Gustav Mahler: Symphony No.3 in D minor – Michelle DeYoung, Philharmonia Voices, Tiffin Boys' Choir, Philharmonia Orchestra, Esa-Pekka Salonen (HD 1080p)

Under the baton of the famous Finnish conductor Esa-Pekka Salonen, the Philharmonia Orchestra, the Philharmonia Voices (Ladies), the Tiffin Boys' Choir and the American mezzo-soprano Michelle DeYoung perform Gustav Mahler's Symphony No.3 in D minor. Recorded at Southbank Centre's Royal Festival Hall, London, on October 1, 2017.

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Gustav Mahler's monumental Third Symphony embraces heaven and Earth, nature and love. He deploys a huge orchestra, choirs and a solo singer to draw his listeners into a rich and compelling musical landscape.

It's a work that means a lot to us at the Philharmonia Orchestra. Back in 1983, it was the first piece we played with an unknown young Finnish conductor, Esa-Pekka Salonen. We hit it off straight away, and he's been our Principal Conductor since 2008.

In October 2017, we returned to this epic piece with Esa-Pekka for Mahler 3: Live from London, a live stream project watched by an audience of 126,000 worldwide.

Source: Philharmonia Orchestra (London, UK)

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The Third is Gustav Mahler's longest Symphony, in six movements and lasting nearly two hours. Mahler's concept of the symphony as a world unto itself finds its complete exposition here in the highly diverse styles and elements, creating problems of continuity and coherence that he did not completely solve. The primary theme of the Third is Nature and Man's place therein, and its principal literary inspirations are Das Knaben Wunderhorn (as in the previous symphony) and Nietzsche. As in the Second Symphony, Mahler added words and voices to expand his means of expression and used material from one of his earlier Wunderhorn Songs. The original program ran like this: "The Joyful Knowledge: A Summer Morning's Dream". I. Pan Awakes: Summer Marches In; II. What the Meadow Flowers Tell Me; III. What the Creatures of the Forest Tell Me; IV. What Night Tells Me (Mankind); V. What the Morning Bells Tell Me (the Angels); VI. What Love Tells Me; and VII. The Heavenly Life (What the Child Tells Me). Ultimately, Mahler dropped the seventh movement and used it as the core around which he built the Fourth Symphony. The sum of this program represents Mahler's cosmological hierarchy at this point in his life and the Third Symphony as a whole is his most specific example of "world building" in artistic terms.

Kräftig. Entschieden. (Strongly and Confidently). This is the single longest sonata-form movement ever written. Mahler sets bizarre, primordial, and harsh brass and percussion rumblings depicting Pan's awakening in opposition to pastoral music of bird calls and light fanfares over tremulous strings and woodwind trillings. These elements are transformed into the ultimate example of Mahler's symphonic military marches. The entire movement covers a vast soundscape of imagery, from bold, assertive proclamation to harsh and grotesque fugal passages, to despairing outcries, to a lighthearted and popular sounding march tune.

Tempo di Menuetto. (Minuet Tempo). This is a light and folk-like dance movement in the style of the comic Wunderhorn Songs. It stands in sharp contrast to the weighty first movement.

Comodo. Scherzando. Ohne Hast. (Moving, Scherzo-like, Without Haste). This movement quotes extensively from Mahler's song Ablösung im Sommer (Relief in the Summer) about a dead cuckoo. Its comic vein is interrupted twice, once by a sentimental posthorn solo, and later by a dramatic outburst symbolic of the great god Pan's intrusion into the peaceful summer.

Sehr langsam. Misterioso. Durchaus ppp. (Very Slow, Mysterious, Pianissimo Throughout). Here Mahler moves into a more metaphysical realm by setting Nietzsche's "Midnight Song" in this slow and haunting movement.

Lustig im Tempo und keck im Ausdruck. (Happy in Tempo, Saucily Bold in Expression). Boys and women's voices are used here to sing this angel's song about the redemption of sin from Das Knaben Wunderhorn. Mahler imitates church bells to delightful effect in this innocent and uplifting movement.

Langsam. Ruhevoll. Empfunden. (Slow, Peaceful, Deeply Felt). A majestic and awesome Adagio concludes the Symphony in a hymn-like paean on love. It rises to a powerful climax as "Nature in its totality rings and resounds".

Source: Steven Coburn (allmusic.com)



Gustav Mahler (1860-1911)

♪ Symphony No.3 in D minor (1893-1896)

i. Kräftig. Entschieden (Pan Awakes, Summer Marches In)
ii. Tempo di Menuetto, sehr mäßig (What the Flowers in the Meadow Tell Me)
iii. Comodo. Scherzando. Ohne Hast (What the Animals in the Forest Tell Me)
iv. Sehr langsam. Misterioso (What Man Tells Me)
v. Lustig im Tempo und keck im Ausdruck (What Man Tells Me)
vi. Langsam. Ruhevoll. Empfunden (What Love Tells Me)

Michelle DeYoung, mezzo-soprano

Philharmonia Voices (Ladies)
Tiffin Boys' Choir

Philharmonia Orchestra
Conductor: Esa-Pekka Salonen

Southbank Centre's Royal Festival Hall, London, October 1, 2017

(HD 1080p)


Keep the Philharmonia Playing: a message from Esa-Pekka Salonen




Esa-Pekka Salonen (b. 1958, Helsinki) is a Finnish orchestral conductor and composer. He is principal conductor and artistic advisor of the Philharmonia Orchestra in London, conductor laureate of the Los Angeles Philharmonic, and music director-designate of the San Francisco Symphony.

Esa-Pekka Salonen's restless innovation drives him constantly to reposition classical music in the 21st century. He is known as both a composer and conductor and is currently the Principal Conductor & Artistic Advisor for London's Philharmonia Orchestra. He is the Music Director Designate of the San Francisco Symphony; the 2020-2021 season will be his first as Music Director. He is Artist in Association at the Finnish National Opera and Ballet. He recently joined the faculty of LA's Colburn School, where he developed, leads, and directs the pre-professional Negaunee Conducting Program. He is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. Salonen co-founded – and from 2003 until 2018 served as the Artistic Director for – the annual Baltic Sea Festival, which invites celebrated artists to promote unity and ecological awareness among the countries around the Baltic Sea.

Source: en.wikipedia.org & fidelioarts.com

Based in London at the Southbank Centre's Royal Festival Hall, the Philharmonia creates thrilling performances for a global audience. Through its network of residencies, the Orchestra has a national footprint, serving communities across England both in performance and through its extensive outreach and engagement programme.

Founded in 1945, in part as a recording orchestra for the nascent home audio market, today the Philharmonia uses the latest digital technology to reach new audiences for symphonic music. The Philharmonia is led by Finnish conductor and composer Esa-Pekka Salonen, its Principal Conductor & Artistic Advisor since 2008. Fellow Finn Santtu-Matias Rouvali takes over from Salonen as Principal Conductor in the 2021-2022 season.

During the Covid-19 lockdown, the Philharmonia's strong digital programme has enabled the Orchestra to maintain an international presence, with streams of archive performances, educational films, and videos made at home by individual players giving an insight into the life of the Orchestra to a global audience.

The Philharmonia is a registered charity that relies on funding from a wide range of sources to deliver its programme and is proud to be generously supported by Arts Council England.

Source: philharmonia.co.uk

More photos


See also

Béla Bartók: Piano Concerto No.1 in A major – Yuja Wang, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen

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Gustav Mahler: Symphony No.8 in E flat major “Symphony of a Thousand” – Meagan Miller, Ricarda Merbeth, Eleonore Marguerre, Claudia Mahnke, Gerhild Romberger, Nikolai Schukoff, Boaz Daniel, Albert Dohmen – Maîtrise de Radio France, Choeur de Radio France, Choeur philharmonique de Munich – Orchestre Philharmonique de Radio France, Orchestre National de France, Jukka-Pekka Saraste (Théâtre Antique d'Orange, July 2019, HD 1080p)

Under Jukka-Pekka Saraste's baton, the Maîtrise de Radio France, the Choeur de Radio France, the Choeur philharmonique de Munich, the Orchestre Philharmonique de Radio France and the Orchestre National de France, and the soloists Meagan Miller (soprano), Ricarda Merbeth (soprano), Eleonore Marguerre (soprano), Claudia Mahnke (mezzo-soprano), Gerhild Romberger (mezzo-soprano), Nikolai Schukoff (tenor), Boaz Daniel (baritone) and Albert Dohmen (bass) perform Gustav Mahler's Symphony No.8 in E flat major ("Symphony of a Thousand"). Filmed in the Théâtre Antique d'Orange, France, on July 29, 2019.

Chorégies d'Orange (The Orange Festival) is held every summer at the old 9000-seat Roman amphitheatre in Orange. The festival, dating from 1869 and the oldest festival in France, is celebrating its 150th anniversary with a special performance of Gustav Mahler's Symphony No.8, using an exceptionally large orchestra. Although the performance will not reproduce Mahler's original orchestration, it nevertheless means using the 24 first violins which the composer originally requested for the first performance of this work in Munich in 1910.



Gustav Mahler (1860-1911)

♪ Symphony No.8 in E flat major "Symphony of a Thousand" (1906-1907)

i. Hymnus "Veni creator spiritus"
ii. Final Scene from Goethe's "Faust"

Meagan Miller, soprano..........Magna Peccatrix
Ricarda Merbeth, soprano..........Una poenitentium
Eleonore Marguerre, soprano..........Mater gloriosa
Claudia Mahnke, mezzo-soprano..........Mulier Samaritana
Gerhild Romberger, mezzo-soprano..........Maria Aegyptica
Nikolai Schukoff, tenor..........Doctor Marianus
Boaz Daniel, baritone..........Pater ecstaticus
Albert Dohmen, bass..........Pater profondus

Quentin Guérillot, organ

Maîtrise de Radio France (conductor: Sofi Jeannin)
Choeur de Radio France (conductor: Martina Batič)
Choeur philharmonique de Munich (conductor: Andreas Herrmann)

Orchestre Philharmonique de Radio France
Orchestre National de France

Conductor: Jukka-Pekka Saraste

Video director: Andy Sommer

Théâtre Antique d'Orange, France, July 29, 2019

(HD 1080p)

Symphony No.8 in E flat major, Symphony by Gustav Mahler, known as "Symphony of a Thousand" for the great number of performers required, vastly more than were needed for any other symphony to that time. The work premiered September 12, 1910, in Munich to thoroughly favorable notice. With its massive performer requirements, Mahler's Symphony No.8 is not frequently performed; it is, instead, reserved for grand and celebratory occasions, though the composer's own correspondence suggests that this is exactly how he intended the work to be heard.

Mahler's Symphony No.8 might have been his last. A superstitious man, he noted that two previous important Viennese symphonists, Beethoven and Schubert, had both died after completing nine symphonies; he believed that he, too, could not survive beyond a ninth. Therefore, he intended to stop at eight, that is, with the composition of this particular symphony. Although he did eventually write more symphonic works, at the time that he created this piece, it was seen as a final statement, as the last symphony of a man who excelled in the field. Thus, it had to be the most magnificent of all.

After a full year of work, interrupted only by encroaching heart disease (he had been diagnosed with subacute bacterial endocarditis) and conducting duties both in Vienna and in New York City, Mahler produced a musical marathon, a ninety-minute symphony scored for a large orchestra with organ, adult and children's choirs, and eight vocal soloists. The myriad performers brought to the new symphony its nickname, "Symphony of a Thousand"; indeed, its premiere performance featured 1,028 performers, including an orchestra of more than 100, three choruses, and the vocal soloists.

The work's philosophy is as vast as its population. As Mahler described it to a friend, "Imagine that the whole universe bursts into song. We hear no longer human voices, but those of planets and suns circling in their orbits". The symphony is cast in two expansive sections. The first is based on the ancient hymn for Pentecost, Veni creator spiritus, which begins, "Come, creator spirit, dwell in our minds; fill with divine grace the hearts of thy servants". Such a text, though of sacred origin, can also be interpreted artistically; it is impossible to be certain which way, if either, Mahler intended.

For the symphony's second half, Mahler turned to a more recent source, though one still steeped in spirituality. Here, Mahler set the final scene from Part Two of Goethe's epic drama-in-verse, Faust. This is not the familiar portion in which Faust sells his soul to the devil in return for youth and love; rather, Part Two takes place decades later when Faust's earthly misadventures have at last come to an end, and the devil is seeking to take possession of his recruit. He fails, losing Faust to the angels, and in the final scene, the one that so enraptured Mahler, the angels and other spirits are ascending to heaven with Faust's redeemed soul.

It was not everyday material for a symphony, and Mahler was wary of how it would be received, but he need not have worried. The premiere in Munich on September 12, 1910, with additional performers recruited from Vienna and Leipzig, was greeted by a 30-minute standing ovation from an audience of 3,000. That the composer had spent the past several years in New York City leading both the Metropolitan Opera and the New York Philharmonic, and that his health was known to be tenuous, might have contributed to the favorable reception. However, it is undeniably a masterful piece of craftsmanship, benefiting from Mahler's years at the helm of symphonies and opera companies alike and his genius at mustering the grandest of performing forces.

These performing forces included not only the usual suspects and the aforementioned organ, but also four harps, celesta, piano, harmonium, mandolin, and an offstage brass ensemble – in addition to an abundance of brass in the orchestra itself. Woodwinds are also supplemented, with everything from piccolo to contrabassoon, and the percussion section includes glockenspiel, bells, tam-tam, and triangle, for a wealth of musical timbres. Mahler had spent the past two decades conducting orchestras, and he knew well which of those resources best suited the moods he had in mind.

The symphony opens with resplendent organ and chorus. Orchestral support, particularly from brilliant brass, further reinforces the celebratory mood. Reflective moods will appear, as Mahler makes use of his numerous vocal soloists, often shifting quickly from one to another. However, orchestral color is never long neglected; it has a principal role to play not only in support to the chorus and the specific meaning of phrases of text, but also in transitional instrumental passages, in which the orchestra serves to continue driving the musical motion forward.

Even more expansive is the symphony's second, Faust-derived portion. Here, a spacious orchestral introduction first haunting, then increasingly bold in character, sets the stage for ghostly lines from the male chorus evoking a forest scene. Male solo voices begin to speak of Faust's rapture in coming to God, with orchestral parts often surging in expression of those visions. Women's voices and those of the boys' chorus Mahler generally reserves for choirs of angels, though even here, he does not neglect his orchestra. When the women are singing of breaking away from earthly burdens, Mahler includes a violin solo, nimble or flowing in turn. One might suppose it represents the soul on the wing, and in later portions of this half of the Symphony No.8, the violin again returns to the spotlight; Mahler has not declared in the scoring that there is specifically a solo violin, but that is the ultimate effect.

That Faust, despite his adventure with Mephistopheles is now welcomed to heaven, is made clear with the "Neige, neige" scene. Here, it is not the French word of that spelling, which would imply snow, but rather German (after all, the text author was Goethe); in that language, it is a verb form for "approaching". The soul that here welcomes Faust is that of Gretchen, whom in the drama's earlier half, Faust had so wronged, though Mahler underscores her joy at seeing Faust again with graceful strings and light-hearted woodwinds. It is just before the "Neige" passage that the mandolin makes its brief appearance, in a serenade-like scene as three female souls are absolved of their sins; much the same effect could have been achieved with pizzicato orchestral strings, but Mahler had a more specific aural vision.

For the symphony's closing ten minutes, Mahler chooses to alternate between peaceful rapture and glorious grandeur. Had he indeed ended his symphonic career at this point, as evidence suggests was his intention, one could scarcely imagine a more resplendent way to draw down the curtain.

Source: Betsy Schwarm (britannica.com)

More photos


See also

Gustav Mahler: Symphony No.8 in E flat major "Symphony of a Thousand" – Manuela Uhl, Juliana Di Giacomo, Kiera Duffy, Anna Larsson, Charlotte Hellekant, Burkhard Fritz, Brian Mulligan, Alexander Vinogradov – Simón Bolívar National Youth Choir of Venezuela, Niños Cantores de Venezuela, Schola Cantorum de Venezuela, Schola Juvenil de Venezuela – Los Angeles Philharmonic Orchestra, Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel (Caracas 2012, HD 1080p)

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Gustav Mahler: Symphony No.4 in G major – Janai Brugger, Kaleidoscope Chamber Orchestra (HD 1080p)

The Kaleidoscope Chamber Orchestra and the American soprano Janai Brugger perform Gustav Mahler's Symphony No.4 in G major. The concert was recorded at First Presbyterian Church in Santa Monica, on May 3, 2015.

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This Symphony represents a culmination and distillation of the previous three. It is the shortest of Mahler's Symphonies, with a reduced orchestra, and a style consciously archaic in its evocation of classical models. Yet it is redolent of the Wunderhorn aesthetic that imbues this entire period of Mahler's career. The entire symphony, in fact, grew out of the final movement, which Mahler originally composed for his orchestral song collection on poems from Das Knaben Wunderhorn (The Young Boys' Magic Horn). Mahler originally planned to use this song, "Das himmlische Leben" (Heavenly Life), as the Finale for his Third Symphony, but withdrew it, probably because its theme was so similar to that of the fifth movement. At any rate, the other three movements were extrapolated from this long and joyful folk song and were calculated to culminate in its childlike vision of heaven. This in part explains the relatively lighter mood of the symphony as a whole as well as its tendency toward a more classical balance in its style, proportions, and scoring. In spite of the greater popularity of the Second Symphony, which in some ways is more typically Mahlerian, the Fourth Symphony, although lacking the barn-storming climaxes and extremes of emotion, was his best composition to date and entirely more refined and subtle in expression and technique.

Bedächtig. Nicht eilen (Moderately, not rushed). From the very outset we have Mahler's evocation of nature, with sleigh bells and bird calls leading into a flirtatious melody, so unlike the pretentious horns of the Third. There are dark moments later in the movement, but they appear as if through the veil of childhood's vision, unreal and imagined. The movement is in a clear sonata form.

In gemächlicher Bewegung (Leisurely moving). This was originally called "Freund Hein spielt auf" (Friend Hein strikes up), representing a sinister character out of German folklore roughly analogous to the "Pied Piper". His fiddle (as opposed to a pipe) is brilliantly depicted by Mahler with the use of a violin purposely tuned a full step up to give it a fiddle sound. The movement itself is a wryly grotesque Scherzo alternating with more earthy Ländler-like Trios.

Ruhevoll (Peacefully). Beginning as a gentle lullaby, the principal form of the movement is an alternation of this peaceful opening with a more searching and anguished theme. An impassioned variant of this theme leads to a series of brief variations in quickening tempos followed by a reprise of the opening. A sudden and ecstatic climax ensues and leads directly to the quiet coda.

Sehr behaglich (Comfortably). The song for soprano is "Das himmlische Leben", and depicts a child's view of heaven in this folk-like setting. Ingenuous melodies alternate with a hymnlike stanza representing the child's occasional awe. An animated interlude that recurs between many of the stanzas is the source for the opening of the first movement, but in the symphonic context it functions as a cyclic reference backward to that movement.

Source: Steven Coburn (allmusic.com)



Gustav Mahler (1860-1911)

♪ Symphony No.4 in G major (1899-1900)

i. Bedächtig, nicht eilen [00:00]*
ii. In gemächlicher Bewegung, ohne Hast [17:00]
iii. Ruhevoll, poco adagio [26:00]
iv. Wir geniessen die Himmlischen Freuden. Sehr behaglich [46:45]

Janai Brugger, soprano

Kaleidoscope Chamber Orchestra

First Presbyterian Church in Santa Monica, May 3, 2015

(HD 1080p)

* Start time of each movement

A former winner in 2012 of Placido Domingo's prestigious Operalia competition and of the Metropolitan Opera National Council Auditions, American soprano, Janai Brugger (b. 1983, Chicago, Illinois), begins the 2015-2016 season as Michaela Carmen at Washington National Opera, and sings the role again later in the season at Lyric Opera of Kansas.

Identified by Opera News as one of their top 25 "brilliant young artists" (October 2015 issue), Janai joins the Metropolitan Opera for their Rising Stars concert series and makes several US concert appearances during the season, along with various recital performances. She makes her debut as Norina Don Pasquale at Palm Beach Opera, and returns to Los Angeles Opera to revive the role of Musetta La Boheme which she sings under the baton of Gustavo Dudamel.

Recent highlights include the role of Pamina Die Zauberflote  in which she made her UK debut at the Royal Opera House Covent Garden to great acclaim, and formely sang at Los Angeles Opera in a new production by Barrie Kosky; Liu Turandot at the Metropolitan Opera of New York where she also sang the role of Helena The Enchanted Island.

In previous seasons, the artist made her debut as Michaela Carmen with Opera Colorado; she sang High Priestess Aida at the Hollywood Bowl with Los Angeles Philharmonic, Juliette Roméo et Juliette at Palm Beach Opera, and, as a member of the Domingo-Thornton Young Artist Program, her Los Angeles Opera appearances include Barbarina Le Nozze di Figaro under the baton of Placido Domingo, Page Rigoletto with James Conlon, and Musetta La Bohème with Patrick Summers. Cover assignments as a young artist include the roles of Mrs Neruda Il Postino, and the Governess The Turn of the Screw.

Miss Brugger appears frequently in concert and in recital; she sang at the Peter Dvorsky Festival in the Czech Republic; with the Cincinnati Symphony Orchestra during the May Festival under the baton of James Conlon; at Ravinia Festival with Chicago Symphony Orchestra as First Lady Die Zauberflöte under the baton of James Conlon; at Grant Park Festival's Fourth of July open air concert before 10,000 people, with the Philadelphia Orchestra in their 2013 gala concert performance.

Additionally, she appeared in New York's Festival of Song, and with David Daniels for performances of The Messiah in Ann Arbor, Michigan.

A native of Chicago, the artist obtained a Master's degree from the University of Michigan, where she studied with the late Shirley Verrett. She won her Bachelor's degree from DePaul University where she studied with Elsa Charlston. In 2010, Miss Brugger participated in The Merola Opera Program at San Francisco Opera, and went onto become a young artist at Los Angeles Opera for two seasons.

Future engagements include return engagements at the Metropolitan Opera and the Royal Opera House Covent Garden.

Source: janaibrugger.com

Kaleidoscope Chamber Orchestra: About

Vision. We envision a world where our commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives.

Mission. Kaleidoscope is a conductorless chamber orchestra dedicated to enriching lives through exhilarating concert experiences, artistic excellence, musician leadership, and connecting with the diverse communities of Los Angeles.

Core Values
• We believe that our collective of musicians has ideas that are worthy of respect and consideration; that each member has a voice worth hearing; that every person, given the chance and tools, can help to create great art.
• We believe that pursuing a democratic process within the orchestra will improve the quality of the performance, fulfill the collective vision of the ensemble, and create a unique experience not found in traditional orchestras.
• We believe in developing an infrastructure that supports, empowers, and values its musicians.
• We believe in bringing our performances and artistic process to audiences who have little or no exposure to symphonic music with the belief that the experience will enrich the lives of both the audience and the performers.

Artistic Intent. We perform orchestral music that speaks profoundly to our community and is both representative of its time and timeless, whether written today or centuries ago. We stretch the boundaries for what is thought possible without a conductor, both by musicians and audiences, to allow us all to grow through the process. We regularly collaborate with living composers because their music represents our time. We design programs that explore less conventional concert experiences and allow audiences to feel more personally connected to music and the musicians who perform it.

Community Engagement and Education. Kaleidoscope is committed to music education for all ages and is happy to offer a "pay what you can" model to eliminate the barrier of a set ticket price. We want everyone in Los Angeles to have the opportunity to experience great classical music in person by a professional orchestra, think about what that experience means, and pay what makes them happy. We also perform many additional free concerts in schools, hospitals, shelters, and other underserved parts of our community.

We recently started a music education program at a title I elementary school in Culver City, providing music instruction to 200 students each week. With additional funding, we are planning to expand this program to other grades and other schools in the future. Not only do we want every child in Los Angeles to love listening to music, we want every child to have the opportunity to read, play, and write music, too.

Source: kco.la

More photos


See also

Yuan-Chen Li: “Wandering Viewpoint”, Concerto for Solo Cello and Two Ensembles – Michael Kaufman, Kaleidoscope Chamber Orchestra (HD 1080p)

Samuel Barber: Knoxville, Summer of 1915 – Maria Valdes, Kaleidoscope Chamber Orchestra (HD 1080p)

Leoš Janáček: Mládí (Youth), suite for wind sextet – Members of the Kaleidoscope Chamber Orchestra (HD 1080p)


Olivier Messiaen: L'Ascension, 4 meditations for orchestra – Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.6 in F major "Pastoral" – Kaleidoscope Chamber Orchestra (HD 1080p)

Sergei Prokofiev: Symphony No.1 in D major "Classical" – Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.7 in A major – Kaleidoscope Chamber Orchestra (HD 1080p)

Ralph Vaughan Williams: The Lark Ascending – William Hagen, Kaleidoscope Chamber Orchestra (HD 1080p)

Aaron Copland: Appalachian Spring – Kaleidoscope Chamber Orchestra (HD 1080p)

Wolfgang Amadeus Mozart: Symphony No.39 in E flat major – Kaleidoscope Chamber Orchestra (HD 1080p)

Sergei Prokofiev: Piano Concerto No.3 in C major – Irene Kim, Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.5 in C minor – Kaleidoscope Chamber Orchestra (HD 1080p)

Kaleidoscope: Meet a different, colorful orchestra

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