Joseph Marx

Nordic Rhapsody for Large Orchestra

(b. Graz, May 11, 1882 – d. Graz, September 3, 1964)

Scored for:
3 fl – 3 ob – 4 cl – 3 bn – 4 hn – 3 tpt – 3 tbn – 1 tba – timp – perc – 2 hp – cel – pf – strings
30 minutes
If one looks today at the numerous distinctions and achievements that adorn the biography of Joseph Rupert Rudolf Marx and goes on to consider what an incisive influence his work had on the musical landscape, it is difficult to understand how, after his death, both his name and his work could at first be completely forgotten. What deserves particular attention is the range of Marx’s activity, which was not restricted to musical composition but also included music education and journalism. As was the case for many other musicians of his time, his career did not set off straightaway but began, according to his father’s wishes, with the study of law, which he however soon abandoned for the combination of philosophy and history of art.

For more details


Jean-Phillipe Rameau

Platée ou Junon jalouse: Prologue and Ballet Bouffon

(Rameau: 25 September, 1683 (Dijon, France) – 12 September 1764 (Paris, France)

in three acts, RCT 53
2nd version – revised as a comédie lyrique for the Paris Opéra (1749-59)

First performance: Grande Écurie, Versailles, 31 March 1745
First publication (revised version):
Paris: Chez l’Auteur, la Veuve Boivin, M. le Clair, 1749

The Composer and his Legacy
Jean-Philippe Rameau was already well-respected as a theorist and writer when his first opera tragique, Hippolyte et Aricie, debuted on the stage of the Académie Royale de Musique in 1733. He was fifty. Over the next thirty years, he became the leading French composer of the eighteenth century, receiving one of the biggest commissions of his career with the comic opéra-ballet Platée (1745, 1749-59). …

For more details


Charles-Camille Saint-Saëns

Nuit persane op. 26bis
for 2 voices, mixed chorus and orchestra

(b. Paris, 9. October 1835 — d. Algier, 16 December 1921)
In 1870, the French poet Armand Renaud wrote a set of twelve poems under the name Les Nuits persanes. In the preface to the collection, Renaud notes his interest in the regions of the East and their respective literature and culture. Renaud states that, out of all of these regions, it is Persia that especially has the most original and complete poetry. He writes, throughout history, the poetry of Persia blossoms with civilization and cannot compare to the rest of the Orient.1 Indeed, the Orient became a created space of the European imagination rich with what Edward Said recognized as “romance, exotic beings, haunting memories and landscapes, [and] remarkable experiences.”2 As Britain and France, as well as other European nations, began a race to grab land in Africa and Asia, increased travel to these regions whetted appetites for stories and souvenirs from these continents. ..

More details

> Vocal Score available HERE


August Klughardt

Concert Overture in G Op. 45

(b. Cöthen, 30 November 1847 — d. Dessau, 3 August 1902)

The concert overture, which developed during the early 19th century, was a departure from the traditional overture, which was associated with a stage performance. During this period, traditional opera overtures began to be performed on programs as stand-alone pieces. The growing popularity of this trend attracted composers such as Carl Maria von Weber, Felix Mendelssohn, and Hector Berlioz to compose concert style overtures without any association to a stage performance. By the later part of the 19th century, composer Franz Liszt championed his creation of the symphonic poem. The format of which encouraged composers to include programmatic references and depart from formulaic traditions. A known associate of Liszt, while they were both working in Weinmar was August Freidrich Klughardt. …

More details