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The sudden death of Alexander Borodin left scarcely planned the score of his “Prince Igor” opera. Nikolai Rimsky-Korsakov and Alexander Glazunov composed the greater part of the music and the final orchestration. The Polovetsian Dances in the Act II of this opera must be detached. It is a musical page of great beauty that uses to be frequently performed in its symphonic version in the concert halls.
The present performance is by the Orchestre National et Choeur de la R.T.F. conducted by Igor Markevitch. Was recorded by the beginning of the 1950s.
The “Sonata n. 14 in Cis-Moll, Op. 27, n. 2, Moonlight” is one of the most popular of the Ludwig van Beethoven’s 32 sonatas for piano because of its first part, an adagio sostenuto that gives peace and serenity. The orchestral version is by W. Piston.
The Claude Debussy’s “Bergamasque Suite” was first published in 1905 in his original version for piano. Later should be orchestrated by other musicians. The remarkable Clair de Lune is one of the most beautiful parts of this Suite, here orchestrated by Mouton.
The recording is by the Boston Pops Orchestra under the conduction of Arthur Fiedler.
Numerous arias and choruses of the Verdi’s operas have the virtue to be extremely catchy. It was nothing infrequent that the people present in a premiere leave the theatre humming any musical excerpt. This EP collects three highly popular choral excerpts from the operas “Aida”, “La Traviata” and “Nabucco”. From the first one, the magnificent chorus Gloria all’ Egitto, in the 2nd Act. From “Traviata”, Noi siamo zingarelle, commonly known by people as Gipsy chorus, in the 2nd Act. The third fragment is from “Nabucco”, its Va, pensiero, sull’ ali dorate, a piece that after the premiere in 1842 became popular fight hymn in a then divided Italy under the government of foreign powers. The versions are performed by the St. Cecilia Chorus and Orchestra conducted by Alberto Erede.
This Brazilian composer passed away in 1985 was co-founder member of the Academia
Brasileira de Música and founder of the Orquesta Sinfónica do Brasil. His music is rooted to ethnic aspects. Xangô, Cantata Negra has its origin in the depth of the Negroes’ folklore. Following the author, “is an opus devoted to perpetuate the modern myth of the everlasting acceptation by the Negroes of their miserly condition, as they believe that some day the Heaven will recompense for their centuries-old slavery”. It is a score for soprano and orchestra. This version (probably the only one recorded up to date) is performed by the soprano Alicia Ribeiro, Choirs, Batidores Negros do Brasil and Orchestra, conducted by José Siqueira himself.