This year's event features CCM alumnus Brian Newman, who will headline Moveable Feast's Blue-Note After Party. CCM's Bernstein Festival includes such classics as the Symphonic Dances from West Side Story, the Symphonic Suite from On the Waterfront, the masterful Second Symphony, Stan Kenton's West Side.

PROGRAM NOTES L’elisir d’amore ( The Elixir of Love) Dramatis personae Nemorino, a young peasant Adina, a wealthy landholder Belcore, a regimental sergeant Dulcamara, a traveling medicine peddler Giannetta, a peasant girl Peasants and Soldiers Background Romantic love may be a relatively recent development in human history, as anthropologists contend, but it has been around long enough that its difficulties are universally familiar. “The course of true love never did run smooth,” Shakespeare tells us in A Midsummer Night’s Dream, and countless poets, novelists, and songwriters since his day have concurred. So painful are love’s trials, so vexing its caprices and irrationality that we can hardly wonder at the notion of mastering the heart’s desires through magical or alchemical intervention. This, too, has been a favorite theme of poets.

Returning momentarily to A Midsummer Night’s Dream, we find Shakespeare imagining a rare flower whose nectar, rubbed on the eyes of any sleeper, induces amorous passion for the first creature spied upon waking. But the most influential story of a supernatural inducement to love predates Shakespeare by several centuries.

This is the medieval romance of Tristan and Iseult, who drink a potion brewed to ensure the latter’s love for her betrothed, Cornwall’s King Mark, and fall desperately, helplessly, and tragically in love with each other. Revival of interest in the medieval romances became an underlying inspiration for the Romantic movement of the nineteenth century, which even took its name from the old tales of love, valor, and magic. And none of those stories gripped the Romantic imagination more powerfully than the Tristan legend. Among other things, it provided the subject for that quintessential Romantic opera, Richard Wagner’s Tristan und Isolde.

Wagner, a profoundly serious artist, treated his story as a parable of love, alienation, and transcendence. But the most earnest subjects have a way of begetting comic treatments. A Midsummer Night’s Dream gives the love-potion idea a humorous twist — actually, several humorous twists. So, too, does Gaetano Donizetti’s sparkling comic opera L’elisir d’amore ( The Elixir of Love). Donizetti (1797-1848), the leading Italian composer active during the second quarter of the nineteenth century, applied his talents to both dramatic and humorous stories. In L’elisir d’amore, composed and first performed in 1832, he and his librettist, Felice Romani, lampoon the legend of Tristan and Iseult, which is invoked in the opera’s opening scene. The satirizing of a venerable love story, the droll characters that populate L’elisir d’amore, and the various twists and turns of its plot make for a delicious comic confection.

Musically, the work enjoys Donizetti’s foremost virtue as a composer, his ability to convey situations and emotions through supremely melodious music. L’elisir d’amore boasts several splendid arias and ensembles, the most famous being Nemorino’s aria Una furtiva lagrima. Its melody is well known, thanks largely to the great Italian tenor Enrico Caruso, who made it something of a signature number and widely famous a century ago. Synopsis Act 1 In a field, a group of peasants rest from their labors while the farm’s young owner, Adina, sits reading. One of the peasants, Nemorino, is in love with her but despairs of ever winning the lady. The tale Adina is reading provokes her to laughter.

It is the story of Tristan and Iseult, and the notion of a love potion that guarantees undying love strikes her as absurd. At their urging, she reads a passage to the curious peasants. Just as Adina finishes reading, a platoon of soldiers passes. At its head is Belcore, whose self-confidence contrasts strikingly with Nemorino’s hesitancy. Eyeing Adina, he presents her a floral bouquet, declares his love, and proposes marriage to her. The lady meets his swagger with her own self-assurance, saying that she wants time to consider his suit. The soldiers and peasants depart, but Nemorino lingers to speak with Adina.

She, knowing his feelings, advises that he cease his sighing and return to the city to attend his sick uncle. Nemorino replies that his uncle’s condition is nothing compared his own heartache. Adina tries to warn him away. Though he is kind and modest, she tells Nemorino, she is fickle and will always seek new love and pleasure. Her heart is like a cloud, moving and changing with the breeze. He counters that his love is like a river, running unalterably to the sea. The scene changes to the village square.

The townsfolk are drawn by a trumpet call announcing the arrival of a traveling medicine seller, Doctor Dulcamara. In a brilliant “patter aria,” he extols the benefits of his concoctions, which miraculously cure any affliction imaginable. Nemorino, having decided the magical elixir that bound Iseult to Tristan is his only chance of gaining Adina, timidly asks Dulcamara if this potion can be had. But of course, the mountebank replies, the very one. And he produces a bottle of what we learn, in an aside, is merely wine. He cautions that a day must pass after drinking the elixir before it works its magic. Nemorino gladly pays his last cent for it.

After Dulcamara departs to a nearby inn, Nemorino happily drinks the “elixir” he has purchased. He is beginning to feel its effects when Adina happens.

Confident of the love potion’s power, Nemorino treats her casually. His apparent indifference irks Adina — so much so that she decides to punish him by flirting with Belcore, who comes upon the scene. When Nemorino remains insouciant, she raises the stakes by accepting Belcore’s marriage proposal.

Still Nemorino appears unconcerned. Soldiers and villagers arrive with news that the regiment has been ordered to leave early the next morning, so Adina and Belcore agree to advance their wedding to later that day. Nemorino’s confidence vanishes, and he begs Adina not to marry before the coming day. She ignores his plea, and Belcore invites everyone to the wedding. Act II At a banquet preceding their wedding, Adina and Belcore entertain the guests by singing a duet. A notary arrives to officiate the ceremony, but Adina does not want to proceed without Nemorino present.

After all, her purpose in marrying is to punish him. But when the assembly leaves for the chapel, she has no choice but to follow.

Only Dulcamara remains behind, availing himself of the leftover food. Nemorino enters and begs Dulcamara for a potion that will take effect immediately. The latter assures him that doubling the dose of the original elixir will produce the desired effect, but Nemorino has already consumed the entire bottle and has no more money. Dulcamara agrees to wait an hour at the inn while Nemorino tries to borrow enough for a second purchase. Belcore returns, puzzled by Adina’s refusal to sign the wedding contract. Seeing the downcast Nemorino, he inquires as to his trouble. Nemorino explains that he needs money immediately but has no way to get it.

Belcore replies that his regiment pays an enlistment bonus of twenty scudi, and he praises the joys of military life. Nemorino signs the enlistment papers, and each man expresses satisfaction: Belcore that his rival will soon be far from Adina, Nemorino that his dream of winning her is still alive. Later, the village girls share the news that Nemorino’s uncle has died and left his estate to his nephew. When the young man enters, having consumed another bottle of Dulcamara’s love potion, the girls fawn over him, a development Nemorino attributes to the magic elixir. Adina enters and soon becomes jealous over Nemorino’s new-found popularity among the girls. Dulcamara, amazed at the turn in Nemorino’s fortunes, wonders if he actually did give the young man a love potion.

In any event, after Nemorino and the girls leave for the ball, he touts its efficacy to Adina. She, learning of all that Nemorino has done in hopes of winning her, now realizes that she loves him. Dulcamara offers to sell a love potion to Adina, but she refuses. Better than any elixir of love, she sings, is her own magic: a tender glance, a little smile, a caress. The opera’s final scene begins with Nemorino alone. He spied a tear in Adina’s eye when they were last together, and he is sure that she now loves him.

Adina approaches, but he again feigns indifference. She hands him his enlistment papers, which she has purchased from Belcore, and urges him to remain in his hometown, among people who appreciate him.

Nemorino asks if she has more to say. When she declines to add anything, he declares that he would rather die a soldier than live without love. Adina finally surrenders and confesses that she loves him, and they embrace joyfully. The remainder of the cast enters. Belcore quickly recovers from finding the young pair in each other’s arms. After all, he says, there are plenty of other women in the world.

Dulcamara announces the news of Nemorino’s inheritance, of which neither Adina or Nemorino were aware. He then takes the opportunity to acclaim his elixir’s amazing power. Nemorino and Adina sing of their happiness, and the villagers praise Dulcamara as he departs. PROGRAM NOTES FELIX MENDELSSOHN Octet for Strings, Op. 20 Composed 1825 Duration ca. 30 minutes Scored for 4 violins, 2 violas, and 2 cellos Several composers who went on to important achievements were known first as child prodigies. Mozart was and remains especially renowned in this respect, his early fame stemming largely from the concert tours he undertook as a boy.

Cisco Usb Console Driver 1900. No composer, however, was more precocious than Felix Mendelssohn, whose creative talent matured at an earlier age than even that of Mozart. For while the latter’s juvenile compositions, impressive though they are, only faintly suggest the great works of his maturity, several pieces Mendelssohn wrote as an adolescent stand among his finest achievements. The first of these was his Octet for Strings, Opus 20.

Mendelssohn composed this work in 1825, when he was sixteen. While full of youthful vitality and directness of expression, its music enjoys a wealth of melodic detail that a seasoned composer would proudly claim. Moreover, its sure handling of harmonic movement and compositional form impart a strong sense of shape and direction to each of its four movements, and to the composition as a whole. The ensemble of eight string instruments for which Mendelssohn scored this piece approaches the outer limit of what can be considered chamber music, and much of the Octet seems more than that, sounding almost symphonic in character. The composer evidently conceived the work in such terms, for he directed that the music “must be played by all the instruments in an orchestral style,” with contrasts between loud and soft dynamics emphasized. This quasi-symphonic conception is especially evident in the expansive first movement. Here the surging principal theme that initially dominates the proceedings — echoes of it even punctuate the dance-like secondary melody — gives way to surprisingly somber music in the central development episode.

But after descending to a point of dramatic stillness and near-silence, the music rides a long and equally dramatic crescendo to the reprise of the first theme, recovering its momentum and the spirited character in which it began. There follows a slow movement colored by poignant minor-key harmonies, then a scherzo whose running figuration foreshadows the “fairy music” style Mendelssohn would use so effectively, and so influentially, in his overture and incidental music to Shakespeare’s A Midsummer Night’s Dream. Fanny Mendelssohn, the composer’s sister, declared that this movement was inspired by another literary work imbued with a sense of the supernatural: the Walpurgis Night scene in Goethe’s Faust, which describes a convocation of witches, demons, and spirits.

“The isolated tremolos, the trills flashing like lightning,” she wrote, “all is new, strange, and yet so ingratiating and pleasing. One feels close to the world of spirits, carried up into the air, inclined to grab a broomstick and follow the airy procession.” The finale also employs fleet melodic figuration. Its character, however, is generally brighter than that of the scherzo, and its textures are thoroughly polyphonic, the different instrumental lines echoing each other in counterpoint but joining together at important junctures to form a tightly knit, concerted musical fabric.

A tag to the main theme, in relatively elongated rhythms, gives a quotation from the “Hallelujah Chorus” of Handel’s Messiah, the melody at the words “And He shall reign forever.” Whether Mendelssohn realized the connection, or attached any significance to it, we can only guess. Ludwig van Beethoven Septet in E-flat Major, Op. 20 Composed 1799-1800 Duration ca. 43 minutes Scored for clarinet, bassoon, horn, violin, viola, cello, and bass Beethoven completed his Septet, Opus 20, sometime during the first months of 1800, though drafts in his sketchbooks suggest that he began writing it during the previous year.

On April 2, the composer gave the first public presentation of his music in Vienna, and this provided the occasion for the Septet’s official premiere. (A private reading had already occurred.) The program for this concert included also the inaugural performance of Beethoven’s First Symphony, one of his early piano concertos, and keyboard improvisations by the composer. But it was the Septet that made the most favorable impression. It became enormously popular — so much so that the publisher to whom Beethoven presently sold the work was kept busy bringing out arrangements of it for smaller ensembles more readily available at domestic chamber-music gatherings; one of these was a transcription for piano trio made by Beethoven himself. Nearly a quarter of a century after its premiere, the Septet retained such favored that Franz Schubert would be commissioned to write something just like it. (The result was his Octet, which indeed resembles Beethoven’s work in several important respects.) The success of this piece did much to establish Beethoven as the foremost young musician in Vienna, the successor to Mozart and the now aged Haydn. Ironically, the work’s popularity eventually came to irritate the composer.

According to his student Carl Czerny, “He could not endure his Septet and grew angry because of the universal applause with which it was received.” Beethoven’s reaction undoubtedly had much to do with the less favorable reception of some of his later and more ambitious compositions. Scored for violin, viola, cello, bass, clarinet, bassoon, and horn, the Septet unfolds in six movements of diverse character. In this it belongs to the genus and species of Classical-period serenade, a type of composition Mozart had cultivated with considerable artistry. As in many of Mozart’s serenades, its outer movements provide the work’s most thoroughly developed music, while the inner ones are either dance-related (the minuet and scherzo) or leisurely slow movements. The tone throughout is relaxed and unbuttoned.

None of Beethoven’s famous heroic struggles or defiance of fate here; this is one of the composer’s most unambiguously sunny compositions. The first movement begins, as do so many Classical-period symphonies, with an introductory passage in slow tempo. Pausing momentarily on an expectant chord, the music then plunges into the rapid main portion of the movement, which Beethoven bases mostly on the energetic theme given out in its initial minute. The second movement, marked “Adagio cantabile,” flows out of a long-breathed melody begun by the clarinet and passed to the violin in the opening measures. Here and throughout the movement, the elegantly shaped instrumental lines and gently pulsing accompaniment indicate a romanza, and the sense of reverie typical of that genre pervades the music. There follows a pleasantly bouncing minuet whose central section, or “Trio,” is enlivened by fanfares from the horn and clarinet. The fourth movement takes the form of a theme with variations.

Its subject melody, stated at the outset, is nearly identical to a Rhineland folk tune — the inevitable debate over whether Beethoven knew the song has proved inconclusive — and each of the paraphrases that follow has some distinguishing feature. The first, for example, uses just string trio; the third features the clarinet and bassoon chasing each other in echoic counterpoint; the fourth resorts to minor-key harmonies. A brief coda concludes the movement. Next comes a scherzo in which the spirit of hunting music is never far from the surface.

(Note the horn figures in the opening measures, as well as the robust melody for the cello in the Trio passage.) Like the first movement, the finale begins with a slow introduction. This time the prologue takes the form of a dirge, one whose pathos is, however, far from convincing. Whatever suspicions we may harbor about the music’s sincerity would seem confirmed by the ease with which it slips into the ensuing Presto. Here Beethoven betrays hardly a trace of melancholy. The movement races along in high spirits, propelled to a considerable extent by the playing of the violin.

That instrument contributes athletic passagework, including a solo cadenza, and brings the entire work to a conclusion by leaping to a stratospheric E-flat just before the close.

Which versions of La Folia have been written down, transcribed or recorded? The purpose of this page is to make it easy for printing the entire listing of composers (so no fancy colors here but only black letters, and hyperlinks are just underlined to distinguish them easily in printed form), or to search a particular word or phrase in the browser (in the menu-browser: edit, search). The last function can also be achieved by the Pico search-facility of the (where the entire site will be searched for hits) but here all of the context within the realm of the chapter 'alphabetical composers' will be instantly revealed.

Which versions of the later Folia have been written down, transcribed or recorded? Anonymous for carillon (in dutch: beiaard) (Ms. 1756) Les Folies d'Espagne (theme and double followed by 12 variations) Manuscript LBII II.

40 (Library of Leuven?)(Folie des Spanie) A small introduction of the carillon as an instrument might be handy because it is not that familiar to a larger audience. The instrument is built around a number of bells in a church-tower and with an ingenious system of levers and wires the player is able to let the differently tuned bells ring using his fist to depress the clavier's wooden keys and his feet to control the pedals. Dynamics is possible because the amount of force applied, controls the loudness.

Jeff Davis, the university carillonist of Berkeley, enlightened me about the developments of the instrument: Originally from Belgium and The Netherlands, the carillon is found throughout the world and is experiencing a real golden age at this point in history. There are close to 200 instruments in North America alone, and the performers are frequently superb virtuosi on the instrument. A modern carillon is capable of extraordinary sensitivity to touch and has, in the latter part of the 20th century, become a true concert instrument. There are national schools in The Netherlands (Amersfoort), Belgium (Mechelen), and France (Douai). In North America, while there is no national school, there are two large centers of carillon study: the University of Michigan at Ann Arbor, and at Berkeley. The difficulty in playing comes not from the delay between striking the note and the sound of the bell (that is minimal in a modern instrument), rather the real difficulty comes in controlling such a large collection of very heavy weights and still taking care with voicing and other musical matters For further reading about this instrument, Chapter 7.

And John Gouwens has published a nice introductionary method about playing the carillon at It was known that the melody of the Folies d'Espagne as a popular tune was used in the mechanical carillon music at least in Belgium. In the slipcase of the cd by Luc Rombouts (see below) three of those sources are mentioned (De Gruytters V.- fel. 23 (13/6/1745) Wyckaert, nr.

36 (12/8/1692) (La Folie d'Espagne) and Van Belle. Without a number (La Folie D'espagne) The melody was played in some of the clockworks of churches too by the beiaardiers in Belgium and the Netherlands. Some sources mention ocasionally that the La Folia-theme was part of the program to get the appointment of beiaardier. The Leuven manuscript is not just a simple transcription (although some passages are transcribed literally) of the melody because several variation are written specifically to meet the demands and features of this peculiar instrument. • Dugoni, Paolo (edited the orginal manuscript for modern reading with bass and treble key) • Released 2011 by Paolo Dugoni • Pages: 5 pages • Published by Paolo Dugoni, Italy Anonymous for keyboard Diferencias sobre la Folia (siglo XVI) Unfortunately no documentation about this Folia is included in the slipcase of the recording.

As the source an anonymous composer in the 16th century is given which can't be true because the later Folia-theme (introduced in 1672) is clearly exposed in several variations. • Rouet, Pascale (organ) 'Autour de l'Espagne' • Title: Diferencias sobre la Folia • Released by Pavane Records 2003 compact disc ADW 7468 • Duration: 2'31' • Recording date: July 2-4, 2001 in l'Abbatiale B-D de Mouzon, France Anonymous for keyboard (1), The Netherlands (Ms.

Arnhem) La folij de Espagne (1695), theme without any variation Duration: 0'29', 01 kB. La folij de Espagne from the archive Bosch van Rosenthal (see manuscript below). Manuscript from the archive Bosch van Rosenthal © Rijksarchief Gelderland, used with permission • Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province (region) of Gelderland in the Netherlands) Drs. Resida (associated with the Rijksarchief Gelderland) was so kind to give notice of this manuscript and the context. The booklet with sheet music was part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for B.

Kloeckhoff (1680-1764) and was dated 1695. For this Folia no particular editor was mentioned (while for some other tunes from the booklet the teacher has signed with his name). Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages. The booklet contains another extensive version of the Folia (13 variations) which is classified under the composer.

• Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives • The years 1418, 1539, 1584, 1600-1953 • Inventory number 960 • Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at Anonymous for keyboard (2), The Netherlands (Ms. Arnhem) La folij d'Espagne (1695), theme and ten variations Duration: 5'08', 17 kB. The theme as indicated below and all (10) variations La folij d'Espagne from the archive Bosch van Rosenthal 6 page in pdf-format, 97 kB Edited by Kees Rosenhart for the Nederlands Clavicord Genootschap (Dutch Clavichord Society) Link to, Go for the link Sheet Music. Text: Joy to great Caesar, long Life, Love, and Pleasure 'tis a Health that Divine is, fill the Bowl high as mine is. Let none fear a Feaver, but take it off thus Boys. Let the King live for ever, 'tis no matter for us Boys, Try all the Loyal, defy all. Give denial sure none thinks the Glass too big here, nor any Prig here, or sneaking Whig here, of Cripple Tony's Crew, that now looks blew, his Heart akes too, the Tap won't do, his Zeal so true, and Projects new, ill Fate does now pursue Let Tories guard the King, let Whigs in Halters swing.

Let Pilk- and Sh- be sham'd, let bugg' ring O be damn'd. Let cheating Pl-- be nick'd, the turncoat Scribe be kic'd. Let Rebel City Dons never beget their Sons. Let ev'ry Whiggish Peer that Rapes a Lady fair and leaves his only Dear the Sheets to gnaw and tear, be punish'd out of hand, and forc'd to pawn his Land t'attone the grand Affair Great Charles, like Jehovah, spares Foes would unking him, and warms with his Graces the Vipers that sting him. 'till crown'd with just Anger the Rebels he seizes. Thus Heaven can Thunder when ever it pleases Then to the Duke fill, fill up the Glass, the Son of our Martyr, belovev'd of the King. Envy'd and lov'd, yet bless'd from above, secur'd by an Angel safe under his Wing Faction and Folly, and State Melancholy, with Tony in Whigland for ever shall dwell.

Let Wit, Wine and Beauty, then teach us our Duty, for none e're can love, or be wise and rebel • Thomas D'Urfey • Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy. Being A Collection of the best Merry Ballads and Songs, Old and New.

Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. • Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand • Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA • As far as I know this tune has not been recorded yet A Royal Ode by Mr. D'Urfey: Congratulating the Happy Accession to the Crown, and Coronation of our most Gracious Sovereign Lady Queen Anne.

The Words in Imitation of the foregoing Song, and fitted to some Strains of the same Ground. Text: D'Urfey, Thomas (1653-1723), created 1702 (Coronation of Queen Anne was on the 8th of March 1702) published 1719 • Thomas D'Urfey • Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy.

Being A Collection of the best Merry Ballads and Songs, Old and New. Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. • Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand • Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA • As far as I know this tune has not been recorded yet Couplets pour Mme d'Hervart sur l'air des Folies d'Espagne (1687). Text: Jean de La Fontaine (1621-1695), created 1687, published after his death.

Opening of Foliations for Brass Quintet reproduced by permission of Meadow Music • Bach, Jan • Pblished after the premiere (summer 1998) by Meadow Music P.O. Box 403, Wasco IL 60183 815-753-7003 • Score and 5 parts • Duration: 'open' performance time of 6'00' to 15'00' • Premiere July 25 and 28, 1998 at the Lieksa Brass Week, Finland • Stockholm Chamber Brass 'Foliations' • Urban Agnas: Monette CTrumpet MC6,X Mouthpiece: Monelte C4; Monelte B flat Trumpet '49Xl Mouthpiece: Monette B4. Tora Thorslund: Monette CTrumpet MC6,X Mouthpiece: STC C-3 Jonas Bylund: Conn B8Cl-2000 Trombone with Redbrass Bell Mouthpiece: 2Cl Jens Bj0rn-Larsen: B&S F-Tuba Mouthpiece: Conn/Helleberg Markus Maskuniitty: Alexander '03 Horn (Brass) - Mouthpiece: Bruno Tilz Christian lindberg: Conn 88 Sterling silver bell Cl-2000 Trombone Mouthpiece: Christian lindberg 4Cl • Released 2009 by BIS compact disc BIS-CD-1438 • Duration: the pieces are chopped up into 4 parts between the other compositions of the disc: Part 1 Foliations: 7'57' (Theme. Andante 2'19', Austrian. Creative Sound Blaster Live Ct4670 Windows 7 Driver.

Intensely 0'50', Bumptious. Metronomically precise, con forza 0'48', Arpeggione. Lightly 0'44', Canzona Ultima.

Moderato brilliante 1'10', Rococo. Reflective 0'51', Stealthily. Deliberate tempo 1'09') Part 2 Foliations 3'54' (Tersely.

As quickly and c1ranly as possible 0'24', Wistful. Gently moving 0'39', Phlegmatic. Andante 1'46', American. Seventies' teenybopper tempo 1'03') Part 3 Foliations 6'29'(Canonic.

Scholarly 0'56', Cadenza. Heavily, un poco rubato 1'54', La Caccia. As quickly and lightly as possibly 1'01', Germanic. Bomposo 2'00', Romanesque. Very quickly 0'36') Part 4 Foliations 8'08' (Russian, Lively 1'26', Reflective, Gently 0'57', Chorale, Deliberate and weighty 0'46', Fugue, Allegro vivace 4'58') • Recording date: February 2004 at the Eskilstuna Concert Hall, Sweden Bach, Johann Sebastian (1685-1750) 'Unser trefflicher lieber Kammerherr' (1742) from the Bauernkantate (BWV 212). The sheet music © Public Domain Source The Petrucci Library Unknown performers Duration: 4'21' direct link to YouTube © Unknown Duration: 1'53', 06 kB.

The complete Aria, voice substituted by a flute.