Rimsky-Korsakov the Golden Cockerel - Suite / Antar Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Rimsky-Korsakov the Golden Cockerel - Suite / Antar Mp3, Flac, Wma Rimsky-Korsakov The Golden Cockerel - Suite / Antar mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Golden Cockerel - Suite / Antar Country: UK Released: 1970 Style: Romantic MP3 version RAR size: 1503 mb FLAC version RAR size: 1431 mb WMA version RAR size: 1388 mb Rating: 4.8 Votes: 891 Other Formats: MP1 XM DTS AAC AU AUD ADX Tracklist The Golden Cockerel (Le Coq D'Or) - Suite A1.1 1st Mov: King Dodon In His Palace A1.2 2nd Mov: King Dodon On The Battlefield A1.3 3rd Mov: King Dodon With Queen Chimaka A1.4 4th Mov: Marriage Feast And Lamentable End Of King Dodon Antar - Symphonic Suite B1 1st Mov: Largo B2 2nd Mov: Allegro B3 3rd Mov: Allegro Risoluto Alla Marcia B4 4th Mov: Allegretto Vivace Companies, etc. Copyright (c) – The Decca Record Company Limited Printed By – Robert Stace Recorded At – Victoria Hall, Geneva Credits Composed By – Rimsky-Korsakov* Conductor – Ernest Ansermet Engineer [Uncredited] – Arthur Haddy (tracks: A1.1 to A1.4), Roy Wallace (tracks: B1 to B4) Mastered By – G Orchestra – L'Orchestre De La Suisse Romande Photography By [Cover: Chartwell, Near Westerham, Kent] – David Wedgbury Producer [Uncredited] – James Walker (tracks: B1 to B4), Victor Olof (tracks: A1.1 to A1.4) Notes Recorded: October 1952 (tracks A1.1 to A1.4) 13th May 1954 (tracks B1 to B4) Record is advertised as "Mono recording electronically reprocessed to give stereo effect on stereo equipment". In fact, this is only true of side A - Side B is true stereo Side A was issued in mono on Decca LXT 2769 Side B was issued in mono on Decca LXT 2982, this is its first and only stereo LP issue Barcode and Other Identifiers Other (tax code stamped in runout): JT Matrix / Runout (matrix in brackets on label and stamped in runout side A): EAL.9201 Matrix / Runout (matrix in brackets on label and stamped in runout side B): EAL.9202 Other versions Category Artist Title (Format) Label Category Country Year Nikolai Rimsky-Korsakov, Nikolai Rimsky- Ernest Ansermet - Le Coq London UK & R23203 Korsakov, Ernest R23203 1976 D'or Siute - Antar Suite Records Europe Ansermet (LP) Related Music albums to The Golden Cockerel - Suite / Antar by Rimsky-Korsakov Rachmaninov, Rimsky-Korsakov, The London Philharmonic Orchestra, Julius Katchen, Sir Adrian Boult, L'Orchestre De La Suisse Romande, Ernest Ansermet - Rhapsody On A Theme Of Paganini, Op. 43 / The Snow Maiden - Suite Rimsky-Korsakov, Prokofiev, William Steinberg, The Pittsburgh Symphony Orchestra - Le Coq D'Or Suite / Love For Three Oranges Nicolai Rimsky-Korsakov - The Golden Cockerel / The Legend Of The Invisible City Of Kitezh L'Orchestre De La Suisse Romande, Ernest Ansermet - Rimsky-Korsakov_La Nuit De Noel-Sadko-Le Vol Du Bourdon-Chanson Russe Rimsky-Korsakov, Ansermet, L'Orchestre De La Suisse Romande - Music Of Rimsky-Korsakov Ernest Ansermet, Rimsky-Korsakov, L'Orchestre De La Suisse Romande - The Tale Of Tsar Saltan / May Night / Russian Easter Festival Nikolai Rimsky-Korsakov, Ernest Ansermet, L'Orchestre De La Suisse Romande - Overture On Liturgical Theme Op. 36 Antal Dorati, The London Symphony Orchestra, London Symphony Chorus - Borodin/Polovetsian Dances Rimsky-Korsakov/Le Coq D'or Suite Rimsky-Korsakov; The Golden Cockerel Suite (Le Coq D'or) Capriccio Espagnol, Op. 34; Earnest Ansermet L'Orchestre de la Suisse Romande - Rimsky-Korsakov / Balakirev - Sir Eugene Goossens, The Philharmonia Orchestra - Le Coq D'Or, Russian Easter Festival / Islamey.
Recommended publications
  • COCKEREL Education Guide DRAFT
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
    [Show full text]
  • Bowen Abstract
    The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838).
    [Show full text]
  • Capriccio Espagnol Legal Use Requires Purchase
    GRADE LEVEL— MEDIUM EASY Alfred’s Growing Band Series Capriccio Espagnol Nicolai Kimsky-Korsakov / Arr. by Mark Williams Rimsky-Korsakov’s Capriccio Espagnol is known worldwide as one of the master- works of orchestration. It has been admired and studied by many composers including Tchaikovsky. It was written in 1887 at about the same time as his famous Scheherazade and Russian Easter Overture. This arrangement of the final sections of the work capture its exciting Spanish flavor and rhythms in a format that is very accessible to young bands. This piece can be conducted in one beat to the measure, or in three, or in a combination of the two. It is important that the tempo remain steady and not be allowed to bog down. The optimum tempo will be determined by how well the ensemble can play the fast eighth-note sec- tions at measures 44 and 103 . Generally, a faster tempo will contribute more to the energy and drive of the music. INSTRUMENTATION 1 — Conductor Score 3 — 1st Bb Cornet 5 — 1st Flute 3 — 2nd Bb Cornet 5 — 2nd Flute 3 — 3rd Bb Cornet 2 — Oboe 2 — 1st Trombone 2 — Bassoon 2 — 2nd Trombone 4 — 1st Bb Clarinet 2 — Baritone T.C. 4 — 2nd Bb Clarinet 2 — Baritone B.C. 4 — 3rd Bb Clarinet 4 — Tuba 1 — Eb Alto Clarinet 1 — Mallets (Xylophone, Bells) 2 — Bb Bass Clarinet 2 — Percussion 1 (Snare Drum, Bass 2 — 1st Eb Alto Saxophone Drum, Crash Cymbals) 2 — 2nd Eb Alto Saxophone 2 — Percussion 2 (Tambourine, Suspended 2 — Bb Tenor Saxophone Cymbal, Triangle, Castanets) 1 — Eb Baritone Saxophone 1 — Timpani 2 — 1st F Horn 2 — 2nd F Horn Preview Only Legal Use Requires Purchase Alfred Publishing Co., Inc.
    [Show full text]
  • Music I: the Characters
    Music I: The Characters Students Will • Read The Golden Cockerel synopsis • Read The Characters for character analysis • Listen to audio selections from The Golden Cockerel online. • Discuss and answer questions on the appropriate portion(s) of the Activity Worksheet. Before the Lesson • Print copies for each student of The Characters and the Activity Worksheet. • Decide which section(s) of the Activity Worksheet you wish your students to complete. • Prepare internet access to the online listening selections. • Gather pens, pencils and additional writing paper as needed for your group. Introduction Have your students read The Golden Cockerel synopsis. Give each student a copy of The Characters or display it on the screen. Read through the information, discussing each character and listening to the online selections as you go. Guided/Independent Practice Depending on your grade level, the ability of your students and time constraints, you may choose to have your class work as a whole, in small groups, with a partner or individually. Read the directions on the Activity Worksheet. Have students complete the portion(s) of the Activity Worksheet you have chosen with opportunities for questions. If students are working with a partner or in small groups, give them time to discuss their answers before writing them down. Have students share their answers individually or by groups and tell why they gave their answers. Evaluation Have students discuss and evaluate the answers of others. The teacher may want to guide the discussion with the sample answers provided. After individual or small group responses have been shared and/or turned in, the class can then formulate comprehensive answers with the teacher asking leading questions to guide the discussion.
    [Show full text]
  • Rimsky-Korsakov Overture and Suites from the Operas
    CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource.
    [Show full text]
  • Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
    Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr.
    [Show full text]
  • RIMSKY-KORSAKOV Orchestral Works Including SHEHERAZADE
    Kees Bakels RIMSKY-KORSAKOV Orchestral works including SHEHERAZADE BIS-CD-1667/68 MALAYSIAN PHILHARMONIC ORCHESTRA / KEES BAKELS BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 2 RIMSKY-KORSAKOV, Nikolai (1844–1908) Disc 1 [74'34] Sheherazade 43'28 Symphonic Suite after the ‘Thousand and One Nights’, Op. 35 (1888) 1 I. The Sea and Sinbad’s Ship 9'02 2 II. The Tale of the Kalender Prince 12'00 3 III. The Young Prince and the Young Princess 10'22 4 IV. Festival in Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion 11'50 Markus Gundermann violin solo Symphony No. 2 (Symphonic Suite), ‘Antar’ 30'01 Op. 9 (1868/75/97) 5 I. Largo – Allegro – Allegretto – Largo 11'29 6 II. Allegro 4'38 7 III. Allegro risoluto 5'22 8 IV. Allegretto – Adagio 8'09 2 BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 3 Disc 2 [76'42] Capriccio espagnol, Op. 34 (1887) 15'00 1 I. Alborada. Vivo e strepitoso 1'12 2 II. Variazioni. Andante con moto 4'38 3 III. Alborada. Vivo e strepitoso 1'14 4 IV. Scena e canto gitano. Allegretto 4'39 5 V. Fandango asturiano – Coda. Vivace assai – Presto 3'15 6 Piano Concerto in C sharp minor, Op.30 (1882–83) 14'06 Noriko Ogawa piano The Tale of Tsar Saltan, Suite, Op. 57 (1899–1900) 19'49 7 I. The Tsar’s Farewell and Departure. Allegro – Allegretto alla Marcia 4'44 8 II.
    [Show full text]
  • PYO: 11.22.15 Kimmel Center Concert
    Philadelphia Youth Orchestra Louis Scaglione • Music Director Presents PHILADELPHIA YOUTH ORCHESTRA KIMMEL CENTER CONCERT SERIES Louis Scaglione • Conductor Jennifer Montone • Horn Sunday • November 22 • 2015 • 3:00 p.m. Kimmel Center for the Performing Arts Verizon Hall Welcome to the 76th Anniversary season of the Philadelphia Youth Orchestra! This year promises to “spirit you away” with the great talent and artistry of our young musicians. You have seen us here with your belief in the power and great merit of music. Our solid, sustained history affords us the ability to reach out into our diverse communities ensuring that the universal gift and language of music is known to all who desire it. The Philadelphia Youth Orchestra organization takes pride in playing a pivotal role to prepare its students for successful university and conservatory experiences. PYO prepares its students to be successful, contributing members of society, and trains them to be tomorrow’s leaders. As you settle into your seats in the acoustically and aesthetically magnificent Verizon Hall, we hope that you will delight in today’s performance. May your experience with us, today, be a catalyst for your returning to us throughout our concert season for you and your family’s music and cultural enjoyment. We welcome and appreciate your generosity and support of our mission, and look forward to welcoming you to our concerts. With much gratitude, Louis Scaglione, President and Music Director 01 Philadelphia Youth Orchestra Kimmel Center Series Philadelphia Youth Orchestra Louis Scaglione • Conductor Jennifer Montone • Horn The Kimmel Center for the Performing Arts • Verizon Hall Sunday, November 22, 2015 • 3:00 p.m.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    INFANTRY HALL PROVIDENCE >©§to! Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 28 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER ii^^i^"""" u Yes, Ifs a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extr? dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere 2>ympif Thirty-fifth Season,Se 1915-1916 Dr. KARL MUC per; \l iCs\l\-A Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Stilzen, H. Fiedler, A.
    [Show full text]
  • Rimsky-Korsakov Romances
    booklet-paginated:cover 11/09/2017 12:02 Page 1 5060192780772 RIMSKY-KORSAKOV ROMANCES Anush Hovhannisyan Yuriy Yurchuk Sergey Rybin 28 1 booklet-paginated:cover 11/09/2017 12:02 Page 3 Produced, engineered and edited by Spencer Cozens. Recorded 19-21 December 2016 at Steinway Recording, Fulbeck, Lincolnshire, U.K. Steinway technician: Peter Roscoe. Publisher: Moscow, Musyka. Booklet notes © 2017 Sergey Rybin. English translations of sung text © 2017 Sergey Rybin. Cover: Photograph © 2013 Anatoly Sokolov. Inside from cover: Photograph of Sergey Rybin, Anush Hovhannisyan and Yuriy Yurchuk © 2017 Inna Kostukovsky. Graphic design: Colour Blind Design. Printed in the E.U. 2 27 booklet-paginated:cover 11/09/2017 12:02 Page 5 24 Prorok Op.49, No.2 The Prophet Alexander Pushkin Dukhovnoï zhazhdoïu tomim Tormented by spiritual anguish V pustyne mrachnoï ïa vlachils’a, I dragged myself through a grim desert, I shestikrylyï serafim And a six-winged seraphim Na pereputïe mne ïavils’a; Appeared to me at a crossroads; RIMSKY-KORSAKOV Perstami l’ogkimi, kak son, With his fingers, light as a dream, Moikh zenits kosnuls’a on: He touched my eyes: ROMANCES Otverzlis’ vesh’iïe zenitsy, They burst open wide, all-seeing, Kak u ispugannoï orlitsy. Like those of a startled eagle. Moikh usheï kosnuls’a on, He touched my ears I ikh napolnil shum i zvon: And they were filled with clamour and ringing: I vn’al ïa neba sodroganïe, I heard the rumbling of the heavens, I gorniï angelov pol’ot, The high flight of the angels, I gad morskikh podvodnyï khod, The crawling of the underwater reptilians I dol’ney lozy proz’abanïe.
    [Show full text]
  • Rimsky-Korsakov and His World
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. David Brodbeck The Professor and the Sea Princess: Letters of Nikolai Rimsky-Korsakov and Nadezhda Zabela-Vrubel EDITED BY MARINA FROLOVA-WALKER TRANSLATED BY JONATHAN WALKER I am still filled, my dear, dear friend, Filled with your visage, filled with you! . It is as if a light-winged angel Descended to converse with me. Leaving the angel at the threshold Of holy heaven, now alone, I gather some angelic feathers Shed by rainbow wings . —Apollon Maykov (1852), set by Rimsky-Korsakov as No. 4 of his Opus 50 songs and dedicated to Nadezhda Zabela-Vrubel “I am rather dry by nature,” confessed Rimsky-Korsakov in one of his letters.1 This is indeed the prevailing impression we are likely to draw from his biographies, or even from his own memoirs. We know so much about the externals of his life, and yet the inner man somehow eludes us, obscured by his professorial image: a kindly but reserved man, with a pos- itive outlook on life, dignified and of impeccable morals. The contrast with the wild biographies of Musorgsky and Tchaikovsky allows us to suppose that Rimsky-Korsakov was really rather ordinary, even a little dreary. 1. Maykov’s Russian original of the epigraph above is as follows: Yeshcho ya poln, o drug moy milïy, / Tvoim yavlen'yem, poln toboy!. ./ Kak budto angel legkokrïlïy / Sletal besedovat' so mnoy, / I, provodiv yego v preddver'ye svyatïkh nebes, ya bez nego / Sbirayu vïpavshiye per'ya / Iz krïl'yev raduzhnïkh yego… • 3 • For general queries, contact [email protected] © Copyright, Princeton University Press.
    [Show full text]
  • RIMSKY-KORSAKOV: Pan Voyevoda • Sadko 8.553858
    NAXOS NAXOS Rimsky-Korsakov: Rimsky-Korsakov, a naval officer, became a member of the group of Russian nationalist composers known as The Mighty Handful. His mastery of orchestration led to a strong influence on succeeding generations of composers such as Glazunov and Ravel. Orchestral Works: Though best known abroad for his orchestral music, Rimsky-Korsakov made a significant contribution to Russian opera. In the opera Pan Voyevoda he paid tribute to Chopin, with a DDD plot set in Poland, while the orchestral Sadko deals with a Russian legend. May Night treats a comic tale by Gogol and the opera Boyarïnya Vera Sheloga with its lullaby Hush Now, Hushaby, serves as a curtain- 8.553858 RIMSKY-KORSAKOV raiser to The Maid of Pskov. The music throughout is colourful and compelling. RIMSKY-KORSAKOV Playing Time 69:19 Nikolay Andreyevich 7 RIMSKY-KORSAKOV 30099 (1844–1908) 48582 Pan Voyevoda (Suite) 24:32 7 Overture on Russian 1 : : Introduction 3:11 Themes, Op. 28 13:42 Pan Voyevoda • Sadko Voyevoda Pan 2 Krakowiak 3:49 • Sadko Voyevoda Pan 3 8 1 Nocturne: Clair de lune 4:23 May Night (Overture) 10:11 www.naxos.com Made in Germany Booklet notes in English ℗ 4 Mazurka 6:18 1999 & 5 Polonaise 6:53 Boyarïnya Vera Sheloga, Op. 54 9:09 © 6 Musical Picture – 9 Overture 5:26 2018 Naxos Rights US, Inc. Sadko, Op. 5 11:43 0 Lullaby: Bayu, bayushki, bayu* 3:43 Elena Okolysheva, Mezzo-soprano* Moscow Symphony Orchestra • Igor Golovschin 8.553858 8.553858 Recorded: March 1996 at the Mosfilm Studio, Moscow, Russia Producer: Betta Inc.
    [Show full text]