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Concordance | |
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Preface | |
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String Quartet in C# Minor, Op. 131, Movements 1 and 2 | |
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Gretchen, am Spinnrade, Op. 2 (D. 118) | |
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Norma, Act 1, Scene 4, Casta diva | |
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Les Huguenots, Act 4, Scene 5, Benediction of the Swords | |
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Der Freisch�tz, Act 2, Scene 2, Leise, leise | |
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Elijah, Part 2, chorus, He watching over Israel | |
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Symphonie fantastique, Movement 2, Un bal | |
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Ann�es de p�lerinage I, Suisse, No. 4, Au bord d'une source | |
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Nocturen in Bb Minor, Op. 9, No. 1 | |
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Dichterliebe, Op. 48, Im wundersch�nen Monat Mai and Aus meinen Tr�nen spri�en | |
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Beyond Romanticism | |
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M�rike-Lieder, No. 24, In der Fr�he | |
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Boris Godunov, Act 2, Boris's monologue | |
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Piano Trio No. 4 (Dumky), Op, 90, Movement 6 | |
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Richard Wagner and Wagnerism | |
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Tristan, und Isolde, Act 1, Scene 3, Isolde's Narrative | |
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Verdi, Operetta, and Popular Appeal | |
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Rigoletto, Act 3, Scene 3, Quartet | |
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Carmen, Act 1, No. 5, Habanera | |
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Concert Culture and the, "Great" Symphony | |
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Symphony No. 1 in C Minor, Op. 68, Movement 1 | |
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Symphony No. 6 in B Minor (Path�tique), Op, 74, Movement 4 | |
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Musical Life and Identity in the United States | |
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La gallina, danse cuba�ne | |
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Violin Sonata in A Minor, Op. 34, Movement 2 | |
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The Fin de Si�cle and the Emergence of Modernism | |
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Lieder eines fahrenden Gesellen, No. 4, Die zwei blauen Augen | |
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La boh�me, Act 2, Musetta's Waltz | |
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F�tes galantes I, En sourdine | |
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