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1 score (50 p.) + 3 parts ; 31 cm.
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1 online resource (1 sound file)
  • Ariadne auf Naxos, op. 60, TrV 228a. Grossmächtige Prinzessin, wer verstunde nicht / Richard Strauss (Ilse Hollweg, soprano ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (11:18)
  • Rigoletto. Pari siamo! (Anneliese Rothenberger, soprano ; Heinz Imdahl, bass-baritone ; Dusseldorf Symphony Orchestra ; Duisburger Philharmoniker ; Alberto Erede, conductor) (14:25) ; Macbeth. Den vollen Becher lasst froh uns heben (Astrid Varnay, soprano ; Heinz Imdahl, bass-baritone ; Dusseldorf Symphony Orchestra ; Alberto Erede, conductor) (8:18) / Giuseppe Verdi
  • Der Rosenkavalier, op. 59, TrV 227. Sei er doch gut, Quinquin ; Mein schöner Schatz / Richard Strauss (Hanna Ludwig, contralto ; Hilde Zadek, soprano ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (9:16)
  • Aida. Als Sieger kehre heim! / Giuseppe Verdi (Ingrid Bjoner, soprano ; Duisburger Philharmoniker ; Arnold Quennet, conductor) (5:53)
  • Boris Godunov. Funeral bell and death of Boris / Modest Petrovich Mussorgsky (Brigitte Durrler, soprano ; Martti Talvela, bass ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (9:18)
  • Tosca. Ah! Franchigia a Floria Tosca ; Com'e lunga l'attesa! / Giacomo Puccini (Hana Janku, soprano ; William Holley, Wolf Appel, tenors ; Karl Vullings, vocals ; Dusseldorf Symphony Orchestra ; Giuseppe Patane, conductor) (14:09).
  • La cenerentola. Nacqui all'affano/ Non piu mesta / Gioachino Rossini (Julia Hamari, contralto ; Dusseldorf Symphony Orchestra ; Deutschen Oper am Rhein Chorus ; Alberto Erede, conductor) (6:42)
  • Rusalka, op. 114, B. 203. Mesicku na nebi hlubokem / Antonin Dvorak (Hildegard Behrens, soprano ; Dusseldorf Symphony Orchestra ; Peter Schneider, conducto) (5:32)
  • Pagliacci. Si puo? Si puo? / Ruggero Leoncavallo (Eugene Holmes, baritone ; Dusseldorf Symphony Orchestra ; Hector Urbon, conductor) (6:07)
  • La boheme. D'onde lieta usci/Dunque e proprio finita! / Giacomo Puccini (Lilian Sukis, Nassrin Azarmi, sopranos ; Georgi Tscholakoff, tenor ; Eugene Holmes, baritone ; Dusseldorf Symphony Orchestra ; Alberto Erede, conductor) (8:23)
  • Bluthochzeit. Dein Vater nahm mich mit / Wolfgang Fortner (Martha Modl, mezzo-soprano ; Udo Bodnik, vocals ; Dusseldorf Symphony Orchestra ; Hans Wallat, conductor) (2:20)
  • Tosca. Tre sbirri, una carrozza/Te Deum / Giacomo Puccini (Wilhelm Richter, tenor ; Zenon Kosnowski, bass ; Dusseldorf Symphony Orchestra ; Duisburger Philharmoniker ; Janos Kulka, conductor) (3:55)
  • Manon. Toi!-- vous!-- Oui, c'est moi! / Jules Massenet (Alexandra von der Weth, soprano ; Serghei Khomov, tenor ; Dusseldorf Symphony Orchestra ; Baldo Podic, conductor) (8:23)
  • Il ritorno d'Ulisse in patria. Io viddi per vendetta / Claudio Monteverdi (Mariselle Martinez, mezzo-soprano ; Tassis Christoyannis, baritone ; Dusseldorf Symphony Orchestra ; Andreas Stoehr, conductor) (6:02)
  • Pagliacci. Qual fiamma avea nel guardo/Stridono lassu / Ruggero Leoncavallo (Nataliya Kovalova, soprano ; Duisburger Philharmoniker ; John Fiore, conductor) (5:01)
  • Il tabarro. Nulla! Silenzio! / Giacomo Puccini (Therese Waldner, soprano ; Angelo Simos, tenor ; Gordon Hawkins, baritone ; Dusseldorf Symphony Orchestra ; John Fiore, conductor) (7:29)
  • Hamlet. A vos jeux, mes amis/Et maintenant ecoutez ma chanson! / Ambroise Thomas (Marlis Petersen, soprano ; Dusseldorf Symphony Orchestra ; Alexander Joel, conductor).
  • Ariadne auf Naxos, op. 60, TrV 228a. Grossmächtige Prinzessin, wer verstunde nicht / Richard Strauss (Ilse Hollweg, soprano ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (11:18)
  • Rigoletto. Pari siamo! (Anneliese Rothenberger, soprano ; Heinz Imdahl, bass-baritone ; Dusseldorf Symphony Orchestra ; Duisburger Philharmoniker ; Alberto Erede, conductor) (14:25) ; Macbeth. Den vollen Becher lasst froh uns heben (Astrid Varnay, soprano ; Heinz Imdahl, bass-baritone ; Dusseldorf Symphony Orchestra ; Alberto Erede, conductor) (8:18) / Giuseppe Verdi
  • Der Rosenkavalier, op. 59, TrV 227. Sei er doch gut, Quinquin ; Mein schöner Schatz / Richard Strauss (Hanna Ludwig, contralto ; Hilde Zadek, soprano ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (9:16)
  • Aida. Als Sieger kehre heim! / Giuseppe Verdi (Ingrid Bjoner, soprano ; Duisburger Philharmoniker ; Arnold Quennet, conductor) (5:53)
  • Boris Godunov. Funeral bell and death of Boris / Modest Petrovich Mussorgsky (Brigitte Durrler, soprano ; Martti Talvela, bass ; Dusseldorf Symphony Orchestra ; Arnold Quennet, conductor) (9:18)
  • Tosca. Ah! Franchigia a Floria Tosca ; Com'e lunga l'attesa! / Giacomo Puccini (Hana Janku, soprano ; William Holley, Wolf Appel, tenors ; Karl Vullings, vocals ; Dusseldorf Symphony Orchestra ; Giuseppe Patane, conductor) (14:09).
  • La cenerentola. Nacqui all'affano/ Non piu mesta / Gioachino Rossini (Julia Hamari, contralto ; Dusseldorf Symphony Orchestra ; Deutschen Oper am Rhein Chorus ; Alberto Erede, conductor) (6:42)
  • Rusalka, op. 114, B. 203. Mesicku na nebi hlubokem / Antonin Dvorak (Hildegard Behrens, soprano ; Dusseldorf Symphony Orchestra ; Peter Schneider, conducto) (5:32)
  • Pagliacci. Si puo? Si puo? / Ruggero Leoncavallo (Eugene Holmes, baritone ; Dusseldorf Symphony Orchestra ; Hector Urbon, conductor) (6:07)
  • La boheme. D'onde lieta usci/Dunque e proprio finita! / Giacomo Puccini (Lilian Sukis, Nassrin Azarmi, sopranos ; Georgi Tscholakoff, tenor ; Eugene Holmes, baritone ; Dusseldorf Symphony Orchestra ; Alberto Erede, conductor) (8:23)
  • Bluthochzeit. Dein Vater nahm mich mit / Wolfgang Fortner (Martha Modl, mezzo-soprano ; Udo Bodnik, vocals ; Dusseldorf Symphony Orchestra ; Hans Wallat, conductor) (2:20)
  • Tosca. Tre sbirri, una carrozza/Te Deum / Giacomo Puccini (Wilhelm Richter, tenor ; Zenon Kosnowski, bass ; Dusseldorf Symphony Orchestra ; Duisburger Philharmoniker ; Janos Kulka, conductor) (3:55)
  • Manon. Toi!-- vous!-- Oui, c'est moi! / Jules Massenet (Alexandra von der Weth, soprano ; Serghei Khomov, tenor ; Dusseldorf Symphony Orchestra ; Baldo Podic, conductor) (8:23)
  • Il ritorno d'Ulisse in patria. Io viddi per vendetta / Claudio Monteverdi (Mariselle Martinez, mezzo-soprano ; Tassis Christoyannis, baritone ; Dusseldorf Symphony Orchestra ; Andreas Stoehr, conductor) (6:02)
  • Pagliacci. Qual fiamma avea nel guardo/Stridono lassu / Ruggero Leoncavallo (Nataliya Kovalova, soprano ; Duisburger Philharmoniker ; John Fiore, conductor) (5:01)
  • Il tabarro. Nulla! Silenzio! / Giacomo Puccini (Therese Waldner, soprano ; Angelo Simos, tenor ; Gordon Hawkins, baritone ; Dusseldorf Symphony Orchestra ; John Fiore, conductor) (7:29)
  • Hamlet. A vos jeux, mes amis/Et maintenant ecoutez ma chanson! / Ambroise Thomas (Marlis Petersen, soprano ; Dusseldorf Symphony Orchestra ; Alexander Joel, conductor).
Music score
1 score (74 p.) + 2 parts ; 31 cm.
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(no call number) Unavailable On order Request
Music score
1 study score (236 p.) ; 30 cm. + 1 libretto ([8] p.).
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(no call number) Unavailable In process Request
Book
211 pages : illustrations ; 24 cm.
SAL3 (off-campus storage)
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In process Request
PQ4878 .I528 Z72 2014 Available
Book
128 p. ; 24 cm
  • Opera omnia -- Le Dit de la Sagesse et le Dit de la Folie -- La mémoire de l'eau et la littérature -- La césure de la lettre au coeur de l'universel -- Deux interrogations -- Où la femme... -- Daniel.
"Ces méditations autour d'Eaux dérobées déploient une écriture en dialogue avec le livre de Daniel Cohen et un verset biblique des Proverbes de Salomon. Où il est question d'une parole étrange de la Folie. Et dans cette difficulté d'écrire où nous croisons la folie d'Oreste et celle de David, nous rencontrons une âme juive. L'âme n'est pas, comme dans la tradition platonicienne, une âme séparée du corps et qui aspire dans la mort à devenir esprit contemplatif. Une âme philosophique étrangère aux lettres. Mais ici, une âme qui s'écrit. Écriture d'une âme juive. Génitif objectif et subjectif."--P. [4] of cover.
  • Opera omnia -- Le Dit de la Sagesse et le Dit de la Folie -- La mémoire de l'eau et la littérature -- La césure de la lettre au coeur de l'universel -- Deux interrogations -- Où la femme... -- Daniel.
"Ces méditations autour d'Eaux dérobées déploient une écriture en dialogue avec le livre de Daniel Cohen et un verset biblique des Proverbes de Salomon. Où il est question d'une parole étrange de la Folie. Et dans cette difficulté d'écrire où nous croisons la folie d'Oreste et celle de David, nous rencontrons une âme juive. L'âme n'est pas, comme dans la tradition platonicienne, une âme séparée du corps et qui aspire dans la mort à devenir esprit contemplatif. Une âme philosophique étrangère aux lettres. Mais ici, une âme qui s'écrit. Écriture d'une âme juive. Génitif objectif et subjectif."--P. [4] of cover.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
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In process Request
PQ2663 .O3394 E383 2014 Available
Book
xvii, 365 pages : illustrations, music ; 23 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .M765 A44 2014 Unknown
Book
404 p. : ill. ; 21 cm.
Green Library
Status of items at Green Library
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Stacks Find it
PQ4835 .A3 Z96 2014 Unavailable At bindery Request
Book
viii, 246 pages : illustrations ; 23 cm.
  • Animal acts for changing times, 2.0: a field guide to interspecies performance / Una Chaudhuri
  • The dog and pony show (bring your own pony) / Holly Hughes
  • Commentary: Agility is performance art / Donna Haraway
  • Stay! / Vicky Ryder, Lisa Asagi, and Stacy Makishi
  • Commentary: What happened to the black dog? / Marla Carlson
  • Cat lady / Joseph Keckler
  • Commentary: Theatre of the Cat Lady who is not / Erika Rundle
  • With what ass does the cockroach sit?=: ¿Con qué culo se siento la cucaracha? / Carmelita Tropicana (aka Alina Troyano)
  • Commentary: Queer tales of a transnational Cuban cockroach / Lawrence La Fountain-Stokes, Martina, Catalina, Elián, and the Old Man
  • No bees for Bridgeport: a fable from the age of Daley / Kestutis Nakas
  • Commentary: A new fable of the bees / Joshua Takano Chambers-Letson
  • Horseback views: a queer hippological performance / Kim Marra
  • Commentary: Kinesthetic intimacies / Jane C. Desmond
  • Monkey / Deke Weaver
  • Commentary: Apes like us / Cary Wolfe
  • Excerpts from Elephant / Deke Weaver
  • Commentary: A hero's death / Nigel Rothfels
  • Excerpt from Everything I've got / Jess Dobkin
  • Commentary: The great refusal and the greater hope / Jill Dolan
  • Excerpts from As the globe warms, an American soap opera in twelve acts / Heather Woodbury
  • Commentary: Zooglossia, the unknown tongues of Heather Woodbury / Ann Pellegrini
  • The others / Rachel Rosenthal.
"Animal Acts collects some of the most exciting, provocative, and moving solo performances on animals, grounded by commentaries that help put these engaging works in a larger context. Animal Acts includes the work of leading theater artists Holly Hughes, Rachel Rosenthal, Deke Weaver, Carmelita Tropicana, and others, along with commentary by major scholars including Donna Haraway, Jane Desmond, Jill Dolan, and Nigel Rothfels. A masterful introduction by Una Chaudhuri provides readers a useful foundation for understanding and appreciating the intersection of animal studies and performance."-- Provided by publisher.
  • Animal acts for changing times, 2.0: a field guide to interspecies performance / Una Chaudhuri
  • The dog and pony show (bring your own pony) / Holly Hughes
  • Commentary: Agility is performance art / Donna Haraway
  • Stay! / Vicky Ryder, Lisa Asagi, and Stacy Makishi
  • Commentary: What happened to the black dog? / Marla Carlson
  • Cat lady / Joseph Keckler
  • Commentary: Theatre of the Cat Lady who is not / Erika Rundle
  • With what ass does the cockroach sit?=: ¿Con qué culo se siento la cucaracha? / Carmelita Tropicana (aka Alina Troyano)
  • Commentary: Queer tales of a transnational Cuban cockroach / Lawrence La Fountain-Stokes, Martina, Catalina, Elián, and the Old Man
  • No bees for Bridgeport: a fable from the age of Daley / Kestutis Nakas
  • Commentary: A new fable of the bees / Joshua Takano Chambers-Letson
  • Horseback views: a queer hippological performance / Kim Marra
  • Commentary: Kinesthetic intimacies / Jane C. Desmond
  • Monkey / Deke Weaver
  • Commentary: Apes like us / Cary Wolfe
  • Excerpts from Elephant / Deke Weaver
  • Commentary: A hero's death / Nigel Rothfels
  • Excerpt from Everything I've got / Jess Dobkin
  • Commentary: The great refusal and the greater hope / Jill Dolan
  • Excerpts from As the globe warms, an American soap opera in twelve acts / Heather Woodbury
  • Commentary: Zooglossia, the unknown tongues of Heather Woodbury / Ann Pellegrini
  • The others / Rachel Rosenthal.
"Animal Acts collects some of the most exciting, provocative, and moving solo performances on animals, grounded by commentaries that help put these engaging works in a larger context. Animal Acts includes the work of leading theater artists Holly Hughes, Rachel Rosenthal, Deke Weaver, Carmelita Tropicana, and others, along with commentary by major scholars including Donna Haraway, Jane Desmond, Jill Dolan, and Nigel Rothfels. A masterful introduction by Una Chaudhuri provides readers a useful foundation for understanding and appreciating the intersection of animal studies and performance."-- Provided by publisher.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PN1590 .A54 A55 2014 Unknown
Book
129 pages.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML50 .D68 A56 2014 Unknown
Music score
1 score (37 p.) ; 28 cm.
Music Library
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Scores
(no call number) Unavailable In process Request

12. Antonio Salieri [2014]

Book
176 p. : ill. ; 20 cm.
  • Vienne et Florian Gassmann -- Les premiers opéras -- Changements à Vienne et intermède italien -- L'opéra allemand - Début de la coexistence avec Mozart - Les Danaïdes -- L'opéra italien de Joseph II -- Tarare - Axur -- La fin du règne de Joseph II - Leopold II -- Les derniers opéras -- Une nouvelle époque - L'ombre de Napoléon -- Les dernières années.
"Trop souvent réduit à l'état de grand rival de Mozart, en particulier depuis la pièce et le film Amadeus, Antonio Salieri (1750-1825) n'en reste pas moins une figure majeure de la musique. Né à Legnago, en territoire vénitien, il est emmené à Vienne en 1766 par son maître Gassmann, qui le présente à Métastase et à Gluck. Obtenant rapidement d'importants postes officiels, protégé par l'empereur Joseph II, il fait aussi représenter ses opéras à Milan, Venise, Rome, Trieste et surtout à Paris. Personnalité incontournable de la vie musicale viennoise pendant un demi-siècle, auteur d'une quarantaine d'opéras, dont certains à succès, Salieri est familier de Haydn, dont il dirige plusieurs fois La Création, et encore plus de Mozart. Il compte parmi ses élèves Beethoven, Schubert, Meyerbeer, mais aussi le tout jeune Liszt ou encore Semayr, Reicha, Moscheles, Czerny et le second fils de Mozart. Evoquant en 1858 la carrière de Salieri, Anselm Hüttenbrenner voyait en lui "le plus grand stratège musical, il était le Talleyrand de la musique". Ce nouveau volume de la collection horizons, aux nombreuses illustrations et annexes pratiques, vous propose de (re)découvrir la vie et l'oeuvre de cet illustre représentant de la période classique."--P. [4] of cover.
  • Vienne et Florian Gassmann -- Les premiers opéras -- Changements à Vienne et intermède italien -- L'opéra allemand - Début de la coexistence avec Mozart - Les Danaïdes -- L'opéra italien de Joseph II -- Tarare - Axur -- La fin du règne de Joseph II - Leopold II -- Les derniers opéras -- Une nouvelle époque - L'ombre de Napoléon -- Les dernières années.
"Trop souvent réduit à l'état de grand rival de Mozart, en particulier depuis la pièce et le film Amadeus, Antonio Salieri (1750-1825) n'en reste pas moins une figure majeure de la musique. Né à Legnago, en territoire vénitien, il est emmené à Vienne en 1766 par son maître Gassmann, qui le présente à Métastase et à Gluck. Obtenant rapidement d'importants postes officiels, protégé par l'empereur Joseph II, il fait aussi représenter ses opéras à Milan, Venise, Rome, Trieste et surtout à Paris. Personnalité incontournable de la vie musicale viennoise pendant un demi-siècle, auteur d'une quarantaine d'opéras, dont certains à succès, Salieri est familier de Haydn, dont il dirige plusieurs fois La Création, et encore plus de Mozart. Il compte parmi ses élèves Beethoven, Schubert, Meyerbeer, mais aussi le tout jeune Liszt ou encore Semayr, Reicha, Moscheles, Czerny et le second fils de Mozart. Evoquant en 1858 la carrière de Salieri, Anselm Hüttenbrenner voyait en lui "le plus grand stratège musical, il était le Talleyrand de la musique". Ce nouveau volume de la collection horizons, aux nombreuses illustrations et annexes pratiques, vous propose de (re)découvrir la vie et l'oeuvre de cet illustre représentant de la période classique."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .S16 V54 2014 Unknown
Video
1 videodisc (ca. 121 min.) : digital ; 4 3/4 in.
Director Katharina Thoma sets Richard Strauss's comedy in a country house in the South Downs, immediately before and during the Second World War. The librettist Hugo von Hofmannsthals' conceit, that a hapless young composer has to accept the simultaneous performance of his new tragic opera with a burlesque from a commedia dell'arte troupe, is turned into a touching wartime drama of nurses, invalids, airmen and of painful delusions and soul-searching, before final happiness.
Director Katharina Thoma sets Richard Strauss's comedy in a country house in the South Downs, immediately before and during the Second World War. The librettist Hugo von Hofmannsthals' conceit, that a hapless young composer has to accept the simultaneous performance of his new tragic opera with a burlesque from a commedia dell'arte troupe, is turned into a touching wartime drama of nurses, invalids, airmen and of painful delusions and soul-searching, before final happiness.
Music Library
Status of items at Music Library
Music Library Status
Recordings
MDVD 1733 Unknown
Music score
1 score (50 p.) ; 28 cm.
Music Library
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Scores
(no call number) Unavailable In process Request
Music score
1 score (xvii, 245 p.) ; 30 cm.
Stanford University Libraries
Status of items at Stanford University Libraries
Stanford University Libraries Status
On order
(no call number) Unavailable On order Request
Music score
1 vocal score (x, 88 pages) ; 31 cm
  • Emmeline. So you've found the library? (baritone) ; Like a wood in Ireland (baritone) ; The railboad boys have arrived (bass)
  • Fantastic Mr. Fox. Farmer Bean's aria (baritone) ; Ah, the smell of the night (baritone) ; What has become of me? (baritone) ; Farmer Boggis' aria (bass)
  • Thérèse Raquin. Painting aria (baritone) ; Roses remind me of Vernon (baritone) ; Once there was a servant girl (bass) ; The Seine moves like a melody (bass)
  • An American tragedy. Car aria (baritone) ; Clyde's soliloquy (baritone)
  • Dolores Claiborne. Daddy go up, Daddy go down (baritone) ; I can look up the sky's skirt (baritone).
  • Emmeline. So you've found the library? (baritone) ; Like a wood in Ireland (baritone) ; The railboad boys have arrived (bass)
  • Fantastic Mr. Fox. Farmer Bean's aria (baritone) ; Ah, the smell of the night (baritone) ; What has become of me? (baritone) ; Farmer Boggis' aria (bass)
  • Thérèse Raquin. Painting aria (baritone) ; Roses remind me of Vernon (baritone) ; Once there was a servant girl (bass) ; The Seine moves like a melody (bass)
  • An American tragedy. Car aria (baritone) ; Clyde's soliloquy (baritone)
  • Dolores Claiborne. Daddy go up, Daddy go down (baritone) ; I can look up the sky's skirt (baritone).
Music Library
Status of items at Music Library
Music Library Status
Scores
(no call number) Unavailable In process Request
Music score
1 vocal score (xi, 94 pages) ; 31 cm
Music Library
Status of items at Music Library
Music Library Status
Scores
(no call number) Unavailable In process Request
Music score
1 score (53 p.) ; 30 cm.
Music Library
Status of items at Music Library
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Scores
(no call number) Unavailable In process Request
Music score
1 score (36 p.) ; 30 cm.
Music Library
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Scores
(no call number) Unavailable In process Request

20. Arise, my muse [2014]

Music recording
1 audio disc (59 minutes, 23 seconds) : digital ; 4 3/4 in.
  • Ode for Queen Mary's birthday Z320. Arise, my muse (2:03) ; Come ye sons of Art, away Z323. Strike the viol (4:13) ; Welcome to all the pleasures Z339. Here the deities approve (4:09) ; Yorkshire feast song Z333. The pale and the purple rose (3:20) / Henry Purcell
  • Sonata XXI / Giovanni Gabrieli (4:02)
  • Hail! bright Cecilia Z328. 'Tis nature's voice (3:47) ; Celebrate this festival Z321. Crown the altar (2:42) ; If music be the food of love Z379b (1:51) ; Fantasia: three parts on a ground Z731 (5:08) / Henry Purcell
  • Come, come along for a dance and a song. The glory of the Arcadian groves / Jeremiah Clarke (2:06)
  • Amphion Anglicus. Poor Celadon, he sighs in vain / John Blow (4:06)
  • Ye tuneful numbers: a song with symphonies. Symphony ; Air: Ye tuneful numbers ; Air: Tell her I'm wounded ; Recitative: But oh why shou'd I blame this cruel fair ; Air: When thousands more, the same must share / William Croft (10:02)
  • Suite from Venus and Adonis. Overture ; Cupid's entry ; Entry: A dance by a huntsman ; A dance of cupids ; Act tune (Act 1) ; Act tune (Act 2) ; A ground / John Blow (12:00)
  • O solitude, my sweetest choice! Z406 / Henry Purcell (5:57)
  • Encore. Spoken introduction (0:11)
  • King Arthur Z628. Fairest isle / Henry Purcell (5:07).
  • Ode for Queen Mary's birthday Z320. Arise, my muse (2:03) ; Come ye sons of Art, away Z323. Strike the viol (4:13) ; Welcome to all the pleasures Z339. Here the deities approve (4:09) ; Yorkshire feast song Z333. The pale and the purple rose (3:20) / Henry Purcell
  • Sonata XXI / Giovanni Gabrieli (4:02)
  • Hail! bright Cecilia Z328. 'Tis nature's voice (3:47) ; Celebrate this festival Z321. Crown the altar (2:42) ; If music be the food of love Z379b (1:51) ; Fantasia: three parts on a ground Z731 (5:08) / Henry Purcell
  • Come, come along for a dance and a song. The glory of the Arcadian groves / Jeremiah Clarke (2:06)
  • Amphion Anglicus. Poor Celadon, he sighs in vain / John Blow (4:06)
  • Ye tuneful numbers: a song with symphonies. Symphony ; Air: Ye tuneful numbers ; Air: Tell her I'm wounded ; Recitative: But oh why shou'd I blame this cruel fair ; Air: When thousands more, the same must share / William Croft (10:02)
  • Suite from Venus and Adonis. Overture ; Cupid's entry ; Entry: A dance by a huntsman ; A dance of cupids ; Act tune (Act 1) ; Act tune (Act 2) ; A ground / John Blow (12:00)
  • O solitude, my sweetest choice! Z406 / Henry Purcell (5:57)
  • Encore. Spoken introduction (0:11)
  • King Arthur Z628. Fairest isle / Henry Purcell (5:07).
Music Library
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Music Library Status
Recordings
MCD 26447 Unknown