The Premature Burial, Edgar Allan Poe "In fact, I no longer dared trust myself out of the immediate presence of those who were aware of my proneness to catalepsy, lest, falling into one of my usual fits, I should be buried before my real condition could be ascertained. I entered into a series of elaborate precautions. Among other things, I had the family vault so remodelled as to admit of being readily opened from within."
Georges Bizet: L'Arlésienne Suite Nr. 1, 1. Satz (Ausschnitt) Sinfonie-Orchester des Hessischen Rundfunks, Kurt Schröder (Dirigent) Aufnahme vom 8. September 1948 im großen Sendesaal Eschersheimer Landstraße Georges Bizet: L'Arlésienne Suite no. 1, first movement (excerpt) Frankfurt Radio Symphony, Kurt Schröder (conductor) recording from 8 September 1948 in the Eschersheimer Landstraße broadcasting studio
Scheherazade, Symphonic Suite, Op. 35. The San Francisco Symphony Orchestra conducted by Pierre Monteux. Violin solo by Naoum Blinder. Recorded March 3 & 4, 1942 in the War Memorial Opera House in San Francisco. Victor DM-920. Transferred and restored from the original 78 set.
Scheherazade, Symphonic Suite, Op. 35. Violin solo by Naoum Blinder. Recorded March 3 & 4, 1942 in the War Memorial Opera House in San Francisco. Victor DM-920. Transferred and restored from the original 78 set.
Wolfgang Amadeus Mozart: Requiem, K. 626 Salzburg Festival, 1960 Herbert von Karajan, conductor; Wiener Philharmoniker; Leontyne Price, soprano; Hilde Rössel-Majdan, alto; Fritz Wunderlich, tenor; Eberhard Wächter, baritone; Walter Berry, bass.
Synthesized MIDI rendering of Guillaume Dufay's "Ave Regina", c.1450, Ox. Bod. Can. misc. 213 f.62, after facsimile in W. Apel, The Notation of Polyphonic Music (1960), facs. 26. Created with Lilypond.
Requiem, K. 626 Salzburg Festival, 1960 Herbert von Karajan, conductor; Wiener Philharmoniker; Leontyne Price, soprano; Hilde Rössel-Majdan, alto; Fritz Wunderlich, tenor; Eberhard Wächter, baritone; Walter Berry, bass.
Example of atonal music which avoids octaves, avoids major and minor triads, avoids more than three notes from the same diatonic scale, and avoids conjunct melodies/uses disjunct melodies. From Schoenberg's Klavierstucke, Op. 11, No. 1.