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Franz Liszt - Symphonic Poem No. 9: 'Hungaria', S.103, for symphony orchestra (1854)
London Philharmonic Orchestra
Conductor - Bernard Haitink
Franz Liszt wrote his symphonic poem Hungaria in 1854, basing it partly on the Heroic March in the Hungarian Style for piano which he wrote in 1840. It was premiered under Liszt's baton at the Hungarian National Theater in Budapest on September 8, 1856, where it achieved an enormous success. "There was better than applause," the composer later wrote. "All wept, both men and women!" He was reminded with that scene of the proverb that "tears are the joy of the Hungarians."
https://en.wikipedia.org/wiki/Hungaria_(Liszt)
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https://www.youtube.com/watch?v=UhwzdyJ6wV8
Mark Andre - ...IN..., for amplified bass clarinet (2003)
Bass Clarinet - Shizuyo Oka
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https://www.youtube.com/watch?v=kPxS0EEaWj4
Mark Andre - ...zu..., for string trio (2003/05)
Performed by Ensemble Recherche
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https://www.youtube.com/watch?v=adFNiHtPicI
Bengt Ollén - Trilo, Swedish folk song for choir (2020)
Sofia Vokalensemble
Soloist - Karin Glad
Conductor - Bengt Ollén
Watch this performance here: https://www.youtube.com/watch?v=LKBd_V4LeA4
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https://www.youtube.com/watch?v=mIKKXlotmXo
Luciano Berio - Chemins V su Sequenza XI, for guitar and orchestra (1992)
WDR Sinfonieorchester
Conductor - Jean-Michaël Lavoie
Guitar - Pablo Márquez
"In Chemins V for guitar and an ensemble of forty-two players, the soloist plays, substantially unaltered, my Sequenza XI for guitar, written in 1987-1988 for Eliot Fisk. My aim was to develop a dialogue between the very idiomatic harmony of the guitar, strongly conditioned by the tuning of the instrument, and another, more extended and non-idiomatic harmonic dimension (the passport for moving between these two distant territories is the interval of augmented fourth). In Chemins V two instrumental idioms are also present: one has its roots in the Flamenco tradition, the other in classical guitar (the bridge between these two “histories” has been my own desire to experiment with an instrument I love). The dialogue between the two harmonic dimensions on one hand and the two instrumental idioms on the other, takes place through a continuous exchange and transformation of specific characters and clearly recognizable figures: the formal plan of Chemins V is therefore rather repetitive. But without repetition and parallelism a dialogue would have neither form nor meaning."
- Luciano Berio
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https://www.youtube.com/watch?v=qphLnIhapVs
Morton Feldman - Piano and Orchestra, for string quartet and orchestra (1975)
The New World Symphony
Conductor - Michael Tilson Thomas
Piano - Alan Feinberg
Morton Feldman's Piano and Orchestra from 1975 is one of a series of pieces by Feldman whose title merely describes its instrumentation. Feldman hoped thus to direct the audience’s attention to the colour of the work, rather than to the process of composition. The Süddeutsche Zeitung described the work at its première as “a balancing act on the thinnest possible line between soloist and orchestra”.
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https://www.youtube.com/watch?v=cKlKqskzkaA
Pierre Boulez - Une Page d'Éphéméride, for solo piano (2005)
Piano - Hideki Nagano
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Boris Tishchenko - Symphony No. 9 (Unfinished), (2008)
Orchestrated by Svetlana Nesterova
Dedicated to G. N. Roshdestvensky
Saint Petersburg Philharmonic Academic Symphony Orchestra
Conductor - Vladimir Altshuler
1. Andante - 0:00
1. Allegretto Molto - 2:36
Boris Tishchenko's 9th Symphony is an almost Mahlerian work, which was started in 2008, but sadly left unfinished at the time of his death in December 2010. It was orchestrated by Svetlana Nesterova, a student in his class at the St Petersburg State Rimsky-Korsakov Conservatoire during the years 1995-2000. Almost no information is available for this work, and there has been no recording made of it, except for this one, which is very difficult to come by, and does not seem to be available anywhere for purchase. Nevertheless it is a wonderful, short work, which remains in two sections, and Andante, followed by an Allegretto Molto, which make up part of a first movement (as indicated in the score). It ends rather abruptly with the footnote "The author's manuscript is interrupted here (2008)
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https://www.youtube.com/watch?v=hh53lJNuH10
Esa-Pekka Salonen - Nachtlieder, for clarinet and piano (1978)
Clarinet - Luis Fernandez
Piano - Carlos Apellaniz
I. Sehr Innig - 0:00
II. Zart - 1:15
III. Frei, wie Kadenz - 3:18
IV. Ruhig und Gesangvoll - 5:07
Nachtlieder (Night Songs) is Salonen's early work dating from 1978. It is in fact a sort of descendant of Alban Berg's Vier Stucke fur Klarinette und Klavier op. 5 (1913). Like Berg, Salonen has condensed his Expressionist night songs into concise, miniature-like proportions. The four-movement work is dominated by a meditative mood and the expressive melodies of the clarinet.
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https://www.youtube.com/watch?v=CeY0iRsRo5U