, Op.70: II. Andantino alla Siciliana con variazioni
Guitar Concerto No.3 in F Major, Op.70: III. Polonaise (Allegretto)
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Chor: "Wachet auf, ruft uns die Stimme"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Rezitativ: "Er kommt, er kommt, der Bräutigam kommt!"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Arie (Duett): "Wann kommst du, mein Heil?"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Choral: "Zion hört die Wächter singen"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Rezitativ: "So geh' herein zu mir"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Arie: "Mein Freund ist mein!"
J.S. Bach: Wachet auf, ruft uns die Stimme Cantata, BWV 140 - Choral: "Gloria sei dir gesungen"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Chor: "Ein feste Burg ist unser Gott"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Arie: "Mit unsrer Macht ist nichts getan"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Rezitativ: "Erwäge doch, Kind Gottes"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Arie: "Komm in mein Herzens Haus"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Choral: "Und wenn die Welt voll Teufel wär"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Rezitativ: "So stehe denn bei Christi blutgefärbter Fahne"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Duett: "Wie selig sind doch, die Gott im Munde tragen"
J.S. Bach: Cantata, BWV 80 "Ein feste Burg ist unser Gott" - Choral: "Das Wort sie sollen lassen stahn"
Overture
"Shake the cloud from off your brow"
"Ah! Belinda, I am prest with torment"
"Whence could so much virtue spring?" - "Fear no danger"
"See, your Royal Guest" - "If not for mine" - "To the hills and the vales" - The Triumphing Dance
Prelude for the witches
"Wayward sisters" - "But ere we this perform"
"In our deep vaulted cell" - Echo Dance of the Furies
Ritornelle - "Thanks to these lonesome vales"
"Oft she visits" - "Behold, upon my bending spear"
"Stay, Prince" - "Jove's commands shall be obey'd"
Prelude - "Come away, fellow sailors"
The sailor's Dance - "See the flags" - "Destruction'sour delight" - The Witches' Dance
"Your counsel all is urged in vain" - "But death, alas"
"Thy hand, Belinda...When I am laid in earth"
"With drooping wings"
Messiah : Part 1 Symphony
Messiah : Part 1 "Comfort ye my people"
Messiah : Part 1 "Ev'ry valley shall be exalted"
Messiah : Part 1 "And the glory of the Lord shall be revealed"
Messiah : Part 1 "Thus saith the Lord"
Messiah : Part 1 "But who may abide the day of his coming?"
Messiah : Part 1 "And he shall purify the sons of Levi"
Messiah : Part 1 "Behold, a virgin shall concieve, and bear a son"
Messiah : Part 1 "O thou that tellest good tidings to Zion"
Messiah : Part 1 "O thou that tellest good tidings to Zion"
Messiah : Part 1 "For behold, darkness shall cover the earth"
Messiah : Part 1 "The people that walked in darkness have seen a great light"
Messiah : Part 1 "For unto us a child is born"
Messiah : Part 1 Pastoral Symphony
Messiah : Part 1 "There were shepherds abiding in the field" "And lo, the angel of the Lord came upon them" "And the angel said unto them - Fear not" "And suddenly there was with the angel a multitude of the heav'nly host"
Messiah : Part 1 "Glory to God in the highest"
Messiah : Part 1 "Rejoice greatly, o daughter of Zion"
Messiah : Part 1 "Then shall the eyes of the blind be opened"
Messiah : Part 1 "He shall feed his flock like a shepherd"
Messiah : Part 1 "His yoke is easy"
Messiah : Part 2 "Behold the Lamb of God, that taketh away the sin of the world"
Messiah : Part 2 "He was despised and rejected of men"
Messiah : Part 2 "Surely he hath borne our griefs and carried our sorrows"
Messiah : Part 2 "And with his stripes we are healed"
Messiah : Part 2 "All we like sheep have gone astray"
Messiah : Part 2 "All they that see him laugh him to scorn"
Messiah : Part 2 "He trusted in God that he would deliver him"
Messiah : Part 2 "Thy rebuke hath broken his heart"
Messiah : Part 2 "Behold, and see if there be any sorrow like unto his sorrow"
Messiah : Part 2 "He was cut off out of the land of the living"
Messiah : Part 2 "But thou didst not leave his soul in hell"
Messiah : Part 2 "Lift up your heads, o ye gates"
Messiah : Part 2 "Unto which of the angels said he at any time"
Messiah : Part 2 "Let all the angels of God worship him"
Messiah : Part 2 "Thou art gone up on high, thou hast led captivity captive"
Messiah : Part 2 "The Lord gave the word - great was the company of the preachers"
Messiah : Part 2 "How beautiful are the feet of them that preach the gospel of peace"
Messiah : Part 2 "Their sound is gone out into all lands"
Messiah : Part 2 "Why do the nations so furiously rage together"
Messiah : Part 2 "Let us break their bonds asunder"
Messiah : Part 2 "He that dwelleth in heaven shall laugh them to scorn"
Messiah : Part 2 "Thou shalt break them with a rod of iron"
Messiah, HWV 56, Part 2: "Hallelujah" (Chorus)
Messiah HWV 56 : Part 3 "I know that my Redeemer liveth"
Messiah : Part 3 "Since by man came death"
Messiah : Part 3 "Behold, I tell you a mystery"
Messiah : Part 3 "The trumpet shall sound"
Messiah : Part 3 "Then shall be brought to pass the saying that is written"
Messiah : Part 3 "O death, where is thy sting?"
Messiah : Part 3 "But thanks be to God, who giveth us the victory"
Messiah : Part 3 "If God be for us, who can be against us?"
Messiah : Part 3 "Worthy is the Lamb that was slain"
Messiah : Part 3 "Amen"
Samson : Act 1 Sinfonia
Samson : Act 1 "This day, a solemn feast to Dagon held" [Samson]
Samson : Act 1 "Awake the trumpet's lofty sound!" [Chorus]
Samson : Act 1 "Ye men of Gaza, hither bring the merry pipe and pleasing string" [Dalila]
Samson : Act 1 "Awake the trumpet's lofty sound" [Chorus]
Samson : Act 1 "Loud as the thunder's awful voice" [Philistine]
Samson : Act 1 "Then free from sorrow, free from the thrall" [Philistine Woman]
Samson : Act 1 "Awake the trumpet's lofty sound!" [Chorus]
Samson : Act 1 "Why by an angel was my birth foretold" [Samson]
Samson : Act 1 "Torments, alas! are not confin'd to heart, or head, or breast!" [Samson]
Samson : Act 1 "Oh change beyond report, thought or belief!" [Micah]
Samson : Act 1 "Oh mirror of our fickle state!" [Micah]
Samson : Act 1 "Whom have I to compain of but myself" [Samson] ... "Oh loss of sight! of thee I most complain!" [Samson]
Samson : Act 1 "Total eclipse! no sun, no moon, all dark amidst the blaze of noon!" [Samson]
Samson : Act 1 "Since light so necessary is to life" [Micah]
Samson : Act 1 "Oh first created beam!" [Chorus]
Samson : Act 1 "Ye see, my friends, how woes enclose me round" [Samson], "Here comes thy rev'rend sire, old Manoah" [Micah, Samson]
Samson : Act 1 "Brethren and men of Dan, say, where is my son" [Manoah, Micah] "O miserable change!" [Manoah] "Oh ever failing trust in mortal strength!" [Israelitish Man]
Samson : Act 1 "God of our fathers, what is man?" [Israelitish Man]
Samson : Act 1 "The good we wish for, often proves our bane" [Manoah]
Samson : Act 1 "Thy glorious deeds inspir'd my tongue" [Manoah]
Samson : Act 1 "Justly these evils have befall'n thy son" [Samson] "Worse yet remains" [Manoah] "This have I done" [Samson]
Samson : Act 1 "My griefs for this forbid mine eyes to close" [Samson]
Samson : Act 1 "Why does the God of Israel sleep?" [Samson]
Samson : Act 1 "There lies our hope!" [Micah]
Samson : Act 1 "Then shall they know" [Chorus]
Samson : Act 1 "For thee, my dearest son" [Manoah] "It should be so - to expiate my crime" [Samson] "Be for thy fate contrite" [Manoah] "Why should I live?" [Samson]
Samson : Act 1 "Then long eternity shall greet your bliss" [Micah]
Samson : Act 1 "Joys that are pure" [Micah]
Samson : Act 1 "Then round about the starry throne" [Chorus]
Samson : Act 2 "Despair not thus" [Manoah] "Wher'er the liquid brook or fountain flow'd" [Samson] "Trust yet in God!" [Manoah]
Samson : Act 2 "Just are the way of God to man" [Manoah]
Samson : Act 2 "My evils hopeless are!" [Samson] "Relieve thy champion" [Micah]
Samson : Act 2 "Return, oh God of hosts!" [Micah]
Samson : Act 2 "To dust his glory they would tread" [Chorus]
Samson : Act 2 "But who is this?" [Micah] ... "How cunningly the sorceress displays her own transgressions" [Samson]
Samson : Act 2 "With plaintive notes and am'rous moan" [Dalila, Samson]
Samson : Act 2 "Did Love constrain thee?" [Samson]
Samson : Act 2 "Your charms to ruin led the way" [Samson]
Samson : Act 2 "Forgive what's done" [Dalila]
Samson : Act 2 "My - Her faith and truth, oh Samson, prove Dalila" [Dalila, Virgin]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "To fleeting pleasures make your court" [Dalila]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "How charming is domestic ease!" [Dalila]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "Ne'er think of that! I know thy warbling charms" [Samson] "Let me approach, at least" [Dalila] "Not for thy life" [Samson] "Thou art more deaf to pray'rs than winds or seas" [Dalila]
Samson : Act 2 "Traitor to love! I'll sue no more" [Dalila] "Traitress to love! I'll hear no more" [Samson] "She's gone! a serpent manifest" [Micah, Samson]
Samson : Act 2 "It is not virtue, valour, wit" [Israelitish Man]
Samson : Act 2 "Favour'd of heaven is he, who finds one true" [Samson]
Samson : Act 2 "To man God's universal law gave pow'r to keep the wife in awe" [Chorus]
Samson : Act 2 "No words of peace, no voice enchanting fear" [Micah] ... "The honour certain to have won from thee I lose" [Harapha]
Samson : Act 2 "Honour and arms scorn such a foe" [Harapha]
Samson : Act 2 "Put on your arms" "My strength is from the living God" [Samson]
Samson : Act 2 "With thee!" [Harapha] "Cam'st thou for this, vain boaster?" [Samson, Harapha]
Samson : Act 2 "Go, baffled coward, go" [Samson] "Presume not on thy God" [Harapha]
Samson : Act 2 "Here lies the proof" [Micah]
Samson : Act 2 "Hear, Jacob's God, Jehovah, hear!" [Chorus]
Samson : Act 2 "Dagon, arise! attend thy sacred feast!" [Harapha]
Samson : Act 2 "To song and dance we give the day" [Philistine]
Samson : Act 2 "To song and dance we give the day" [Chorus]
Samson : Act 2 "Fix'd in his everlasting seat" [Chorus]
Samson : Act 3 "More trouble is behind" [Micah] ... "My message, given with speed, brooks no delay" [Harapha]
Samson : Act 3 "Presuming slave, to move their wrath!" [Harapha]
Samson : Act 3 "Reflect then, Samson, matters now are strain'd" [Micah] "Shall I abuse this consecrated gift of strength" [Samson]
Samson : Act 3 "With thunder arm'd, great God, arise!" [Chorus]
Samson : Act 3 "Be of good courage" [Samson, Micah, Harapha]
Samson : Act 3 "Thus when the sun from's wat'ry bed" [Samson]
Samson : Act 3 "With might endued, above the sons of men" [Micah]
Samson : Act 3 "The Holy One of Israel be thy guide" [Micah] "To fame immortal go" [Chorus]
Samson : Act 3 "Old Manoah, with youthful steps, makes haste to find his son" [Micah] "I come, my brethren, not to seek my son" [Manoah]
Samson : Act 3 "Great Dagon has subdued our foe" [Philistine] "Great Dagon has subdued our foe" [Chorus]
Samson : Act 3 "What noise of joy was that?" [Manoah, Micah]
Samson : Act 3 "How willing my paternal love the weight to share of filial care" [Manoah]
Samson : Act 3 "Your hopes of his deliv'ry seem not vain" [Micah] "I know your friendly minds, and - Heav'n! what noise!" [Manoah] "Hear us, our God!" [Chorus]
Samson : Act 3 "Noise call you this? an universal groan" [Micah] ... "Unwounded of his enemies he fell" [Messenger, Manoah]
Samson : Act 3 "Ye sons of Israel, now lament" [Micah] "Weep, Israel, weep" [Chorus]
Samson : Act 3 "Proceed we hence to find his body" [Manoah]
Samson : Act 3 Dead March
Samson : Act 3 "The body comes" [Micah, Manoah]
Samson : Act 3 "Glorious hero, may thy grave peace and honour ever have" [Chorus]
Samson : Act 3 "Come, come! no time for lamentation" [Manoah]
Samson : Act 3 "Let the bright Seraphim" [Israelitish Woman]
Samson : Act 3 "Let their celestial concerts all unite" [Chorus]
I. Allegro maestoso
II. Adagio ma non troppo
III. Rondo: Tempo di menuetto
I. Allegro aperto
II. Adagio ma non troppo
III. Rondo: Allegro
1. Allegretto
2. Molto moderato
3. Allegro giusto
4. Molto maestoso
5. Allegro giusto
6. Allegro con moto
7. Allegretto grazioso
8. Un poco allegretto e grazioso
9. Andante con moto
10. Andante
Handel: Oboe Concerto No.1 In B Flat, HWV 301 - 1. Adagio
Handel: Oboe Concerto No.1 In B Flat, HWV 301 - 2. Allegro
Handel: Oboe Concerto No.1 in B flat, HWV 301 - 3. Largo
Handel: Oboe Concerto No.1 in B flat, HWV 301 - 4. Vivace
Handel: Oboe Concerto No.2 in B flat, HWV 302a - 1. Vivace
Handel: Oboe Concerto No.2 in B flat, HWV 302a - 2. Fuga (Allegro)
Handel: Oboe Concerto No.2 in B flat, HWV 302a - 3. Andante
Handel: Oboe Concerto No.2 in B flat, HWV 302a - 4. Allegro
Handel: Oboe Concerto No.3 in G minor, HWV 287 - 1. Grave
Handel: Oboe Concerto No.3 in G minor, HWV 287 - 2. Allegro
Handel: Oboe Concerto No.3 in G minor, HWV 287 - 3. Sarabande (Largo)
Handel: Oboe Concerto No.3 in G minor, HWV 287 - 4. Allegro
Handel: Concerto grosso in G, Op.3, No.3 - 1. Largo e staccato
Handel: Concerto grosso in G, Op.3, No.3 - 2. Allegro
Handel: Concerto grosso in G, Op.3, No.3 - 3. Adagio
Handel: Concerto grosso in G, Op.3, No.3 - 4. Allegro
Handel: Sonata a 5 in B flat for Violin, Oboes, Strings, and Continuo, HWV 288 - 1. Andante
Handel: Sonata a 5 in B flat for Violin, Oboes, Strings, and Continuo, HWV 288 - 2. Adagio
Handel: Sonata a 5 in B flat for Violin, Oboes, Strings, and Continuo, HWV 288 - 3. Allegro
Handel: Concerto grosso in C, HWV 318 "Alexander's Feast" - 1. Allegro
Handel: Concerto grosso in C, HWV 318 "Alexander's Feast" - 2. Largo - Adagio
Handel: Concerto grosso in C, HWV 318 "Alexander's Feast" - 3. Allegro - Adagio
Handel: Concerto grosso in C, HWV 318 "Alexander's Feast" - 4. Andante non presto
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Sinfonia
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Aria: Ah! Crudel nel pianto mio
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Recit: Non sdegnerai d'amor
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Aria: Di quel bel che il ciel ti diede
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Recit: Balena il cielo
Italian Cantata No.1 - Ah! crudel nel pianto mio (2001 Digital Remaster): Aria: Per trofei di mia constenna
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Recit: Dietro l'orma fugmei
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Aria: Ah! crudel, e pur ten vei
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Recit: Per te mi struggo infido
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Aria: Venti, fermate mi
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Recit: Ma che parlo, che dice?
Cantata No.13 - Armida abbandonata (2001 Digital Remaster): Aria: In tanti affermi miei
1. Allegro
2. Largo
3. Allegro
4. Allegro
1. Vivace - Grave
2. Largo
3. Allegro
4. -
1. Largo e staccato
2. Allegro
3. Adagio
4. Allegro
1a. Andante
1b. Allegro - Lentemente
2. Andante
3. Allegro
4. Minuetto
1. Largo
2. Allegro
3. Largo
4. Allegro
1. (without tempo indication)
2. Fuga (Allegro)
3. Adagio
4. Allegro, ma non troppo
5. Allegro
1. Vivace
2. Allegro
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Introduction
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Early one morning... (Peter)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): On a branch of a big tree (The Bird)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Just then, a duck came waddling round (The Duck)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Suddenly, something caught Peter's attention (The Cat)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Grandfather came out (Grandfather)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): No sooner had Peter gone (The Wolf)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): And now, this is how things stood
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Meanwhile, Peter made a lasso
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): Just then... (The Hunters)
Peter and the Wolf - A Musical Tale for Children Op. 67 [Baker version] (1995 Digital Remaster): And now...imagine the triumphant procession!
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Spoken introduction
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Theme: Allegro maestoso e largamente
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Woodwind
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Brass
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Strings
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Percussion
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Full orchestra
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): A: Flutes & piccolo - Presto
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): B: Oboes - Lento
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): C: Clarinets - Moderato
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): D: Bassoons - Allegro con marcia
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): E: Violins - Brillante, alla polacca
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): F: Violas - Meno mosso
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): G: Cellos - L'istesso tempo
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): H: Double basses - Cominciando lento ma poco a poco accelerando al allegro
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): I: Harp - Maestoso
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): J: Horns - L'istesso tempo
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): K: Trumpets - Vivace
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): L: Trombones & bass tuba - Allegro pomposo
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): M: Percussion - Moderato
The Young Person's Guide to the Orchestra - Variations and Fugue on a Theme of Purcell Op. 34 (Baker version) (1995 Digital Remaster): Fugue: Allegro molto - Con slancio (L'istesso tempo) (full orchestra)
Handel: Water Music Suite No.1 in F, HWV 348 - 1. Ouverture (Grave - Allegro - Adagio e staccato)
Handel: Water Music Suite No.1 in F, HWV 348 - 2. Allegro - Andante - Allegro
Handel: Water Music Suite No.1 in F, HWV 348 - 3. Passepied
Handel: Water Music Suite No.1 in F, HWV 348 - 4. Air
Handel: Water Music Suite No.1 in F, HWV 348 - 5. Bourrée
Handel: Water Music Suite No.1 in F, HWV 348 - 6. Allegro
Handel: Water Music Suite No.1 in F, HWV 348 - 7. Hornpipe
Handel: Water Music Suite No.1 in F, HWV 348 - 8. Menuet
Handel: Water Music Suite No.2 in D, HWV 349 - 1. Allegro
Handel: Water Music Suite No.2 in D, HWV 349 - 2. Hornpipe
Handel: Water Music Suite No.2 in D, HWV 349 - 3. Lentement
Handel: Water Music Suite No.2 in D, HWV 349 - 4. Bourrée
Handel: Water Music Suite No.2 in D, HWV 349 - 5. Menuet
I. Allegro
II. Andante
III. Finale. Allegro
Concerto for Trumpet and Orchestra in E Major: I. Allegro con spirito
II. Andante
III. Rondo
Concerto in D Major for Trumpet and Orchestra: I. Adagio
II. Allegro
Concerto in C Major for Two Trumpets and Strings, RV 537: I. Allegro
II. Largo
III. Allegro
I. Allegro
II. Andante
III. Allegro
Concerto in D Major for Trumpet and Orchestra: I. Adagio
II. Allegro moderato
Concerto in E-flat Major for Trumpet and Orchestra: I. Allegro con spirito
II. Andante
III. Rondo. Allegro molto
Grieg: Holberg Suite, Op.40 - 1. Präludium (Allegro vivace)
Grieg: Holberg Suite, Op.40 - 2. Sarabande (Andante)
Grieg: Holberg Suite, Op.40 - 3. Gavotte (Allegretto) - Musette (poco più mosso) - Gavotte
Grieg: Holberg Suite, Op.40 - 4. Air (Andante religioso)
Grieg: Holberg Suite, Op.40 - 5. Rigaudon (Allegro con brio)
I. Allegro
II. Andante
III. Finale. Allegro
Concerto for Trumpet, 2 Oboes, Strings and Continuo in D Major: I. Allegro
II. Largo
III. Allegro (moderato)
Concerto for Trumpet and Orchestra in E Major: I. Allegro con spirito
II. Andante
III. Rondo
Concerto in D Major for Trumpet and Orchestra: I. Adagio
II. Allegro
Mozart: Exsultate, jubilate, K.165 - 1. Exsultate, jubilate
Mozart: Exsultate, jubilate, K.165 - 2. Fulget amica dies
Mozart: Exsultate, jubilate, K.165 - 3. Tu virginum corona
Mozart: Exsultate, Jubilate, K.165 - 4. Alleluia
I. Allegro
II. Andante
III. Allegro
Overture: Allegro - Adagio
Overture: Alla gavotta
"Vezzi, lusinghe, e brio"
"Ami dunque, o signora?" - "Ginevra?"
"Orrida agli occhi miei"
"Orgogliosa beltade!"
"Apri le luci, e mira"
"Mie speranze, che fate?"
"Coperta la frode"
"Qui d'amor"
"T'amerò dunque sempre"
"Prendi da questa mano" - "Non vi turbate"
"Volate, amori"
"Vanne pronto, Odoardo"
"Voli colla sua tromba"
"Oh! felice mio core!" - "Con l'ali di costanza"
"Conosco il merto tuo"
"Spero per voi"
"Dalinda, in occidente"
"Del mio sol vezzosi rai"
"Ah! che quest'alma amante" - "Il primo ardor"
"Pare, ovunque m'aggiri" - "E qual propizia stella"
Sinfonia pastorale
"Se rinasce nel mio cor" - "Si godete al vostro amor"
Musette I (Lentement)
Musette II (Andante)
Allegro
"Si godete al vostro amor"
Prelude (Notte con lume di luna)
"Di Dalinda l'amore" - "Eccolo o amico"
"Tu preparati a morire"
"Ginevra?"
"Tu vivi, e punito"
"E vivo ancora?"
"Scherza infida in grembo al drudo"
"Lo stral ferì nel segno"
"Se tanto piace al cor"
"Felice fu il mio inganno" - "Se l'inganno sortisce felice"
"Andiam, fidi, al consiglio"
"Invida sorte avara"
"Mi palpita il core"
"Sta'lieta, o principessa!" - "Mio Re!"
"Il tuo sangue"
"Quante sventure un giorno sol ne porta!"
"A me impudica?"
"Il mio crudel martoro"
Entrée des Songes agréables
Entrée des Songes funestes
Entrée des Songes agréables affligés
Combat des Songes funestes et agréables
"Che vidi? Oh Dei!"
"Numi! Lasciarmi vivere"
"Perfidi! io son tradita!"
"Cieca notte, infidi sguardi"
"Ingrato Polinesso!" - "Neghittosi, or voi che fate?"
"Sire, deh, non negare"
"Dover, giustizia, amor"
"Or venga a me la figlia" - "Ecco la figlia"
"Io ti bacio"
"Figlia, da dubbia sorte"
"Al sen ti stringo"
"Così mi lascia il padre?"
"Si, morrò, ma l'onor mio"
"Arrida il cielo alla giustizia" - "Ferma, signor" - "E Dalinda dov'è?"
"Dopo notte, atra e funesta"
"Dalinda! ecco risorge"
"Dite spera, e son contento"
"Da dubbia infausta sorte"
"Manca, oh Dei!"
"Figlia! innocente figlia!"
"Bramo aver mille vite..."
"Ognuno acclami bella virtute"
Alla gavotta
Rondeau
"Sa trionfar ognor"
1. Allegro
2. Adagio ma non troppo
3. Allegro ma non troppo
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.1 in D minor, BWV 1052 - 1. Allegro
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.1 in D minor, BWV 1052 - 2. Adagio
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.1 in D minor, BWV 1052 - 3. Allegro
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.3 in D, BWV 1054 - 1. --
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.3 in D, BWV 1054 - 2. Adagio e piano sempre
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.3 in D, BWV 1054 - 3. Allegro
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.5 in F minor, BWV 1056 - 1. (Allegro)
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.5 in F minor, BWV 1056 - 2. Largo
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.5 in F minor, BWV 1056 - 3. Presto
J.S. Bach: Concerto for Harpsichord, 2 Recorders, Strings, and Continuo No.6 in F, BWV 1057 - 1. --
J.S. Bach: Concerto for Harpsichord, 2 Recorders, Strings, and Continuo No.6 in F, BWV 1057 - 2. Andante
J.S. Bach: Concerto for Harpsichord, 2 Recorders, Strings, and Continuo No.6 in F, BWV 1057 - 3. Allegro assai
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.7 in G minor, BWV 1058 - 1. --
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.7 in G minor, BWV 1058 - 2. Andante
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.7 in G minor, BWV 1058 - 3. Allegro assai
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.2 in E, BWV 1053 - 1. (Allegro)
J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.2 in E, BWV 1053 - 2. Siciliano


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