Friday May 14, 2010

On tonight's show:

Colorado MahlerFest
Charley looks forward to Colorado MahlerFest later this month with a past performance of the Fifth Symphony.

Mahler: Symphony No. 5 in C sharp minor
Colorado MahlerFest Orchestra
Robert Olson, conductor
recorded 1/12-13/02

Program notes

Gustav Mahler (1860-1911): Symphony No. 5 in C sharp minor
Part I
I. Trauermarsch: In gemessenem Schritt
II. Stürmisch bewegt--Mit grösster Vehemenz
Part II
III. Scherzo: Kräftig, nicht zu schnell
Part III
IV. Adagietto: Sehr langsam
V. Rondo Finale: Allegro giocoso--Frisch

“You wouldn't believe the trouble it's giving me,” said Mahler while composing his Fifth Symphony. “Both the construction and the ordering of the details and proportions…call for supreme mastery. As in a gothic cathedral, what appears to be total confusion must be resolved into a superior order and harmony.”

Resolution came during the summer of 1901. “There is nothing romantic or mystical about it,” Mahler wrote to a friend. “It is simply an expression of incredible energy. It is a human being in the full light of day, in the prime of his life…The human voice would be absolutely out of place here. There is no need for words; everything is expressed in purely musical terms.”

By the following summer, the Fifth was finished. In the meantime, Mahler had met and married Alma Schindler, who became his copyist. During a try-out of the new work, she recalled, “I had heard all the melodies while I was copying them, but I heard none of them now. Mahler had given the percussion and drums so overwhelming a role that hardly anything but the rhythm was recognizable. I ran home, crying out loud…I broke out, sobbing, ‘But you've written a symphony for percussion!’ He laughed. Then he picked up the score and drew a long red line across the whole side-drum part and nearly half of the rest of the percussion.”

Years later, after five revisions of the Symphony, Mahler wrote: “Yes, I have actually had to reorchestrate it completely. I can't understand how I could have written so much like a beginner. Evidently the routine I had acquired in my first four symphonies simply left me in the lurch, as if a wholly new message demanded a wholly new technique.” The Fifth was dedicated “to my dear Alma, my faithful and courageous comrade in all weathers.”

Mahler conducted the first performance on October 18, 1904 in Cologne. The work was greeted with catcalls and scattered applause. One critic claimed the opening movement was followed by “a breathless silence which proved more effectively than tremendous applause that the public was conscious of the presence of genius.” It was a minority view. After the Viennese première, Robert Hirschfeld called Mahler “The Meyerbeer of the Symphony,” complaining that “there was a time when the public was interested in freaks of nature only--giants, six-legged calves, Siamese twins. But now it has lost all notion of what is wholesome in art and takes an interest in nothing but spiritual freaks.”

After the first rehearsal in Cologne, Mahler had written to Alma: “The Scherzo is a very devil of a movement. And the public--what are they to make of this chaos out of which new worlds are forever being created, only to crumble in ruin a moment later? What are they to say to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breath-taking iridescent and flashing breakers? I'm going for a walk along the Rhine, the only Cologner who will quietly go his way after the première without calling me a monster. O that I might give my symphony its first performance fifty years after my death!”

The Scherzo is the centerpiece of the entire symphony, forming the second part of a three-part work. The first part begins with a Funeral March, which can be regarded as a long introduction to the second movement, marked “stormily agitated, with greatest vehemence.” Similarly, Part Three begins with the famous Adagietto, which can be viewed as a link to the Rondo-Finale. The last movement contains a fragment of the song Praise from a Lofty Intellect, Mahler's dig at music critics.

Despite Mahler's acquired abhorrence of programs for his works, several writers have tried to affix a scheme to the Fifth Symphony. Hans Tischler, for one, wrote: “Mourning and pain (first movement). Fighting and wounds (second movement). Irony and shadowy insecurity, coupled with a forced gaiety (third movement); relieved by the Interlude (fourth movement). The fifth movement concludes the work more cheerfully, describing daily work and haste, still the best phases of ordinary human existence.” Biographer Michael Kennedy writes: “The Fifth is Mahler's ‘Eroica,’ progressing from tragedy to triumph.”

The score calls for 4 flutes, 3 piccolos, 3 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, triangle, glockenspiel, gong, harp and strings.

©2010 Charley Samson

Thursday May 13, 2010

On tonight's show:

Colorado Symphony Orchestra

Bedřich Smetana: “The Moldau” from Má Vlast
Jean Sibelius: Finlandia, Opus 26 No. 7
Jean Sibelius: “The Swan of Tuonela” from Four Legends, Op. 22 No. 2
Jean Sibelius: “Lemminkäinen’s Return” from Four Legends, Op. 22 No. 4
Jeffrey Kahane, conductor
recorded 3/6/10


Program notes

Bedrich Smetana (1824-1884): “Vltava” (The Moldau) from Má Vlast (My Country)

According to Smetana’s diary, Ma Vlast was “begun at the end of September,” 1874. However, two years earlier a newspaper article mentioned the composer at work on two symphonic poems titled Vysehrad and Vltava (The Moldau). In June, 1873, another article reported that Smetana was writing a series of “musical pictures of Czech glories and defeats.” By late 1875, the first four movements of the cycle were finished. Vltava (The Moldau) was completed on November 18, 1874, and first performed in Prague on April 4, 1876. Adolf Cech conducted the Royal Bohemian Provincial Theater Orchestra. Two more symphonic poems followed, and the entire set was introduced in Prague on November 5, 1882, again by Adolf Cech.

In a letter to his publisher, Smetana described The Moldau’s program: “Two springs pour forth their streams in the shade of the Bohemian forest, the one warm and gushing, the other cold and tranquil. Their waves, joyfully flowing over rocky beds, unite and sparkle in the rays of the morning sun. The forest brook, rushing on, becomes the River Vltava (Moldau). Coursing through Bohemia’s valleys, it grows into a mighty stream. It flows through dense woods from which come joyous hunting sounds, and the notes of the hunter’s horn drawing ever near and nearer. It flows through emerald meadows and lowlands, where a wedding feast is being celebrated with songs and dancing. By night, in its glittering waves, wood and water nymphs hold their revels. And these waters reflect many a fortress and castle--witnesses of a bygone age of knightly splendor, and the martial glory of days that are no more. At the Rapids of St. John the stream speeds on, winding its way through cataracts and hewing a path for its foaming waters through the rocky chasm into the broad riverbed, in which it flows on in majestic calm toward Prague, welcomed by time-honoured Vysehrad, to disappear in far distance from the poet’s gaze.”

Jean Sibelius (1865-1957): Finlandia, Op. 26 No. 7

“We are not Swedes, we can never be Russians, so let us be Finns” was the popular slogan in Finland. The country had been ruled by Sweden for five hundred years and then, in 1809, by Tsarist Russia. In 1894, Tsar Nicholas II appointed General Bobrikov as governor of Finland. Within months, the General had abolished all freedom of speech and assembly.

The people were not amused. Early in November, 1899, the wily Finns staged a series of “Press Celebrations,” ostensibly benefits for the Press Pension Fund, but really grand patriotic pageants meant to protest Russian rule. The November fourth show featured a series of six tableaux depicting various events in Finland's history. Sibelius wrote the accompanying music. The final section, titled “Finland Awakes,” roused the patriotic fervor of the audience to such an extent that the piece was banned by the Russian authorities.

Sibelius separated “Finland Awakes” from the other incidental music, revised it, and made a piano arrangement titled Finlandia. The orchestral tone poem had many names. “It was actually rather late,” Sibelius recalled, “that Finlandia was performed under its final title. At the farewell concert of the Philharmonic Orchestra before leaving for Paris, when the tone poem was played for the first time in its revised form, it was called Suomi. It was introduced by the same name in Scandinavia; in German towns it was called Vaterland, and in Paris La Patrie. In Finland its performance was forbidden during the years of unrest, and in other parts of the Empire it was not allowed to be played under any name that in any way indicated its patriotic character. When I conducted in Reval and Riga by invitation in the summer of 1904, I had to call it Impromptu.”

Sibelius was accused of cribbing tunes from folk music in Finlandia. He told his biographer that “there is a mistaken impression among the press abroad that my themes are often folk melodies. So far I have never used a theme that was not of my own invention. Thus the thematic material of Finlandia…is entirely my own.”

The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings.

Jean Sibelius (1865-1957): “The Swan of Tuonela” from Four Legends, Op. 22 No. 2

In 1893, Sibelius and his friend, writer J.H. Erkko, were planning an opera, titled Veneen Luominen (The Creation of the Boat), inspired by the Finnish national epic, the Kalevala. “It was originally intended that Erkko should write the book of the opera”, Sibelius recalled, “but somehow or other I did so myself, while Erkko helped me as literary adviser. During the summer I completed the prologue to the opera and the book. When I returned to Helsingfors in the autumn, I called on Kaarlo Bergbom, the creator of the Finnish operatic stage, to ask for his opinion of the book. He said that it was effective, but too lyrical. In this he was indeed right; I realized this at once. This sealed the doom of the opera. But the labor I had devoted to carrying out the idea was not entirely wasted, for my fresh absorption in the world of the Kalevala gave the idea for the Lemminkäinen Suite. In the prologue to the opera I really had one movement of the suite ready made: ‘The Swan of Tuonela’.”

The Suite, also called Four Legends from the Kalevala, traces the progress of the hero Lemminkäinen, who must do three heroic deeds to win the Daughter of the North. The other three movements, “Lemminkäinen and the Maidens,” “Lemminkäinen in Tuonela” and “Lemminkäinen's Homecoming,’ were completed late in 1895. Sibelius conducted the first performance, after quarrelsome rehearsals, on April 13, 1896 in Helsingfors (Helsinki). One critic recognized “that Finnish quality we all recognize in our hearts and which is part of ourselves.”

For the premiere, “The Swan of Tuonela” was placed third; after the final revision of the score, it was moved to second.

The score contains the following preface: “Tuonela, The Kingdom of Death, the Hades of Finnish mythology, is surrounded by a broad river of black water and rapid current, in which the Swan of Tuonela glides in majestic fashion and sings.”

One of Lemminkäinen's tasks is to slay the Swan, as recounted in Canto 14 of the Kalevala, in which the hero
Went and took his twanging crossbow,
Went away to seek the long neck.
Forth to Tuoni's river.

Accordingly, the song of the Swan is played by the English horn, and the final section is an elegy for the Swan. The strings are divided into as many as seventeen separate parts. The score calls for oboe, English horn, bass clarinet, 2 bassoons, 4 horns, 3 trombones, timpani, bass drum, harp and strings.

Jean Sibelius (1865-1957): “Lemminkäinen’s Return” from Four Legends, Op. 22 No. 4

In 1893, Sibelius and his friend, writer J.H. Erkko, were planning an opera, titled Veneen Luominen (The Creation of the Boat), inspired by the Finnish national epic, the Kalevala. “It was originally intended that Erkko should write the book of the opera,” Sibelius recalled, “but somehow or other I did so myself, while Erkko helped me as literary adviser. During the summer I completed the prologue to the opera and the book. When I returned to Helsingfors [Helsinki] in the autumn, I called on Kaarlo Bergbom, the creator of the Finnish operatic stage, to ask for his opinion of the book. He said that it was effective, but too lyrical. In this he was indeed right; I realized this at once. This sealed the doom of the opera. But the labor I had devoted to carrying out the idea was not entirely wasted, for my fresh absorption in the world of the Kalevala gave the idea for the Lemminkäinen Suite.”

The Suite, also called Four Legends from the Kalevala, traces the progress of the hero Lemminkäinen, who must do three heroic deeds to win the Daughter of the North. The other three movements are “Lemminkäinen and the Maidens of Saari,” “The Swan of Tuonela” and “Lemminkäinen in Tuonela.” Sibelius conducted the first performance, after quarrelsome rehearsals, on April 13, 1896 in Helsinki. One critic recognized “that Finnish quality we all recognize in our hearts and which is part of ourselves.”

“Lemminkäinen’s Return,” the last of the four, portrays his journey home with his companion, Tiera. The Daughter of the North destroys their boat, but the hero’s magic saves them. In the program book for the premiere, Sibelius quoted the following from the Kalevala:

Then the lively Lemminkäinen,
He the handsome Kaukomieli
From his care constructed horses,
Coursers black composed from trouble.
Then the lively Lemminkäinen
Started on his homeward journey,
Saw the lands and saw the beaches,
Here the islands, there the channels,
Saw the ancient landing-stages,
Saw the former dwelling places.

“I think that we Finns should really show more pride,” Sibelius once said. “‘Let us not bear our helmet crooked,’ a quotation from the Kalevala. What do we have to be ashamed of? This is the idea running through ‘Lemminkäinen’s Return.’ He is as good as the finest count.”

Biographer Robert Layton writes, “The piece is an exciting perpetual motion: the opening three-note figure is a kind of seminal motive that fertilizes all the subsequent thematic material.”

©2010 Charley Samson

Wednesday May 12, 2010

On tonight's show:

Colorado Music Festival
Cellist Johannes Moser with the Festival's founder and in our Performance Studio.

Ludwig van Beethoven: Coriolan Overture, Op.62
Dmitri Shostakovich: Cello Concerto No. 1 in E flat major, Op.107 (7/21/06) 31:24
Johannes Moser, cello
Festival Orchestra
Giora Bernstein, conductor
recorded 7/21/06

Johann Sebastian Bach: “Allemande” (2nd movement) & “Sarabande” (4th movement) from Solo Cello Suite No. 1 in G major, BWV 1007
Johannes Moser, cello
KVOD Performance Studio: recorded 3/29/07
Produced by Martin Skavish

Tuesday May 11, 2010

On tonight's show:

Friends of Chamber Music

Franz Schubert: Impromptu in E flat major, Op. 90 No. 2 (D.899)
Robert Schumann: Symphonic Etudes, Op. 13
Ingrid Fliter, piano

recorded 4/1/09

Monday May 10, 2010

On tonight's show:

Charley talks with Kantorei music director Richard Larson about their concerts with Simon Carrington this Friday and Sunday.

Dominick Argento: Walden Pond
Kantorei
Richard Larson, conductor
Richard von Foerster, David Short, Marcelo Sanches, cellos
Janet Harriman, harp
recorded 10/08

John Bennet: All creatures now are merry minded
Shaker Hymn (arr. Bob Chilcott): Simple Gifts
King's Singers
KVOD Performance Studio: recorded 10/24/09
Produced by Martin Skavish

Friday May 7, 2010

On tonight's show:

Colorado MahlerFest

In this first of 3 programs devoted to MahlerFest, music director Robert Olson gives us a “blow-by-blow” account of the Third Symphony, which they're performing on May 22-23, followed by a past performance of the Sixth.

Mahler: Symphony No. 6 in A minor (Tragic)
Colorado MahlerFest Orchestra
Robert Olson, conductor
Recorded 1/11,12/03

Colorado Symphony Musicians in Recital

Charley notes that concertmaster Yumi Hwang Williams and principal harpist Courtney Hershey Bress are giving a recital Sunday at Olinger Crown Hill Pavilion of Reflection.

M. Albeniz-Mildonian: Sonata in D major
Granados-Bress: Spanish Dance No. 2 in C minor, Op. 37 (Oriental)
Erardo Guerra: Apunte Betico
Courtney Hershey Bress, harp
St. Joseph Hospital Chamber Music Series: recorded 3/23/04
Felix Mendelssohn: "Allegro vivace" (1st movement) from Sonata in F Major
Yumi Hwang-Williams, violin
Dror Biran, piano
KVOD Performance Studio: recorded 11/9/09
Produced by Martin Skavish

Program Notes

Gustav Mahler (1860-1911): Symphony No. 6 in A minor (Tragic)
I. Allegro energico, ma non troppo: Heftig, aber markig
II. Scherzo: Wuchtig
III. Andante moderato
IV. Finale: Allegro moderato

"My Sixth," wrote Mahler to a friend, "will propound riddles the solution of which may be attempted only by a generation which has absorbed and truly digested my first five symphonies."
Most of the work on the Sixth Symphony was done during summer vacations in 1903 and 1904. In her book on her husband, Alma Mahler described the scene: "The summer was beautiful, serene and happy. Before the holidays came to an end he played me the completed Sixth Symphony. I had first to get everything done in the house, so as to have all my time free….Not one of his works came so directly from his inmost heart as this. We both wept that day. The music and what it foretold touched us so deeply. The Sixth is the most completely personal of his works, and a prophetic one also."

Before the first performance, in Essen on May 27, 1906, Mahler was a nervous wreck. "We came to the last rehearsals," Alma recalled, "to the dress rehearsal--to the last movement, with its three great blows of fate. When it was over, Mahler walked up and down the artists' room, sobbing, wringing his hands, unable to control himself."

The actual performance fared little better. Mahler was stung by Richard Strauss's remark that "Mahler wasted his greatest strength at the beginning and then became weaker and weaker." According to Alma, "Mahler was so afraid that agitation might get the better of him, that out of shame and anxiety he did not conduct the Symphony well."

For the premiere, Mahler subtitled the work "Tragic," but later deleted the title. At one point, he even switched the order of the middle movements, but later changed his mind and returned them to their original sequence.

The opening movement begins with an ominous march melody, which leads to a six-note rhythm in the timpani, what Mahler called the "rhythm of catastophe." This "Fate motive" returns in the Finale. The first movement also contains a theme associated with Alma Mahler. After its composition, the composer told her: "I've tried to capture you in a theme. I don't know whether I've succeeded….You'll have to take it as it is." In the Scherzo, Alma said that her husband "represented the unrhythmic play of the two little children as they toddle through the sand. Horrible--these children's voices become more and more tragic, and at the end there is just the whimper of a little expiring voice."

"The beauty of the music," writes Michael Kennedy of the slow movement," may easily cause us to overlook (as, indeed, it should) the technical skill, notably the novel and subtle merging, or overlapping, of themes."

Of the last movement Mahler said, "It is the hero, on whom fall three blows of fate, the last of which fells him as a tree is felled." The three hammer blows of fate--which Mahler wanted to be "short, mighty but dull in resonance, with a non-metallic character, like the stroke of an axe"--are said to foretell three tragic events in his life. A year after the premiere, his heart condition was first diagnosed, and a daughter died of scarlet fever and diphtheria. Four years later, Mahler died of subacute bacterial endocarditis. Michael Steinberg thinks the third blow represents "the bitter end of his directorship of the Vienna Opera." Being superstitious, Mahler deleted the third hammer blow. Some conductors restore it.

The score calls for 3 piccolos, 4 flutes, 4 oboes, 2 English horns, 5 clarinets, bass clarinet, 4 bassoons, contrabassoon, 8 horns, 6 trumpets, 3 trombones, bass trombone, tuba, timpani, glockenspiel, cowbells, low-pitched bells, bass drum, triangle, snare drum, cymbals, woodblocks, tam-tam, rute, tambourine, hammer, xylophone, 2 harps, celesta and strings.

©2010 Charley Samson

Thursday May 6, 2010

On tonight's show:

Colorado Symphony Orchestra

From this season's Masterworks Series, associate conductor Scott O’Neil and the Orchestra play Moussorgsky's tribute to his friend Victor Hartmann.

Modeste Moussorgsky (Orch. Maurice Ravel): Pictures at an Exhibition
Scott ONeil, conductor
Recorded 2/20/10

Lamont School of Music
CSO principal hornist Michael Thornton talks about his first meeting with composer Eric Ewazen, who is in residence at the Lamont School of Music, followed by a performance of his music.

Eric Ewazen: “Dance” from Ballade, Pastorale and Dance
Michael Thornton, horn
Anne Epperson, piano
Julie Duncan Thornton, flute
KVOD Performance Studio: recorded 12/15/05
Produced by Martin Skavish

Fort Collins Symphony Orchestra
Charley notes that CSO concertmaster Yumi Hwang Williams is playing the Sibelius Concerto with the Fort Collins Symphony this weekend.

John Adams: "Meditative" (2nd movement) & "40% Swing" from Road Movies
Yumi Hwang-Williams, violin
David Korevaar, piano
KVOD Performance Studio: recorded 6/6/08
Produced by Martin Skavish

Boulder Chamber Orchestra
Boulder Chamber Orchestra music director Bahman Saless talks about their concerts this weekend.



Program Notes

Modeste Moussorgsky (1839-1881): Pictures at an Exhibition (Orchestrated by Maurice Ravel)
Promenade: Allegro guisto nel modo russico; senza
allegrezza ma poco sostenuto
I. Gnomus: Vivo
Promenade: Moderato comodo e con delicatezza
II. Il vecchio castello (The old castle). Andante molto cantabile e con dolore
Promenade: Moderato non tanto, pesante
III. Tuileries: Allegretto non troppo, capriccioso
IV. Bydlo: Sempre moderato pesante
Promenade: Tranquillo
V. Ballet of the Unhatched Chicks: Scherzino, Vivo
leggiero
VI. Samuel Goldenberg and Schmuyle
VII. The Market Place at Limoges: Allegro vivo, sempre
scherzando
VIII. Catacombae, Sepulchrum Romanum: Largo
Cum mortuis in lingua mortua: Andante non troppo,
con lamento
IX. The Hut on Fowls' Legs (Baba-Yaga): Allegro con
brio, feroce
X. The Great Gate of Kiev: Allegro alla breve;
Maestoso; Con grandezza

In 1874 a memorial exhibition of some 400 paintings and drawings by Victor Hartmann was organized by critic Vladimir Stassov and Count Paul Suzor, president of the Architect's Society, in the galleries of the Academy of the Arts in St. Petersburg. Hartmann's death the year before was a shock to his friend Modeste Moussorgsky. "What a terrible blow!" he wrote. "Why should a dog, a horse, a rat have life, and creatures like Hartmann must die? There can and must be no consolation--it is a rotten mortality!"

Moussorgsky was inspired by the exhibition to write a piano suite "in memory of our dear Victor" titled Pictures at an Exhibition. The work went swiftly. "Sounds and ideas float in the air," he said, "and my scribbling can hardly keep pace with them." The music was finished in less than a month, during June, 1874.

Moussorgsky's suite contains ten "pictures," interspersed with a "Promenade" meant to depict the composer himself, "roving right and left, now desultorily, now briskly, in order to get near the pictures that had caught his attention," said Stassov. "My own physiognomy peeps out through the intermezzos," wrote the composer, who weighed over two hundred pounds.
Here is a handy guide to the Pictures:
Promenade
1) "The Gnome." In his introduction to the first edition, Stassov says that Hartmann's drawing represented "a little gnome awkwardly walking on deformed legs." Elsewhere Stassov refers to "something in the style of the fabled Nutcracker, the nuts being inserted in the gnome's mouth."
Promenade
2) "The Old Castle." A troubador sings in front of a medieval castle.
Promenade
3) "In the Garden of the Tuileries." Moussorgsky's subtitle is "Dispute of the Children after Play."
4) "Bydlo." A Polish wagon, drawn by oxen.
Promenade
5) "Ballet of the Unhatched Chicks." Stassov says that "in 1870 Hartmann designed the costumes for the staging of the ballet Trilby at the Maryinsky Theater, St. Petersburg. In the cast were a number of boy and girl pupils of the theater school, arrayed as canaries. Others were dressed up as eggs."
6) "Samuel Goldenburg and Schmuyle: Two Jews, One Rich and One Poor." Moussorgsky liked this picture so much that Hartmann gave it to him.
7) "The Market place at Limoges." In the margin of the score, Moussorgsky wrote: "Great news! M. de Puissangeout has just recovered his cow. The Fugitive. But the good crones of Limoges are not entirely agreed about this, because Mme. de Remboursac just acquired a beautiful new set of teeth, whereas M. de Panta-Pantaleon's nose, which is in the way, remains the color of a peony."
8) "Catacombs, Roman Tombs" and "Cum mortuis in lingua mortua" (With the Dead in a Dead Language). In a footnote, Moussorgsky explained: "Well may it be in Latin! The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within."
9) "The Hut on Fowls' Legs (Baba-Yaga)." Hartmann's drawing shows a clock in the form of the hut of the Russian witch Baba-Yaga, who eats bones ground up with a mortar and pestle, which she also uses to fly through the air.
10) "The Great Gate of Kiev." Hartmann's design was submitted for city gates commemorating Tsar Alexander II's escape from assassination in 1866.

The work is scored for piccolo, 3 flutes, 3 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, E-flat alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, rattle, side drum, bass drum, cymbals, whip, triangle, xylophone, glockenspiel, bells, celesta, tam-tam, timpani, 2 harps, piano and strings.
©2010 Charley Samson