Gustav Klimt. Die Musik (detail). 1895. Neue Pinakothek, Munich. Photo: © Joachin Blauel/ARTOTHEK This site requires Internet Explorer 5.0 or higher / Mozilla-Compatible Browser, and Macromedia Flash player.

Part I: The Ancient and Medieval Worlds Chapter 1: Music in Antiquity Epitaph of Seikilos, epigram Atrium Musicae de Madrid; Gregorio Paniagua, director. From Musique de la Grèce Antique Euripides: Orestes, tragedy, excerpt: Stasimon chorus Atrium Musicae de Madrid, dir. Gregorio Paniagua, from Musique de la Grèce Antique and (second section) †Gayle Stuwe Neuman and De Organographia, from Music of the Ancient Greeks Chapter 2: The Christian Church in the First Millennium There are no Multiple Choice Quiz for this chapter. Chapter 3: Roman Liturgy and Chant Mass for Christmas Day, Gregorian chant Mass Chants from Vespers for Christmas Day, Gregorian chant Office 4a: First Psalm with Antiphon: Antiphon Tecum principium and psalm Dixit Dominus 4b: Hymn: Christe Redemptor omnium †Custom recording made at Indiana University; Paul Elliott, director Attributed to Wipo of Burgundy: Victimae paschali laudes, sequence Quem queritis in praesepe, trope (liturgical drama) Schola Hungarica; Laszlo Dobszay and Janka Szendrei, directors Hildegard of Bingen: Ordo virtutum (The Virtues), sacred music drama: closing chorus, In principio omnes Sequentia; Barbara Thornton and Margriet Tindemans, directors Chapter 4: Song and Dance Music in the Middle Ages Bernart de Ventadorn: Can vei la lauzeta mover, troubadour song The Hilliard Ensemble; Paul Hillier, director Comtessa de Dia: A chantar, canso (troubadour song) † Mara Kiek; Sinfonye; Stevie Wishart, director Adam de la Halle: Jeu de Robin et de Marion: Rondeau, Robins m'aime †Custom recording made by Naxos. Walther von der Vogelweide: Palästinalied (Nu alrest lebe ich mir werde), Minnelied †Toronto Consort Cantiga 159, Non sofre Santa Maria, from Cantigas de Santa Maria †The Martin Best Ensemble. From Cantigas of Santa Maria of Alfonso X La Quarte Estampie Royal, from Le manuscrit du roi †Stevie Wishart, medieval fiddle, and Jim Denley, bendir (percussion); Sinfonye; Stevie Wishart, director Chapter 5: Polyphony through the Thirteenth Century Organa from Musica enchiriadis 14a: Tu patris sempiternus, in parallel organum at the fifth below 14b: Sit gloria domini, in parallel organum at the fifth below, with octave doublings 14c: Rex caeli, in mixed parallel and oblique organum †Custom recording made at Indiana University; Paul Elliott, director Alleluia Justus ut palma, free organum, from Ad organum faciendum †Custom recording made at Indiana University; Paul Elliott, director Jubilemus, exultemus, Aquitanian organum Dominique Vellard and Emmanuelle Bonardot Léonin: Viderunt omnes, organum duplum †Custom recording made at Indiana University; Paul Elliott, director Clausulae on Dominus from Viderunt omnes 18a: Dominus, clausula no. 26 18b: Dominus, clausula no. 29 †Custom recording made at Indiana University; Paul Elliott, director Pérotin: Viderunt omnes, organum quadruplum †Theatre of Voices; Paul Hillier, director Ave virgo virginum, conductus Lionheart Motets on tenor Dominus 21a: Factum est salutare/Dominus, based on NAWM 18a †Custom recording made at Indiana University; Paul Elliott, director 21b: Fole acoustumance/Dominus †Custom recording made at Indiana University; Paul Elliott, director 21c: Super te/Sed fulsit/Primus tenor/Dominus †Margaret Philpot, alto, and Rogers Covey-Crump, Rufus Müller, and Leigh Nixon, tenors; Gothic Voices; Christopher Page, director Adam de la Halle: De ma dame vient/Dieus, comment porroie/Omnes, motet †Custom recording made by Naxos Sumer is icumen in, rota †The Hilliard Ensemble; Paul Hillier, director Chapter 6: French and Italian Music in the Fourteenth Century Philippe de Vitry: In arboris/Tuba sacre fidei/Virgo sum, motet Orlando Consort Guillaume de Machaut: Messe de Nostre Dame, Mass: Kyrie †Taverner Consort and Choir; Andrew Parrott, director Guillaume de Machaut: Rose, liz, printemps, verdure, rondeau Gothic Voices; Christopher Page, director Johannes Ciconia: Sus une fontayne, virelai †Ensemble Project Ars Nova Jacopo da Bologna: Fenice fu, madrigal Early Music Consort of London; David Munrow, director Gherardello da Firenze: Tosto che l'alba, caccia †Nigel Rogers and Edgar Fleet, tenors, and David Munrow, tenor shawm; Musica Reservata; John Beckett, director Francesco Landini: Non avrà ma' pietà, ballata †Anonymous 4 Part II: The Renaissance Chapter 7: The Age of the Renaissance There are no Multiple Choice Quiz for this chapter Chapter 8: England and Burgundy in the Fifteenth Century Alleluia, A Newe Work, carol †Anonymous 4 John Dunstable: Quam pulchra es, motet The Hilliard Ensemble; Paul Hillier, director Gilles Binchois: De plus en plus, rondeau The Tallis Scholars; Peter Phillips, conductor Guillaume Du Fay: Resvellies vous, ballade The Medieval Ensemble of London; Peter Davies and Timothy Davis, directors Guillaume Du Fay: Conditor alme siderum, hymn in fauxbourdon style Schola Hungarica; Janka Szendrei, director Guillaume Du Fay: Se la face ay pale, ballade, and Gloria from Missa Se la face ay pale 36a: Se la face ay pale, ballade 36b: Gloria, from Missa Se la face ay pale †Chiaroscuro Ensemble; Nigel Rogers, director Chapter 9: Franco-Flemish Composers, 1450-1520 Jean de Ockeghem: From Missa De plus en plus, Agnus Dei The Tallis Scholars; Peter Phillips, director Henricus Isaac: Innsbruck, ich muss dich lassen, Lied Collegium Vocale Köln; Wolfgang Fromm, director Josquin des Prez: Ave Maria . . . virgo serena, motet †La Chapelle Royale Josquin des Prez: Missa Pange lingua, Kyrie and part of Credo 40a: Kyrie 40b: Credo, excerpt The Tallis Scholars; Peter Phillips, director Josquin des Prez: Mille regretz, chanson †The Hilliard Ensemble; Paul Hillier, director. From Josquin Desprez: Motets and Chansons Chapter 10: Sacred Music in the Era of the Reformation Martin Luther: Nun komm der Heiden Heiland and Ein feste Burg, chorales 42a. Attributed to St. Ambrose: Veni redemptor gentium †Custom recording made at Indiana University; Paul Elliott, director 42b. Martin Luther: Nun komm der Heiden Heiland (ca. 1:45) †Custom recording made at Indiana University; Paul Elliott, director 42c. Martin Luther: Ein feste Burg †Custom recording made at Indiana University; Paul Elliott, director 42d. Johann Walter: Ein feste Burg, first four-voice setting from Geistliches Gesangbuchlein †Wiener Motettenchor; Ensemble Mvsica Antiqva Wien; Bernhard Klebel, conductor Loys Bourgeois: Psalm 134, Or sus serviteurs du Seigneur, metrical psalm 43a. Psalm 134, Or sus serviteurs du Seigneur 43b. William Kethe: Psalm 100, All people that on earth do dwell †Custom recording made at Indiana University; Paul Elliott, director William Byrd: Sing joyfully unto God, full anthem The Tallis Scholars; Peter Phillips, director Giovanni Pierluigi da Palestrina: Pope Marcellus Mass: Credo and Agnus Dei I †The Tallis Scholars; Peter Phillips, director Tomás Luis de Victoria: O magnum mysterium, motet, and Missa O magnum mysterium: Kyrie 46a. O magnum mysterium, motet †Gabrieli Consort 46b. Missa O magnum mysterium: Kyrie †Choir of Westminster Cathedral; David Hill, Master of the Music Orlando di Lasso: Tristis est anima mea, motet †Ex Cathedra Chapter 11: Madrigal and Secular Song in the Sixteenth Century Juan del Encina: Oy comamos y bebamos, villancico †Circa 1500; Nancy Hadden, director. From Music from the Spanish Kingdoms Marco Cara: Io non compro piü speranza, frottola †Custom recording made by Naxos Jacques Arcadelt: Il bianco e dolce cigno, madrigal The Consort of Musicke; Anthony Rooley, director Cipriano de Rore: De la belle contrade d'oriente, madrigal The Consort of Musicke; Anthony Rooley, director Luca Marenzio: Solo e pensoso, madrigal Pomerium Musices; Alexander Blachly, director Carlo Gesualdo: "Io parto" e non più dissi, madrigal Les Arts Florissants; William Christie, director Claudin de Sermisy: Tant que vivray, chanson Ensemble Clement Janequin; Dominique Visse, director Claude le Jeune: Revecy venir du printans, chanson The Waverly Consort; Michael Jaffee, director Thomas Morley: My bonny lass she smileth, ballett †Pro Cantione Antiqua; Philip Ledger, director Thomas Weelkes: As Vesta was, madrigal †The Consort of Musicke; Anthony Rooley, director John Dowland: Flow, my tears, air or lute song Nigel Rogers, tenor; Paul O'Dette, lute Chapter 12: The Rise of Instrumental Music Pierre Attaingnant (publisher): From Danseries a 4 Parties, Second Livre 59a. No. 1: Basse danse 59b. No. 36: Branle gay, Que je chatoulle ta fossette †Custom recordings made by Naxos Luis de Narváez: From Los seys libros del Delphín, works for vihuela 60a. Cancion Mille regres, intabulation of Josquin's Mille regretz 60b. Diferencias sobre "Guárdame las vacas," variation set †Lex Eisenhardt, vihuela. From Luiz de Narváez: Music for Vihuela from Los seis libros del Delphín de música William Byrd: Pavana Lachrymae, pavane variations †Elaine Comparone, virginal Giovanni Gabrieli: Canzon septimi toni a 8, ensemble canzona, from Sacrae symphoniae (1597) †His Majesty's Sagbutts and Cornetts; Timothy Roberts, moderator Part III: The Seventeenth Century Chapter 13: New Styles in the Seventeenth Century Claudio Monteverdi: Cruda Amarilli, madrigal The Consort of Musicke; Anthony Rooley, director Caccini: Vedrò 'l mio sol, continuo madrigal Montserrat Figuras Chapter 14: The Invention of Opera Jacopo Peri: Le musiche sopra l'Euridice, opera, excerpts 65a. Prologue: Io, che d'alti sospir 65b. Aria: Nel pur ardor 65c. Dialogue in recitative: Per quel vago boschetto La Compagna dei Febi Armonici; Anibal Cetrangolo, conductor Claudio Monteverdi: L'Orfeo, opera, excerpt from Act II 66a. Canzonetta: Vi ricorda o boschi ombrosi 66b. Aria: Mira, deh mira Orfeo 66c. Dialogue in recitative: Ahi caso acerbo 66d. Recitative: Tu se' morta 66e: Choral madrigal: Ahi caso acerbo Emma Kirkby, soprano; Guillemette Laurens, soprano; Nigel Rogers, tenor; Chiaroscuro, directed by Nigel Rogers; London Baroque, directed by Charles Medlam Claudio Monteverdi: L'incoronazione di Poppea, Act I, Scene 3 Danielle Borst, soprano; Guillemette Laurens, soprano; Concerto Vocale; René Jacobs, conductor Antonio Cesti: Orontea, Act II, excerpts *68a. Scene 16, Recitative: E che si fa? 68b. Scene 17 (excerpt), Aria: Intorno all' idol mio †Helga Müller Molinari, soprano; Gastone Sarti, bass; Concerto Vocale; René Jacobs, director Chapter 15: Music for Chamber and Church in the Early Seventeenth Century Barbara Strozzi: Lagrime mie, cantata Julianne Baird, soprano; Colin Tinley, harpsichord Alessandro Grandi: O quam tu pulchra es, motet †Custom recording made by Naxos Giacomo Carissimi: Historia de Jephte, oratorio, conclusion Gabrieli Consort and Players; Paul McCreesh, director Heinrich Schütz: O lieber Herre Gott, sacred concerto, from Kleine geistliche Konzerte I (1636) †Soloists of the Tölzer Knabenchor: Helmut Wittek, Stefan Gienger (sopranos), Michael Hell (violoncello), Roman Summereder (organ); Gerhard Schmidt-Gaden, director Heinrich Schütz: Saul, was verfolgst du mich Musica Fiata; Kammerchor Stuttgart; Frieder Bernius, conductor Girolamo Frescobaldi: Toccata No. 3 Gustav Leonhardt, harpsichord Girolamo Frescobaldi: Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali †Rinaldo Alessandrini, organ Biagio Marini: Sonata IV per il violino per sonar con due corde, from Op. 8 †Ingrid Mathews, violin; Byron Schenkman, harpsichord Chapter 16: France, England, Spain, and the New World in the Seventeenth Century Jean-Baptiste Lully: Armide, tragédie lyrique, excerpts 77a. Ouverture 77b. Act II, Scene 5: Enfin il est en ma puissance La Chapelle Royale; Philippe Herreweghe, conductor Elisabeth-Claude Jacquet de la Guerre: Suite in A Minor, from Pièces de clavecin, Book I (1687) 78a. Prélude 78b. Allemande 78c. Courante 78d. Sarabande 78e. Gigue 78f. Chaconne 78g. Gavotte 78h. Menuet †Geneviève Soly, harpsichord. From élisabeth Jacquet de la Guerre Henry Purcell: Dido and Aeneas, opera, conclusion 79a. Recitative: Thy hand, Belinda 79b. Lament (ground bass aria): When I am laid in earth 79c. Chorus: With drooping wings †Lorraine Hunt, mezzo-soprano; The Choir of Clare College, Cambridge; Philharmonia Baroque Orchestra; Nicholas McGegan, director Tomás de Torrejón y Velasco, La purpura de la rosa, opera, excerpt: Y bien, ¿qué es lo que adviertes? Juan de Araujo: Los coflades de la estleya, villancico Chapter 17: Italy and Germany in the Late Seventeenth Century Alessandro Scarlatti: Clori vezzosa, e bella, cantata, conclusion 82a. Recitative: Vivo, vivo penando 82b. Aria: Sì, ben mio, sì †Brian Asawa, countertenor; Arcadian Academy; Nicholas McGegan, music director Arcangelo Corelli: Trio Sonata, Op. 3, No. 2 Jaap Schröder, Marilyn McDonald, violins; Kenneth Slowik, cello; Konrad Junghnel, theorbo; James Weaver, organ Dieterich Buxtehude: Praeludium in E Major, BuxWV 141 Harald Vogel, organ Part IV: The Eighteenth Century Chapter 18: The Early Eighteenth Century in Italy and France Antonio Vivaldi: Concerto for Violin and Orchestra in A Minor, Op. 3, No. 6, from L'estro armonico †Simon Standage, violin; English Concert; Trevor Pinnock, harpsichord and conductor Francois Couperin: Vignt-cinquième ordre 86a. La Visionaire 86b. La Muse victorieuse Richard Rephann, harpsichord Jean-Philippe Rameau: Hippolyte et Aricie, opera, excerpt: Act IV, conclusion Robert Tear, tenor; English Chamber Orchestra; Anthony Lewis, conductor Chapter 19: German Composers of the Late Baroque Johann Sebastian Bach: Praeludium et Fuga in A Minor, BWV 543 †Tom Koopman, organ Johann Sebastian Bach: Chorale Prelude on Durch Adams Fall, BWV 637 †Wolfgang Rubsam, organ Johann Sebastian Bach: Nun komm, der Heiden Heiland, BWV 62, cantata 90a. Chorus: Nun komm, der Heiden Heiland 90b. Aria (tenor): Bewundert, O Menschen 90c. Recitative (bass): So geht aus Gottes Herrlichkeit und Throne 90d. Aria (bass): Streite, siege, starker Held! 90e. Recitative (soprano and alto): Wie ehren diese Herrlichkeit 90f. Chorale: Lob sei Gott, dem Vater, ton † Barbara Schlick, Sibylla Rubens, sopranos; Kai Wessel, Sarah Connolly, altos; James Taylor, Christoph Prégardien, Mark Padmore, tenors; Peter Kooy, bass; Collegium Vocale; Philippe Herreweghe, director George Frideric Handel: Giulio Cesare, opera, excerpt: Act II, Scene 2, Eseguisti/V'adoro pupille James Bowman, countertenor; Lynne Dawson, soprano; La Grande Ecurie et la Chambre du Roy; Jean-Claude Malgoire, director George Frideric Handel: Saul, oratorio, excerpt: Act II, Scene 10 92a. Accompanied recitative: The Time at length has come *92b. Aria (tenor): Bewundert, O Menschen *92c. Recitative (bass): So geht aus Gottes Herrlichkeit und Throne English Baroque Soloists; Monteverdi Choir; John Eliot Gardiner, director Chapter 20: Opera and Vocal Music in the Early Classic Period Giovanni Battista Pergolesi: La serva padrona, intermezzo, excerpt: Ah, quanto mi sta male/Son imbrogliato io Maddalena Bonifaccio, soprano; Siegmund Nimsgern, bass; Collegium Aureum Johann Adolf Hasse: Cleofide, opera, excerpt: Act II, Scene 9, Digli ch'io son fedele Emma Kirkby, soprano; Capella Coloniensis; William Christie, director John Gay: The Beggar's Opera, ballad opera, excerpt from Scene 13 95a: Aria XV, My heart was so free 95b: Aria XVI, Were I laid on Greenland's coast †Broadside Band; Jeremy Barlow, conductor Christoph Willibald Gluck: Orfeo ed Euridice, opera, excerpt from Act II, Scene 1 Michael Chance, countertenor; Kammerchor Stuttgart; Tafelmusik; Frieder Bernius, director William Billings: Creation, fuging tune † His Majestie's Clerkes; Paul Hillier, director Chapter 21: Instrumental Music: Sonata, Symphony, and Concerto at Midcentury Domenico Scarlatti: Sonata in D Major, K. 119 Ralph Kirkpatrick, harpsichord Carl Philipp Emanuel Bach: Sonata in A Major, H. 186, Wq. 55/4, second movement Richard Rephann, fortepiano Giovanni Battista Sammartini: Symphony in F Major, No. 32, first movement Giovani di Nuova Cameristica; Daniele Ferrari, conductor Johann Stamitz: Sinfonia No. 8 in E-flat Major, first movement Johann Christian Bach: Concerto for Harpsichord or Piano and Strings, Op. 7, No. 5, first movement Ingrid Haebler, fortepiano; Capella Academica Wien; Eduard Melkus, director Chapter 22: Classic Music in the Late Eighteenth Century Franz Joseph Haydn: Symphony No. 92 in G Major ("Oxford") 103a: I. Adagio-Allegro spiritoso 103b: II. Adagio cantabile 103c: III. Menuetto: Allegretto 103d: IV. Presto †The Hanover Band, conducted from the harpsichord by Roy Goodman Franz Joseph Haydn: String Quartet in E-flat Major, Op. 33, No. 2 ("The Joke"), fourth movement Kodaly Quartet Wolfgang Amadeus Mozart: Piano Sonata in F Major, K. 332, first movement †Custom recording made by Naxos Wolfgang Amadeus Mozart: Piano Concerto in A Major, K. 488, first movement Jos van Immerseel, fortepiano; Anima Eterna; Roger Norrington, conductor Wolfgang Amadeus Mozart: Don Giovanni, opera, excerpt: Act I, Scenes 1-2 †Alessandro Corbelli (Leporello), Bo Skovhus (Don Giovanni), Christine Brewer (Donna Anna) Umberto Chiummo (Commendatore), Scottish Chamber Orchestra; Sir Charles Mackerras, conductor Part V: The Nineteenth Century Chapter 23: Revolution and Change Ludwig van Beethoven: Piano Sonata in C Minor, Op. 13 (Pathétique), third movement Rudolf Serkin, piano Ludwig van Beethoven: Symphony No. 3 in E-flat Major, Op. 55 (Eroica), first movement † Orchestre Revolutionnaire et Romantique; John Eliot Gardiner, Conductor Ludwig van Beethoven: String Quartet in C-sharp Minor, Op. 131, first and second movements Tokyo String Quartet Chapter 24: The Romantic Generation: Song and Piano Music Franz Schubert: Gretchen am Spinnrade, Lied Elly Ameling, soprano; Jörg Demus, piano Franz Schubert: Winterreise, song cycle, excerpt: Der Lindenbaum †Custom recording made by Naxos Robert Schumann: Dichterliebe, song cycle, excerpts: Im wunderschönen Monat Mai and Ich grolle nicht Hermann Prey, baritone; Leonard Hokanson, piano Henry R. Bishop: Home! Sweet Home!, theatrical song and drawing-room ballad †Custom recording made at Indiana University; Paul Elliott, director Stephen Foster: Jeanie with the Light Brown Hair, parlor song †Custom recording made at Indiana University; Paul Elliott, director Robert Schumann: Fantasiestücke, Op. 12, excerpts 116a: No. 2, Aufschwung ("Soaring") 116b: No. 3, Warum? ("Why?") †Murray Perahia, piano Fryderyk Chopin: Mazurka in B-flat Major, Op. 7, No. 1 †Vladimir Ashkenazy, piano Fryderyk Chopin: Nocturne in D-flat Major, Op. 27, No. 2 †Sandor Falvay, piano Franz Liszt: Trois études de concert, No. 3: Un sospiro Van Cliburn, piano Louis Moreau Gottschalk: Souvenir de Porto Rico (Marche des Gibaros) †Eugene List, piano Chapter 25: Romanticism in Classic Forms: Orchestral, Chamber, and Choral Music Hector Berlioz: Symphonie fantastique, fifth movement: "Dream of a Witches' Sabbath" †Orchestre Revolutionnaire et Romantique; John Eliot Gardiner, conductor Felix Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64, third movement: Allegretto non troppo-Allegro molto vivace †Josef Suk, violin; Czech Philharmonic Orchestra, Karel Ancerl, conductor Clara Schumann: Piano Trio in G Minor, Op. 17, third movement: Andante †Streicher Trio Felix Mendelssohn: Elijah, oratorio, excerpt: No. 42, Chorus: And then shall your light break forth †Renee Fleming, soprano; Bryn Terfel, baritone; Orchestra of the Age of Enlightenment; Paul Daniel, conductor Chapter 26: Romantic Opera and Musical Theater to Midcentury Gioachino Rossini: Il barbiere di Siviglia, Act II, Scene 5: Cavatina, Una voce poco fa †Jennifer Larmore, soprano; Lausanne chamber orchestra; Jesus Lopez-Cobos, conductor Carl Maria von Weber: Der Freischütz, Act II, Finale: "Wolf's Glen" Scene †Berlin German Opera Chorus; Berlin Philharmonic Orchestra; Keilberth, conductor Chapter 27: Opera and Musical Theater in the Later Nineteenth Century Giuseppe Verdi: La Traviata, Act III, Scena and Duet Monserrat Caballé, Carlo Bergonzi; Georges Pretre, conductor Richard Wagner: Tristan und Isolde, excerpt from Act I, Scene 5 Birgit Nilsson, soprano; Christa Ludwig, mezzo-soprano; Wolfgang Windgassen, tenor; Eberhard Wachter, baritone; Bayreuth Festival Chorus and Orchestra; Karl Böhm, conductor Georges Bizet: Carmen, excerpt: Act I, No. 10, Seguidilla and Duet †Maria Callas (Carmen), Nicolai Gedda (Don José), Orchestre du Théâtre National de l'Opéra de Paris, George Prêtre, conductor Modest Musorgsky: Boris Godunov, Coronation Scene †Valdimir Vaneev (Boris), Kirov Opera and Orchestra; Valery Gergiev, conductor Arthur Sullivan: The Pirates of Penzance, operetta, excerpt: When the foeman bares his steel †Owen Brannigan, bass; Elsie Morison, soprano; Glyndebourne Festival Chorus; Pro Arte Orchestra; Sir Malcolm Sargent, director Chapter 28: Late Romanticism in Germany and Austria Johannes Brahms: Symphony No. 4 in E Minor, finale † Berlin Philharmonic; Herbert von Karajan, conductor Richard Strauss: Don Quixote, excerpts: Themes and Variations 1 and 2 Yo-Yo Ma, cello; Boston Symphony Orchestra; Seiji Ozawa, conductor Chapter 29: Diverging Traditions in the Later Nineteenth Century Amy Cheney Beach: Quintet for Piano and Strings in F-sharp Minor, Op. 67, third movement Endellion Quartet; Martin Roscoe, piano John Philip Sousa: The Stars and Stripes Forever, March † Royal Artillery Band / Keith Brion, conductor Part VI: The Twentieth Century and After Chapter 30: The Early Twentieth Century Scott Joplin: Maple Leaf Rag, piano rag 136a: As played by Scott Joplin (from a piano roll) †Scott Joplin, piano 136b: As played by Jelly Roll Morton †Jelly Roll Morton, piano Gustav Mahler: Kindertotenlieder, orchestral song cycle, No. 1, Nun will die Sonn' so hell aufgehen Janet Baker, mezzo-soprano; Israel Philharmonic; Leonard Bernstein, conductor Claude Debussy: Nuages, from Trois Nocturnes New York Philharmonic; Pierre Boulez, conductor Sergei Rachmaninoff: Prelude in G Minor, Op. 23, No. 5 †Sergei Rachmaninov, piano Alexander Scriabin: Vers la flamme, poem for piano Vladimir Horowitz, piano Chapter 31: Modernism and the Classical Tradition Arnold Schoenberg: Pierrot lunaire, Op. 21, excerpts 141a: No. 8, Nacht 141b: No. 13, Enthauptung † London Philharmonia Orchestra; Robert Craft, conductor Arnold Schoenberg: Piano Suite, Op. 25, excerpts 142a: Prelude 142b: Minuet and Trio †Peter Hill, piano Alban Berg: Wozzeck, opera, excerpt: Act III, Scene 3 Walter Berry, bass-baritone; Ingeborg Lasser, mezzo-soprano; Orchestra and Chorus of the Paris National Opera; Pierre Boulez, conductor Anton Webern: Symphony, Op. 21, first movement †Ulster Orchestra; Takuo Yuasa, conductor Igor Stravinsky: The Rite of Spring, excerpts 145a: Danse des adolescentes *145b: Conclusion of Part II: Danse sacrale London Philharmonic Orchestra; Kent Nagano, conductor Igor Stravinsky: Symphony of Psalms, first movement † London Philharmonia Orchestra; Robert Craft, conductor Béla Bartók: Music for Strings, Percussion, and Celesta, third movement New York Philharmonic; Pierre Boulez, conductor Charles Ives: General William Booth Enters into Heaven, song † William Sharp, baritone; Stephen Blier, piano Chapter 32: Between the World Wars: Jazz and Popular Music Bessie Smith: Back Water Blues, song † Bessie Smith, vocal; James P. Johnson, piano King Oliver: West End Blues, as performed by Louis Armstrong and His Hot Five 150a: Original sheet music [not on recording] 150b: Transcription †Louis Armstrong and His Hot Five: Louis Armstrong, trumpet and vocal; Earl (Fatha) Hines, piano; Fred Robinson, trombone; Jimmy Strong, clarinet; Mancy Cara, banjo; Zutty Singleton, drums George Gershwin: I Got Rhythm, from Girl Crazy †Ethel Merman, alto Duke Ellington: Cotton Tail †Duke Ellington and His Orchestra Chapter 33: Between the World Wars: The Classical Tradition Paul Hindemith: Un cygne, from 6 Chansons, for a cappella chorus † Netherlands Chamber Choir; Uwe Gronostay, conductor Dmitri Shostakovich: Symphony No. 5, Op. 47, second movement † Concertgebouw Orchestra; Bernard Haitink, conductor Silvestre Revueltas: Sensemayá, for orchestra † New Philharmonia Orchestra; Eduardo Mata, conductor Ruth Crawford Seeger: String Quartet, fourth movement Aaron Copland: Appalachian Spring, excerpt 157a: Elder Joseph Brackett (1797-1882): Simple Gifts, Shaker hymn †Custom recording made at Indiana University, Paul Elliott, director : Copland: Appalachian Spring, excerpt London Symphony Orchestra; Aaron Copland, conductor William Grant Still: Afro-American Symphony, first movement †Chicago Sinfonietta, conducted by Paul Freeman Chapter 34: Postwar Crosscurrents Charlie Parker and Dizzy Gillespie: Anthropology 161a: Lead sheet 161b: Transcription of Charlie Parker's solo †Dizzy Gillespie, trumpet; Charlie Parker, alto saxophone; and others Olivier Messiaen: Quartet for the End of Time, first movement †Tashi Benjamin Britten: Peter Grimes, opera, excerpt: Act III, Scene 2 Peter Pears, tenor; Orchestra of the Royal Opera House, Covent Garden; Benjamin Britten, conductor Samuel Barber: Hermit Songs, no. 8: The Monk and His Cat †Cheryl Studer, soprano; John Browning, piano George Crumb: Black Angels, Thirteen Images from the Dark Land, excerpts 167a: Image 4: Devil-Music 167b: Image 5: Danse macabre Composers String Quartet Milton Babbitt: Philomel, section I Bethany Beardslee, soprano Penderecki: Threnody for the Victims of Hiroshima John Cage: Music of Changes I, for piano † Herbert Henck, piano Karel Husa: Music for Prague 1968, for concert band, first movement: Introduction and Fanfare: Adagio †Eastman Wind Ensemble; Donald Hunsberger, Conductor Chapter 35: The End of the Millennium John Adams: Phrygian Gates †Gloria Chen, piano Ellen Taaffe Zwilich: Concerto Grosso 1985, movements 4 and 5 †Indianapolis Symphony Orchestra; John Nelson, conductor Arvo Part: Magnificat antiphons †Taverner Choir; Andrew Parrott, conductor Sofia Gubaidulina: Rejoice! Sonata for Violin and Violoncello, fifth movement †Gidon Kramer, violin; Yo-Yo Ma, cello Bright Sheng: Seven Tunes Heard in China, for solo cello, No. 1: Seasons †Yo-Yo Ma, cello

Copyright © 2006 W. W. Norton & Company | Credits | Site Feedback | Technical Support | Print This Page