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The Original Recordings 1950-1960

Willem van Otterloo / The Hague Philharmonic (Residentie Orkest)

The Original Recordings 1950-1960

Format: CD
Label: Challenge Classics
UPC: 0608917214222
Catnr: CC 72142
Release date: 05 September 2005
CD (13 items)
 
Label
Challenge Classics
UPC
0608917214222
Catalogue number
CC 72142
Release date
05 September 2005
Album
Artist(s)
Composer(s)
EN
NL

About the album

Willem van Otterloo was by no means a dictatorial conductor, nor was he a glamour-seeker or showman. The music itself had the highest priority. His thorough knowledge of each and every score was legendary, and he conducted nearly all the larger works from memory. But above all he was a true orchestral trainer. From this legendary conductor we now have an unique document in our hands. It consists of 38 works (from a total of 125) which where recorded for Philips in the years 1950-60 with the Residency Orchestra The Hague. Also there are two DGG recordings of Haydn symphonies from 1962. The 13 cd’s are all digitally remasterd and a 100-page booklet is written by Otto Ketting. This box is a real event: here musical history is written ánd immortalized.
Verzameling van 38 werken van het Residentie Orkest tussen 1950 en 1960
Deze verzameling bevat 38 werken uitgevoerd door het Residentie Orkest onder leiding van Willem van Otterloo, opgenomen voor Philips tussen 1950 en 1960. Behalve deze opnames van Philips zijn er ook 2 opnames uit 1962 met symfonieën van Haydn te beluisteren.

Willem van Otterloo was geen dictatoriale dirigent of showman, bij hem had de muziek zelf de hoogste prioriteit. Zijn volledige kennis van vele partituren was legendarisch en hij dirigeerde bijna alle grote stukken uit zijn hoofd. Maar boven alles was hij een echte orkestrale trainer.
Alle 13 albums zijn nu opnieuw digitaal gemasterd en Otto Ketting heeft er een boekje van 100 pagina's bij geschreven.
Met deze opnames is muzikale geschiedenis geschreven en vereeuwigd!

Artist(s)

Willem van Otterloo

Willem van Otterloo was born in 1907. He studied medicine briefly in Utrecht and played saxophone in the student dance orchestra Tower Town Band.
 He subsequently studied cello and composition at the Amsterdam Conservatory. One of his first large-scale compositions, the Third Orchestral Suite (1932), won first prize in a competition held by the Royal Concertgebouw Orchestra. When conductor Willem Mengelberg withdrew due to illness, the young composer was invited to conduct the work himself. In 1932 Van Otterloo joined the cello section of the Utrechts Stedelijk Orkest (Utrecht Municipal Orchestra); in 1933 he became the orchestra’s assistant conductor and in 1937 was promoted to principal conductor. From 1946-1948 he also conducted at De Nederlandse Opera, and from 1947-1949 was conductor...
more
Willem van Otterloo was born in 1907. He studied medicine briefly in Utrecht and played saxophone in the student dance orchestra Tower Town Band.
 He subsequently studied cello and composition at the Amsterdam Conservatory. One of his first large-scale compositions, the Third Orchestral Suite (1932), won first prize in a competition held by the Royal Concertgebouw Orchestra. When conductor Willem Mengelberg withdrew due to illness, the young composer was invited to conduct the work himself.
In 1932 Van Otterloo joined the cello section of the Utrechts Stedelijk Orkest (Utrecht Municipal Orchestra); in 1933 he became the orchestra’s assistant conductor and in 1937 was promoted to principal conductor. From 1946-1948 he also conducted at De Nederlandse Opera, and from 1947-1949 was conductor of the Radio Philharmonic Orchestra.
In 1949 he took up the post of chief conductor of the The Hague Philharmonic (Residentie Orkest), at that time a lacklustre ensemble. He is credited with boosting the quality of the orchestra in a remarkably short period of time. Let us not forget what it meant in those days to be a chief conductor: eight months a year with the orchestra, active participation in the orchestra’s organization and structure, and the responsibility for a huge number of concerts – nearly a hundred per year. By January 1961 he had already conducted his 1000th concert with The Hague Philharmonic.
Before long, the RO had become an outstanding ensemble that, in those years, even vied with the Royal Concertgebouw Orchestra. The Hague Philharmonic also attracted the world’s top guest conductors: Pierre Monteux, Charles Munch, Eugen Jochum, Carlo Maria Giulini, Hans Rosbaud, Karl Böhm, Rafaël Kubelik, John Barbirolli, Antal Dorati, Günter Wand, Jean Martinon and Leopold Stokowski.
Van Otterloo’s composers of choice in those days were Haydn, Schubert, 
Berlioz, Brahms, Franck, Bruckner, Reger, Ravel, Bartók and Stravinsky. But he also conducted works such as Alban Berg’s Lulu Symphony, excerpts from Wozzeck, the Drei Orchesterstücke and the Kammerkonzert; the Fünf Orchesterstücke, Variationen für Orchester, Begleitungsmusik z.e. Lichtspielszene by Schoenberg; Anton Webern’s Fünf and Sechs Orchesterstücke and Variations für Orchester; the Fifth and Sixth Symphony by Karl Amadeus Hartmann; works by Varèse (Arcana), Ives (Three Places in New England) and more than three hundred works by contemporary Dutch composers.
In 1962 he returned to lead the Radio Philharmonic Orchestra, in a co-directorship with Jean Fournet. In 1972 he left The Hague Philharmonic, taking up posts with orchestras in Düsseldorf, Tokyo and Melbourne. His last position was as chief conductor of the Sydney Symphony Orchestra.
Willem van Otterloo was by no means a glamour-seeker or showman. The music itself had the highest priority. His consummate knowledge of each and every score was legendary, and he conducted nearly all the larger works from memory. But above all he was a true orchestral trainer. He worked tirelessly on intonation (he could sing entire chords flawlessly), rhythmic precision and consistency in sound and timbre. He preferred taut, brisk tempos; he demanded orchestral discipline and total control; he had the uncanny ability to maintain a coherent musical line and never lost sight of the structure and form. In these respects Van Otterloo was perfectly suited to the recording studio.

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Residentie Orkest The Hague

Residentie Orkest The Hague proves that even in the 21st century, symphonic music can still be meaningful to large and diverse audiences. Its reputation as one of the finest orchestras in Europe makes it an appropriate figurehead for The Hague as a cosmopolitan city of justice, peace, and culture. The orchestra performs concert series in the Zuiderstrandtheater in Scheveningen and in addition performs at venues such as Concertgebouw Amsterdam, TivoliVredenburg Utrecht and De Doelen in Rotterdam. Special crossover and innovative productions are also provided at The Hague’s prominent pop venue Paard van Troje throughout the season. The Residentie Orkest performs regularly at various other major concert halls abroad. Tours have brought the orchestra to New York, Boston, Chicago, London and...
more

Residentie Orkest The Hague proves that even in the 21st century, symphonic music can still be meaningful to large and diverse audiences. Its reputation as one of the finest orchestras in Europe makes it an appropriate figurehead for The Hague as a cosmopolitan city of justice, peace, and culture. The orchestra performs concert series in the Zuiderstrandtheater in Scheveningen and in addition performs at venues such as Concertgebouw Amsterdam, TivoliVredenburg Utrecht and De Doelen in Rotterdam. Special crossover and innovative productions are also provided at The Hague’s prominent pop venue Paard van Troje throughout the season. The Residentie Orkest performs regularly at various other major concert halls abroad. Tours have brought the orchestra to New York, Boston, Chicago, London and Vienna amongst others and the orchestra also performed in countries like Japan, China, Germany, France and South America. There are also many prolific collaborations with a wide range of partners, including the Dutch National Theatre, Gemeentemuseum and the Dutch National Opera. Recent seasons have seen a much acclaimed production of Messiaen’s rarely performed opera Saint François d’Asisse and Poulenc’s Dialogues des Carmélites.

A rich history Since its first concert in 1904, the Residentie Orkest has developed into one of the prominent symphony orchestras of The Netherlands. Founded by Dr Henri Viotta, who was also its first principal conductor, it quickly attracted composers like Richard Strauss, Igor Stravinsky, Max Reger, Maurice Ravel, Paul Hindemith and Vincent d’Indy. Guest conductors included Arturo Toscanini, Bruno Walter, Leonard Bernstein and Hans Knappertsbusch.

After World War II, Willem van Otterloo was appointed chief conductor. He led the orchestra from 1949 to 1973 and built a strong reputation by combining high-quality performances with adventurous programming. Van Otterloo was succeeded by Jean Martinon, Ferdinand Leitner, Hans Vonk, Evgenii Svetlanov, Jaap van Zweden and Neeme Järvi.

Chief conductor Starting season 2018/2019 Nicholas Collon is chief conductor and artistic advisor of the Residentie Orkest. Richard Egarr will join the orchestra as principal guest conductor in 2019. Until the summer of 2019 Jan Willem de Vriend will act as principal conductor.


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Composer(s)

Willem van Otterloo

Willem van Otterloo was born in 1907. He studied medicine briefly in Utrecht and played saxophone in the student dance orchestra Tower Town Band.
 He subsequently studied cello and composition at the Amsterdam Conservatory. One of his first large-scale compositions, the Third Orchestral Suite (1932), won first prize in a competition held by the Royal Concertgebouw Orchestra. When conductor Willem Mengelberg withdrew due to illness, the young composer was invited to conduct the work himself. In 1932 Van Otterloo joined the cello section of the Utrechts Stedelijk Orkest (Utrecht Municipal Orchestra); in 1933 he became the orchestra’s assistant conductor and in 1937 was promoted to principal conductor. From 1946-1948 he also conducted at De Nederlandse Opera, and from 1947-1949 was conductor...
more
Willem van Otterloo was born in 1907. He studied medicine briefly in Utrecht and played saxophone in the student dance orchestra Tower Town Band.
 He subsequently studied cello and composition at the Amsterdam Conservatory. One of his first large-scale compositions, the Third Orchestral Suite (1932), won first prize in a competition held by the Royal Concertgebouw Orchestra. When conductor Willem Mengelberg withdrew due to illness, the young composer was invited to conduct the work himself.
In 1932 Van Otterloo joined the cello section of the Utrechts Stedelijk Orkest (Utrecht Municipal Orchestra); in 1933 he became the orchestra’s assistant conductor and in 1937 was promoted to principal conductor. From 1946-1948 he also conducted at De Nederlandse Opera, and from 1947-1949 was conductor of the Radio Philharmonic Orchestra.
In 1949 he took up the post of chief conductor of the The Hague Philharmonic (Residentie Orkest), at that time a lacklustre ensemble. He is credited with boosting the quality of the orchestra in a remarkably short period of time. Let us not forget what it meant in those days to be a chief conductor: eight months a year with the orchestra, active participation in the orchestra’s organization and structure, and the responsibility for a huge number of concerts – nearly a hundred per year. By January 1961 he had already conducted his 1000th concert with The Hague Philharmonic.
Before long, the RO had become an outstanding ensemble that, in those years, even vied with the Royal Concertgebouw Orchestra. The Hague Philharmonic also attracted the world’s top guest conductors: Pierre Monteux, Charles Munch, Eugen Jochum, Carlo Maria Giulini, Hans Rosbaud, Karl Böhm, Rafaël Kubelik, John Barbirolli, Antal Dorati, Günter Wand, Jean Martinon and Leopold Stokowski.
Van Otterloo’s composers of choice in those days were Haydn, Schubert, 
Berlioz, Brahms, Franck, Bruckner, Reger, Ravel, Bartók and Stravinsky. But he also conducted works such as Alban Berg’s Lulu Symphony, excerpts from Wozzeck, the Drei Orchesterstücke and the Kammerkonzert; the Fünf Orchesterstücke, Variationen für Orchester, Begleitungsmusik z.e. Lichtspielszene by Schoenberg; Anton Webern’s Fünf and Sechs Orchesterstücke and Variations für Orchester; the Fifth and Sixth Symphony by Karl Amadeus Hartmann; works by Varèse (Arcana), Ives (Three Places in New England) and more than three hundred works by contemporary Dutch composers.
In 1962 he returned to lead the Radio Philharmonic Orchestra, in a co-directorship with Jean Fournet. In 1972 he left The Hague Philharmonic, taking up posts with orchestras in Düsseldorf, Tokyo and Melbourne. His last position was as chief conductor of the Sydney Symphony Orchestra.
Willem van Otterloo was by no means a glamour-seeker or showman. The music itself had the highest priority. His consummate knowledge of each and every score was legendary, and he conducted nearly all the larger works from memory. But above all he was a true orchestral trainer. He worked tirelessly on intonation (he could sing entire chords flawlessly), rhythmic precision and consistency in sound and timbre. He preferred taut, brisk tempos; he demanded orchestral discipline and total control; he had the uncanny ability to maintain a coherent musical line and never lost sight of the structure and form. In these respects Van Otterloo was perfectly suited to the recording studio.

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Disc #1
01.
'Symfonie op.14, ''Symphonie fantastique''': Rêveries-Passions
12:59
02.
'Symfonie op.14, ''Symphonie fantastique''': Un Bal
06:04
03.
'Symfonie op.14, ''Symphonie fantastique''': Scène Aux Champs
15:33
04.
'Symfonie op.14, ''Symphonie fantastique''': Marche Au Supplice
04:38
05.
'Symfonie op.14, ''Symphonie fantastique''': Songe d'Une Nuit du Sabbat
09:14
06.
'Aufforderung zum Tanz, J.260, op.65, (Arr.).': rondo brilliant
08:32
07.
'Ouverture voor orkest, op.25, ''De getemde feeks'''
06:21
08.
'Ouverture voor orkest, op.23, ''Cyrano de Bergerac'''
12:15

Disc #2
01.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Andante Grazioso
02:07
02.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 1: L'Istesso Tempo
02:20
03.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 2: Poco Agitato
01:45
04.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 3: Con Moto
01:12
05.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 4: Vivace
00:45
06.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 5: Quasi Presto
01:22
07.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 6: Sostenuto
02:06
08.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 7: Andante Grazioso
02:22
09.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Variation 8: Molto Sostenuto
06:34
10.
'Variaties en fuga voor orkest, op.132, ''Op een thema van Mozart''': Fugue
09:48
11.
'Suite voor orkest, op.125, ''Eine romantische Suite''': Notturno
10:09
12.
'Suite voor orkest, op.125, ''Eine romantische Suite''': Scherzo
07:20
13.
'Suite voor orkest, op.125, ''Eine romantische Suite''': Finale
10:58
14.
'Suite voor orkest, ''Elektra''': Andante Agitato-Adagio
06:28
15.
'Suite voor orkest, ''Elektra''': Presto-Andantino Moderato-Presto
04:04
16.
'Suite voor orkest, ''Elektra''': Andante-Moderato-Più Lento ma con Moto
03:53
17.
'Suite voor orkest, ''Elektra''': Allegro Agitato-Maestoso
03:11

Disc #3
01.
Valses nobles et sentimentales: Modéré
02:59
02.
Valses nobles et sentimentales: Assez Lent
02:09
03.
Valses nobles et sentimentales: Modéré
01:30
04.
Valses nobles et sentimentales: Assez Animé
01:16
05.
Valses nobles et sentimentales: Presque Lent
01:07
06.
Valses nobles et sentimentales: Assez Vif
00:52
07.
Valses nobles et sentimentales: Moins Vif
02:44
08.
Valses nobles et sentimentales: Epilogue: Lent
03:59
09.
Daphnis et Chloé; Suite nr.1
11:19
10.
Daphnis et Chloé; Suite nr.2
16:08
11.
Schilderijententoonstelling: Promenade
01:47
12.
Schilderijententoonstelling: Gnomus
02:40
13.
Schilderijententoonstelling: Promenade
00:55
14.
Schilderijententoonstelling: Il Vecchio Castello
04:35
15.
Schilderijententoonstelling: Promenade
00:34
16.
Schilderijententoonstelling: Les Tulleries
01:04
17.
Schilderijententoonstelling: Bydlo
02:38
18.
Schilderijententoonstelling: Promenade
00:43
19.
Schilderijententoonstelling: Ballet Des Poussins Dans Leur Coques
01:15
20.
Schilderijententoonstelling: Samuel Goldenberg Und Schmuyle
02:12
21.
Schilderijententoonstelling: Limoges, Le Marché
01:16
22.
Schilderijententoonstelling: Catacombae: Sepulchrum Romanum
02:06
23.
Schilderijententoonstelling: Cum Mortuis In Lingua Morta
01:37
24.
Schilderijententoonstelling: La Cabane Des Pattes De Poule
03:28
25.
Schilderijententoonstelling: Grande Porte De Kiev
05:12

Disc #4
01.
'Symfonie Hob.I, nr.45, fis kl.t., ''Abschieds-Symphonie''': Allegro Assai
04:09
02.
'Symfonie Hob.I, nr.45, fis kl.t., ''Abschieds-Symphonie''': Adagio
06:45
03.
'Symfonie Hob.I, nr.45, fis kl.t., ''Abschieds-Symphonie''': Menuetto: Allegretto
04:01
04.
'Symfonie Hob.I, nr.45, fis kl.t., ''Abschieds-Symphonie''': Finale: Presto-Adagio
07:34
05.
'Symfonie Hob.I, nr.55, Es gr.t., ''Der Schulmeister''': Allegro Di Molto
04:18
06.
'Symfonie Hob.I, nr.55, Es gr.t., ''Der Schulmeister''': Adagio, Ma Semplicemente
06:12
07.
'Symfonie Hob.I, nr.55, Es gr.t., ''Der Schulmeister''': Menuetto
04:34
08.
'Symfonie Hob.I, nr.55, Es gr.t., ''Der Schulmeister''': Finale: Presto
03:51
09.
'Symfonie Hob.I, nr.92, G gr.t., ''Oxford''': Adagio-Allegro Spiritoso
06:56
10.
'Symfonie Hob.I, nr.92, G gr.t., ''Oxford''': Adagio Cantabile
08:26
11.
'Symfonie Hob.I, nr.92, G gr.t., ''Oxford''': Menuetto: Allegretto
04:55
12.
'Symfonie Hob.I, nr.92, G gr.t., ''Oxford''': Presto
04:55
13.
'Manfred, op.115 ; Ouverture'
11:04

Disc #5
01.
'Symfonie nr.7, (nr.8), D.759, b kl.t., ''Unvollendete''': Allegro Moderato
14:40
02.
'Symfonie nr.7, (nr.8), D.759, b kl.t., ''Unvollendete''': Andante Con Moto
12:04
03.
'Rosamunde, F?rstin von Zypern, D.797, nr.3, ''Zwischenakt''': Entr' Act 3
07:26
04.
'Rosamunde, F?rstin von Zypern, D.797, nr.2, ''Ballett''': Balletmusik Nr. 2
05:54
05.
Kindertotenlieder: Nun will sie Sonn'so Hell Aufgehn
05:48
06.
Kindertotenlieder: Nun Seh' Ich Wohl, Warumso Dunkle Flamme
04:28
07.
Kindertotenlieder: Wenn Dein Mütterlein
04:16
08.
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen
03:18
09.
Kindertotenlieder: In Diesem Wetter
06:16

Disc #6
01.
'Symfonie voor sopraan en orkest, nr.4, G gr.t.': Bedächtig. Nicht Eilen
16:02
02.
'Symfonie voor sopraan en orkest, nr.4, G gr.t.': In Gemächlicher Bewegung. Ohne Hast
09:05
03.
'Symfonie voor sopraan en orkest, nr.4, G gr.t.': Ruhevoll
19:23
04.
'Symfonie voor sopraan en orkest, nr.4, G gr.t.': Sehr Behaglich
08:31
05.
'Rapsodie voor piano en orkest, op.43, ''Rapsodie op een thema van Paganini'''
22:33

Disc #7
01.
'Symfonie nr.4, WAB.104, Es gr.t., 1880, ''Romantische''': Bewegt, Nicht Zu Schnell
17:51
02.
'Symfonie nr.4, WAB.104, Es gr.t., 1880, ''Romantische''': Andante Quasi Allegretto
16:15
03.
'Symfonie nr.4, WAB.104, Es gr.t., 1880, ''Romantische''': Scherzo: Bewegt
10:12
04.
'Symfonie nr.4, WAB.104, Es gr.t., 1880, ''Romantische''': Finale: Bewegt, Doch Nicht Zu Schnell
19:45
05.
'Ouverture voor orkest, WAB.98, g kl.t.'
10:26

Disc #8
01.
Pavane pour une infante défunte
06:44
02.
El sombrero de tres picos ; Dansen: The Neighbours' Dance
03:01
03.
El sombrero de tres picos ; Dansen: Dance Of The Miller
02:39
04.
El sombrero de tres picos ; Dansen: Final Dance
06:05
05.
'Interplay, ''American Concertette''': With Drive and Vigour
04:10
06.
'Interplay, ''American Concertette''': Gavotte
02:32
07.
'Interplay, ''American Concertette''': Blues
04:07
08.
'Interplay, ''American Concertette''': Very Fast With Verve And Gusto
03:46
09.
'Spirituals, 1941': Proclamation
04:19
10.
'Spirituals, 1941': Sermon
03:22
11.
'Spirituals, 1941': A Little Bit of Sin
02:00
12.
'Spirituals, 1941': Protest
03:12
13.
'Spirituals, 1941': Jubilee
03:31
14.
'Concert voor piano, orkest, nr.3 en op.26, C gr.t.': Andante-Allegro
09:00
15.
'Concert voor piano, orkest, nr.3 en op.26, C gr.t.': Thema Und Variationen: Andantino
08:41
16.
'Concert voor piano, orkest, nr.3 en op.26, C gr.t.': Allegro Ma Non Troppo
08:55

Disc #9
01.
'Symfonie nr.2, op.18, ''Piccola sinfonia'''
15:41
02.
Dansflitsen: Intrada-Alla Polacca
00:58
03.
Dansflitsen: Siciliano
02:05
04.
Dansflitsen: Tempo Di Valsa
01:51
05.
Dansflitsen: Passamezzo
02:05
06.
Dansflitsen: Menuetto
02:35
07.
Dansflitsen: Marcia Funebre
01:42
08.
Dansflitsen: Alla Tarantella
03:12
09.
Variaties op een thema van Johann Kuhnau
11:55
10.
Ricercare voor orkest
09:36
11.
Symfonie nr.3: Allegro
08:45
12.
Symfonie nr.3: Scherzo: Presto
04:38
13.
Symfonie nr.3: Adagio
07:57
14.
Symfonie nr.3: Allegro assai
06:10

Disc #10
01.
'Dansen voor piano 4h, op.35 en nr.1-4, ''Noorse dansen'' (Arr.).': Allegro Marcato
04:44
02.
'Dansen voor piano 4h, op.35 en nr.1-4, ''Noorse dansen'' (Arr.).': Allegretto Tranquillo E Grazioo
02:09
03.
'Dansen voor piano 4h, op.35 en nr.1-4, ''Noorse dansen'' (Arr.).': Allegro Moderato Alla Marcia
02:46
04.
'Dansen voor piano 4h, op.35 en nr.1-4, ''Noorse dansen'' (Arr.).': Allegro Molto
05:02
05.
'Die Geschöpfe des Prometheus, op.43': Ouvertüre-Introduktion: Allegro Non Troppo
06:19
06.
'Die Geschöpfe des Prometheus, op.43': Poco Adagio-Allegro Con Brio
02:40
07.
'Die Geschöpfe des Prometheus, op.43': Adagio-Allegro Con Brio
01:43
08.
'Die Geschöpfe des Prometheus, op.43': Allegro Vivace
01:45
09.
'Die Geschöpfe des Prometheus, op.43': Maestoso
01:02
10.
'Die Geschöpfe des Prometheus, op.43': Adagio-Andante Quasi Allegretto
06:40
11.
'Die Geschöpfe des Prometheus, op.43': Un Poco Adagio-Allegro
01:32
12.
'Die Geschöpfe des Prometheus, op.43': Grave
04:25
13.
'Die Geschöpfe des Prometheus, op.43': Allegro Con Brio-Presto
03:57
14.
'Die Geschöpfe des Prometheus, op.43': Adagio-Adagio-Allegro Molto
03:48
15.
'Die Geschöpfe des Prometheus, op.43': Pastorale-Allegro
02:36
16.
'Die Geschöpfe des Prometheus, op.43': Andante
00:21
17.
'Die Geschöpfe des Prometheus, op.43': Maestoso-Adagio-Allegro
03:04
18.
'Die Geschöpfe des Prometheus, op.43': Allegro
03:31
19.
'Die Geschöpfe des Prometheus, op.43': Andante-Adagio-Allegro
04:28
20.
'Die Geschöpfe des Prometheus, op.43': Andantino-Adagio-Allegro
04:43
21.
'Die Geschöpfe des Prometheus, op.43': Finale: Allegretto-Allegro Molto-Presto
04:51

Disc #11
01.
'Symfonie nr.8, op.93, F gr.t.': Allegro Vivace E Con Brio
09:40
02.
'Symfonie nr.8, op.93, F gr.t.': Allegretto Scherzando
04:29
03.
'Symfonie nr.8, op.93, F gr.t.': Tempo Di Menuetto
05:22
04.
'Symfonie nr.8, op.93, F gr.t.': Allegro Vivace
07:49
05.
'Ouverture voor orkest, op.124, ''Die Weihe des Hauses'''
10:08
06.
'Symfonie nr.1, op.68, c kl.t.': Un Poco Sostenuto-Allegro-Meno Allegro
13:19
07.
'Symfonie nr.1, op.68, c kl.t.': Andante Sostenuto
08:43
08.
'Symfonie nr.1, op.68, c kl.t.': Un Poco Allegretto E Grazioso
04:46
09.
'Symfonie nr.1, op.68, c kl.t.': Andante-Più Andante-Allegro Non Troppo-Più Allegro
16:56

Disc #12
01.
'Ouverture voor orkest, op.81, ''Tragische Ouvert?re'''
12:52
02.
'Symfonie voor soli, koor, orkest, nr.9 en op.125, d kl.t.': Allegro Ma Non Troppo, Un Poco Maestoso
15:26
03.
'Symfonie voor soli, koor, orkest, nr.9 en op.125, d kl.t.': Molto Vivace
11:06
04.
'Symfonie voor soli, koor, orkest, nr.9 en op.125, d kl.t.': Adagio Molto E Cantabile-Andante Moderato
15:34
05.
'Symfonie voor soli, koor, orkest, nr.9 en op.125, d kl.t.': Presto-Allegro Assai
24:19

Disc #13
01.
'Symfonie nr.4, op.60, Bes gr.t.': Adagio-Allegro Vivace
09:48
02.
'Symfonie nr.4, op.60, Bes gr.t.': Adagio
09:30
03.
'Symfonie nr.4, op.60, Bes gr.t.': Menuetto: Allegro Vivace-Un Poco Meno Allegro-Allegro Vivace
05:27
04.
'Symfonie nr.4, op.60, Bes gr.t.': Allegro Ma Non Troppo
07:33
05.
'Symfonie nr.4, op.36, f kl.t.': Andante Sostenuto-Moderato Con Anima
16:23
06.
'Symfonie nr.4, op.36, f kl.t.': Andantino In Modo Di Canzona
09:00
07.
'Symfonie nr.4, op.36, f kl.t.': Scherzo: Pizzicato Ostinato
05:35
08.
'Symfonie nr.4, op.36, f kl.t.': Finale: Allegro Con Fuoco
08:30
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