Petri Sakari - Finladia Op 26 / Karelia Suite Op 11 - COMPACT DISCS [CD]

Album Tracks 1. Sinfonia Antartica (Symphony No. 7) Prelude Andante Maestoso - Lento - Poco Animato - Piu Mosso - Tranquillo - Andante Moderato Con Moto - Largamente 2. Sinfonia Antartica (Symphony No. 7) Scherzo Moderato 3. Sinfonia Antartica (Symphony No. 7) Landscape Lento - 4. Sinfonia Antartica (Symphony No. 7) Intermezzo Andante Sostenuto - Allegretto - Pesante - Tempo Primo Tranquillo 5. Sinfonia Antartica (Symphony No. 7) Epilogue Alla Marcia, Moderato (Non Troppo Allegro) - Andante Maestoso 6. Symphony No. 8 in D minor Fantasia (Variazioni Senza Tema) Moderato - Presto - Andante Sostenuto - Allegretto - Andante Non Troppo - Allegro Vivace - Andante Sostenuto - Largamente - Tempo Primo Ma Tranquillo 7. Symphony No. 8 in D minor Scherzo Alla Marcia (Per Stromenti a Fiato) Allegro Alla Marcia - Andante - Tempo Primo 8. Symphony No. 8 in D minor Cavatina (Per Stromenti Ad Arco) Lento Espressivo 9. Symphony No. 8 in D minor Toccata Moderato Maestoso 10. Movement Superscriptions for Sinfonia Antartica Prometheus Unbound Prelude 'To Suffer Woes Which Hope Thinks Infinite' (Percy Bysshe Shelley) 11. Movement Superscriptions for Sinfonia Antartica Book of Common Prayer, Psalm 104 Schezro 'There Go the Ships' 12. Movement Superscriptions for Sinfonia Antartica Hymn Before Sunrise, in the Vale of Chamouni Landscape 'Ye Ice Falls!' (Samuel Taylor Coleridge) 13. Movement Superscriptions for Sinfonia Antartica The Sun Rising Intermezzo 'Love, All Alike,' (John Donne) 14. Movement Superscriptions for Sinfonia Antartica Message to the Public Epilogue 'I Do Not Regret This Journey;' (Captain Robert Falcon Scott)

The appearance of Fauré's Requiem in the 1880s, a decade during which the composer's most successful compositions were songs and piano pieces, can on I y be explained by the fine choral music which preceded it. The Messe basse represents Fauré at his most practical. Written in conjunction with the French composer and organist André Messager (also at one time assistant to Widor at St Sulpice) during a holiday in Normandy in 1881, the Messe basse was composed for the modest forces of a local church. A setting of the motet O salutaris hostia and the Kyrie were Messager's contribution; the remaining movements of the Ordinary, without the Credo, were set by Fauré. When revising the score in 1906 Fauré adapted the violin and harmonium accompaniment for organ, at the same time excising the Gloria and replacing Messager's Kyrie with one of his own. The final version of the Messe basse is one of the few existing settings of the mass for female voices and organ. The youthful Cantique de Jean Racine dates from 1865 when Fauré was studying with Saint-Saëns at the Ecole Niedermeyer in Paris. The Cantique earned Fauré a premier prix in composition and is a testament to the young composer's melodic genius and to his penchant for rich textures. This recording is an attempt to move Fauré's liturgical music from the concert hall to the church. In particular, the reconstruction of nineteenth-century French ecclesiastical pronunciation and the restoration of Fauré's preferred phrasing are just two of the most useful elements in the search for the composer's intentions. To those familiar with the more expansive versions of Fauré's Requiem there will inevitably be unfamiliar textures in this performance. However, few of Fauré's romantic gestures are lost in the chamber version, and moreover, the reserved translucence of the instrumentation emphasizes the fact that the Requiem -and indeed a

Album Tracks 1. Reminiscence of the Norwegian Mountains; Symphonic Poem for Large Orchestra 2. Konzertstuck for Bassoon and Orchestra 3. Wettlauf (Foot-Race); Etude for String Orchestra 4. Ernste Und Heitere Grillen (Serious and Joyful Fancies); Fantasiestruck for Orchestra 5. Overture to Drottningen Av Golconda (The Queen of Golconda) 6. Elfenspiel (Play of the Elves)