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Franz Liszt
Après une Lecture de Dante
With the gloomy chords of “Kondor Rock,” [by György Kurtág; it...
György Kurtág
Kondor Rock (In the Manner of the A
Selections from Játékok (4’) KurtágIn 1973, Kurtág began a...
György Kurtág
Play with Infinity, from Játékok
In 1973, Kurtág began an ongoing project of writing volumes of imag...
György Kurtág
Capriccioso-luminoso, from Játéko
In 1973, Kurtág began an ongoing project of writing volumes of imag...
Franz Schubert
Impromptu Op. 90 No. 3 in G-flat Ma
Suggesting the air of an extemporized performance, the Impromptu as ...
György Kurtág
Fanfares, from Játékok
In 1973, Kurtág began an ongoing project of writing volumes of imag...
György Kurtág
Hommage à Schubert, from Játékok
In 1973, Kurtág began an ongoing project of writing volumes of imag...
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Welcome to Classical Connect - the free classical music site!

If you like classical music, you’ve come to the right place! Classical Connect is your virtual concert hall, featuring thousands of recordings of classical music. If you love piano music, just go to the Browse by Instruments section and access the thousand-plus piano recordings available in our library. If you prefer the violin or the flute, you won’t be disappointed either – in fact, we have music for practically every instrument! If, on the other hand, you’re interested in a particular composer, you can Browse by Composer and select your favorite.

Where do we get our music? Our site allows independent musicians to upload their own recordings, or we may do it on their behalf. Musicians value the special opportunity Classical Connect offers because it allows for their music to be heard around the world. Several hundred musicians have already joined our site. We also have arrangements with several labels, festivals, programs and orchestras, allowing us to use some of their material.

As a visitor to our site you can listen to the first three minutes of any recording. However, by joining our site you’ll have access to all full-length performances. Joining is easy and has many great benefits. You’ll be able to create playlists, comment and vote on recordings, share music with friends, listen to our special programs, and more.

The music you hear upon entry was randomly selected from our library - what we call our Serendipity list. You can always pause it or jump to the next piece. You’ll be able to change the content of these initial selections once you’ve signed in.

To help you navigate the site and use its features, we’ve also created a Help page.

In the meantime, enjoy the music!

The Classical Connect team

December 15, 2014.  Beethoven and Kodali.  Ludwig van Beethoven was born on December 16th, 1770 – at least that’s the accepted date: no direct record of his birth exists, but we know that he was baptized on the 17th.  We celebrate his birthday by going through his piano sonatas.  This Beethoven in 1801by Carl Riedelway, even if seemingly arbitrary, is as good as any: Beethoven’s piano sonatas are the not just an essential part of piano literature, they represent a pinnacle of European music.  Last year it was Sonatas nos. 2 and 3, op. 2.  This year we move on to Sonata no. 4, op. 7, in E-flat Major and the opus 10.  Sonata no. 4 was written in 1796.  By then Beethoven was living in Vienna (he had moved there from Bonn four years earlier).  One of his benefactors, Prince Lichnowsky, provided him with living quarters.  Young and cocky, Beethoven was widely acknowledged as a great piano virtuoso.  He played in all major salons of the city, often improvising during the concerts.  These improvisations brought him great acclaim.  He composed, but not as extensively as he would just a couple year later.  He also traveled: to Prague, with Lichnovsky, then to Pressburg (now Bratislava).  Sonata no. 4 was published in 1797 and was dedicated to Babette Keglevich, Beethoven’s pupil.  We know very little about Babette, except that she came from an old noble family, originally from Croatia, and that clearly she was a very good pianist – the sonata is technically quite difficult.  It’s also pretty long, running about 28 minutes.  Only Hammerklavier, no. 29 Op. 106 is longer.  We’ll hear it in the 1975 performance by Sviatoslav Richter.

     The next sonatas, op. 10, were written two years later, in 1798.  1798 was the year that General Bernadotte, the ambassador of the French Directory and the future King of Sweden (as Charles XIV), arrived in Vienna.  It’s believed that it was Bernadotte who suggested to Beethoven that he write a symphony dedicated to the young, successful general by the name of Napoleon Bonaparte.  Beethoven did write a symphony, his third (we know it as Eroica) and initially dedicated it to Napoleon, but once Napoleon proclaimed himself the emperor of France, Beethoven withdrew the dedication.  Opus 10 consists of three sonatas, no. 5 in c minor, in three movements, no. 6 in F Major, also in three movements, and no. 7, in D Major, the largest of the three, in four movements.  All three were dedicated to the Countess Anne Margarete von Browne, the wife of count Johann Georg von Browne, an important patron (Beethoven dedicated three string trios op. 9, written at the same time as the sonatas, to the count himself).  The sonatas op. 10 are not performed very often, which is a pity: they are beautiful and sound fresh, while the modern concert repertory is often repetitive, with the same pieces being played over and over again.  We can listen to sonata no. 5 and no. 6 in the performance by Alfred Brendel; sonata no. 7 is played by Annie Fischer.

     Annie Fischer was a Hungarian pianist.  She was born in Budapest in 1914.  Despite the country’s tragic history, the 20th century saw a flowering of classical music in Hungary.  Composers like Béla Bartók, Ernst von Dohnányi (Fischer’s teacher at the Franz Liszt Academy of Music), and later, György Ligeti and György Kurtág were all of the utmost importance.  And then there were the conductors: Sir Georg Solti, Antal Doráti, the already-mentioned Dohnányi, Fritz Reiner, George Szell. (It’s interesting to note that most of the musicians we just mentioned were Jewish; most of the Hungarian Jews perished during the Holocaust).  One of the most important composers of the first half of the 20th century was Zoltan Kodály, a friend of Béla Bartók.  Kodály’s birthday is also this week: he was born on December 16th of 1882.  Here’s one of his most popular symphonic pieces: the Háry János Suite from 1926.  It’s based on Kodály’s opera, Háry János.   The Cleveland Orchestra is conducted by George Szell.


Welcome to our Virtual Concert Hall

We started Classical Connect with a mission to provide independent musicians with a new venue for their performances. Hundreds of classical musicians have taken advantage of this opportunity, sharing their music with listeners across the world.

We encourage you to join and upload your performances. Once signed in, you’ll be able to create a personal page with your bio, photo and other promotional materials. Since all the recordings on our site are streamed, your performance cannot be downloaded without your permission. In the future, you may also benefit from our plan to introduce fees for certain downloads. These fees will be shared with you, the musician.  If you have a video of your performance on YouTube, you can link it to your personal page: go to Upload or Link Your Performance and paste the YouTube URL in the appropriate field.  Your video will play on Classical Connect alongside your audio recordings.

Also, we have created a new feature called Concert Schedules, which allows you to enter your future concerts. Once your event has been entered, two things should happen. First, the concert is displayed on your personal page, below the bio. Second, the concert appears on the combined front-page Concerts Calendar. Moreover, for two days – the day before the concert and the day of the concert itself – there will be a message announcing your concert on the front-page News and Updates tab. This is the very first tab presented to all logged-on users.

On the technical side: our site accepts MP3 and MP4 files, so if you have a CD recording, you can rip and upload it in this format. For better quality, we recommend using a bit rate of 128 kbps, an audio sample rate of 44 kHz, and a two-channel (stereo) format.

To upload, enter the complete title of the piece, including its key, number, opus, etc. For example, the title of Beethoven's Sonata No. 21 would be identified as Sonata No. 21 in C Major, Op. 53. "Waldstein" is optional.  Also, we encourage you to leave comments about your performance or the composition.

If your performance was recorded on several tracks, then upload each one with a different title. For example, Sonata No. 21, part 1, Sonata No. 21, part 2 and so on. Please let us know and we’ll merge these different movements into one complete performance with the appropriate title.

Please do not upload parts of a composition. Think of Classical Connect as your virtual concert hall: only upload the things you would play in a real one.

If you have any questions, please contact us by clicking here and sending us an e-mail. We'll make every effort to respond as quickly as possible.

The Classical Connect team

Benefits of Joining Classical Connect

There are many advantages to joining Classical Connect. The first, and most obvious, is the ability to listen to complete performances. We have more than 2,000 different pieces of classical music, some of them as long as an hour and 50 minutes (yes, that’s how long Mahler’s Third Symphony is!). Once you’re logged in, you can listen to every one of them from start to finish – that’s if you like the performance, of course.

You can also create personal playlists. There’s no limit to how many pieces each playlist can include. You can read more about playlists here. In addition, you can comment and vote on any piece of music in our library. The grades / rankings go from 1 (lowest) to 10 (highest), but please only reserve 10s for the truly great performances and use 1s sparingly!

Another advantage includes sharing performances with your friends. Click the Share button on the Player and send a message to your friend on Classical Connect, or simply copy/paste the link into an e-mail. Your friends don’t even need to be members of Classical Connect; they can simply click on the link and listen to the complete performance the same way you do.

Also, you can actively participate in Forums only if you’ve joined the site.

Finally, as you set up your profile, you can select the content of the initial musical selection or omit it entirely.

Joining is easy. Just click here and follow the instructions.


The Classical Connect team

January 8, 2014.  Messiaen, Berlioz.   Two great French composers, Olivier Messiaen and Hector Berlioz (and several others, see below) were born this week.  Messiaen was born on December 10th, Olivier Messiaen1908 in Avignon.  His mother was a poet and his father – an English teacher and translator of Shakespeare into French.  Olivier entered the Paris Conservatory at the age of 11 and while there he was awarded several prizes, in harmony and in fugue writing among them.   He studied the organ, first with the composer and organist Marcel Dupré and later with Charles-Marie Widor, also a composer and one of the most famous organists of his time.   In 1931 Messiaen became the organist of the church de la Sainte-Trinité in the 9th arrondissement, and remained in that position for the following 61 years.  Messiaen accepted the Catholic faith at an early age, and many of his compositions were overtly religious.  Early in his life (in 1932) he wrote an orchestral piece L'ascension ("The Ascension") and three years later, an organ work titled La Nativité du Seigneur (The Nativity of the Lord).  Later in his career, in the 1960s, he wrote La Transfiguration de Notre Seigneur Jésus-Christ ("The Transfiguration of Our Lord Jesus Christ"), a huge work of about one and a half hour’s duration which is scored for the piano, cello and other instrumental solos, a large choir and the orchestra.  Later in his life he wrote his only opera, Saint François d'Assise, based on the life of the saint (Messiaen wrote the libretto himself, studying historical sources in the process).  One of most interesting pieces in this genre is his piano work Vingt regards sur l'enfant-Jésus (usually translated as “Twenty contemplations on the infant Jesus”).  It consists of 20 movements, and we have several in our library.  Here is the first movement, Regard du Père ("Contemplation of the Father"), a beautiful, deeply meditative piece, and hereRegard de l'étoile ("Contemplation of the star"), the second movement with its brief celestial motif.  Both are performed by the pianist Pierre-Laurent Aimard, who studied with Yvonne Loriod, Messiaen’s second wife.  (Aimard is one of the most interesting, highly regarded interpreters of modern music; he recently embarked on a tour playing Book I of Bach’s Well-Tempered Clavier.  That, in our opinion, was less successful).

Hector Berlioz was born on December 11th, 1803 in a small town of La Côte-Saint-André in thesoutheast of France.  One hundred years apart and completely different in styles, Berlioz and Messiaen have one thing in common: both were absolutely unique, outside of the mainstream music of their time.  If you look at the timeline of Berlioz as a composer, it starts in 1830 with the publication of Symphonie fantastique and lasts for the following 30 years, the first half dedicated mostly to symphonic pieces, and the second half – to opera.  It coincides with the most creative years of Chopin, Schumann, Mendelssohn in the first half, Wagner and Verdi in the second.  Berlioz is unlike any of them.  Franz Liszt, who was strongly influenced by Berlioz, is probably the closest to him in all of music literature.  In France, Berlioz struggled to be recognized as a composer (Giacomo Meyerbeer was much more popular), even while being praised as a conductor (half a century later, in Vienna, that would also be Mahler’s fate).  Symphonie fantastique was premier in December of 1830, and remained in the orchestral repertory ever since.  is the second movement, Un Bal, in the performance by the Royal Concertgebouw Orchestra, Sir Colin Davis conducting.

We need to mention two more birthdays, that of Jean Sibelius (December 8th, 1865) and César Franck’s, on December 10th of 1822.


December 1, 2014.  More of Brahms’s late piano music.  In recent months we’ve written about Johannes Brahms’s two sets of piano music, Seven fantasies, op. 116 and Six Piano Pieces, op.  118.  Today we continue with the middle opus, Three Intermezzos op.117, which Brahms, in a letter to a Johannes Brahmsfriend, called “lullabies of my sorrow.”  Intermezzos were written in 1892, during the period of great personal loss.  As always, we illustrate the pieces with  music from our library.  The pianist in these recordings is Yael Kareth.  Yael was born in Jerusalem in 1986.  She studied at the Tel Aviv Music Academy and then continued in London with Murray Perahia.  She participated in the Itzhak Perlman Project in Israel and the US, the Aspen and Ravinia Festivals, and the West-Eastern Divan Orchestra under Daniel Barenboim.  She also performed as a soloist with the Israel Philharmonic Orchestra under Zubin Mehta.  Currently Yael lives in Berlin where she studies with Dmitri Bashkirov and Daniel Barenboim.  The article follows.

In contrast to the neighboring opp. 116 and 118, Brahms comprised op. 117 of only three intermezzi.  However, these three works are of an unmistakably greater import than the similar works of those two collections (except, of course, the grim E-flat minor Intermezzo).  Despite their subdued tone, they carry a weight that could hardly be found within either op. 116 or op. 118, yet together form a fulfilling whole.  Continue here.


November 24, 2014.  Alfred Schnittke.  We have to admit to having a problem with the term “Soviet,” as in “Soviet composer.”  There is just so much negativity associated with the term, with all the totalitarian connotations and the evil that was perpetrated under its name during a large part of Alfred Schnittkethe 20th century.  But what would you call a composer born on November 24th of 1934 in a city on river Volga, who then moved to Moscow, studied and later taught at the Moscow Conservatory, and was for a while a member of the Soviet Composer’s Union?  On the other hand, what would you call a composer whose music was so non-conformist and “anti-Soviet” that it was banned by the same Composer’s Union?  The life of Alfred Schnittke, one of the most interesting composers of the last half of the 20th century, was very unusual.  He was born into a German-Jewish family.  His Jewish father Harry was born in Frankfurt but brought to the Soviet Union in 1927 by his parents who, like so many Western intellectuals at that time, went to Russia to build a new, just society.  Most of them perished in the Gulag, but not the Schnittkes.  Harry became a well-known German translator and a journalist.  During the Great Patriotic War, as WWII was called in the Soviet Union, Harry worked as a wartime correspondent.  Once the war was over, he was stationed in Soviet-occupied Vienna to work in a newspaper established by the Soviet authorities.  Harry brought his family with him, including the 12-year-old Alfred.  It was in Vienna, the city of Mozart and Haydn, Beethoven and Schubert, Bruckner and Mahler, that Alfred started his musical education.  Even though the family stayed in Vienna for just two years, the exposure to the Austrian-German tradition deeply influenced young Schnittke.  They returned to the Soviet Union in 1948 and settled in the suburbs of Moscow.  Alfred attended a music school and in 1953 entered the Moscow Conservatory, studying composition with Evgeny Golubev, a pupil of Myaskovsky, and eventually doing graduate work.  In 1962 he assumed an assistant teaching position at the Conservatory but earned his living writing film scores.   His relationship with the Soviet musical establishment was difficult from the beginning.  Some of his work was banned and most of it rarely performed.  He became officially accepted only in the late 1980s, during Gorbachev’s Perestroika.

Schnittke was a very prolific composer, writing several operas, 10 symphonies, four violin concertos, several piano concertos, and many chamber and instrumental pieces.  His early music was deeply influenced by Shostakovich, but eventually Schnittke evolved into a highly original composer.  In 1971 he wrote an essay titled “Polystylistic Tendencies in Modern Music.”  In it Schnittke pointed to composers he called “polystylistic,” who mixed and matched various styles into a coherent composition; those, in Schnittke’s opinion, included Luciano Berio, Edison Denisov, Krzysztof Penderecki and other.  But it was Schnittke himself who became a major proponent of this style.

In 1985 Schnittke suffered a terrible stroke (doctors believed they had lost him several times) but recovered and continued composing, though his style became more introverted.  In 1990 Schnittke left Russia and settled in Hamburg.  He had another stroke in 1995, which paralyzed him; after that he stopped composing.  Schnittke died in Hamburg on August 5th, 1998.  His body was returned to Moscow and buried with state honors.

We have a number of Schnittke’s works in our library.  Here’s his "polystylistic" and very representative piece from 1977 called Concerto Grosso No. 1.  It’s performed by the dedicatees of the piece, the violinists Gidon Kremer and his then wife Tatiana Grindenko and the Chamber Orchestra of Europe, Heinrich Schiff conducting.

Jean-Baptiste Lully, the father of French Baroque, was born on 28th of November 1632.  We’ll commemorate his birthday at a later date.


November 17, 2014.  This week across centuries.  Wilhelm Friedemann, a talented but rather unhappy eldest son of Johann Sebastian Bach, was born on November 22nd of 1710.  Friedemann had a difficult character, later Wilhelm Friedemann Bachin his life he drank heavily, but it seems that his main problem was his rivalry – probably unconscious – with his father.  As Grove Music Dictionary puts it, “… [W.F.] Bach clearly concentrated more on virtuoso performance than on his career as a composer, perhaps in the depressing realization that he could never attain his father’s perfection in all musical genres. His creative energies were therefore expressed more readily in free improvisation, and particularly in his late years the improvisation of fantasies on the organ and harpsichord was very important to him.”  Still, in that rather barren period of the 18th century between the deaths of J.S. Bach and Handel and the time when Haydn and Mozart brought the new classical style to its pinnacle, Wilhelm Friedemann was clearly one of the very best.  To prove it, here’s his Harpsichord Concerto in F minor, written around1767.  Claudio Astronio conducts the Italian ensemble Harmonices Mundi from the harpsichord.

Firdemann died in 1784.  Two years later, on November 18th of 1786 Carl Maria von Weber was born in Eutin, the Duchy of Holstein.  Weber is mostly known for his operas, especially Der Freischütz, considered the first German “Romantic” opera.  The operas are indeed the most important part of his body of work, but being a wonderful pianist Weber also wrote a number of pieces for Carl Maria von Weberthe instrument.  He composed two piano concertos, four sonatas, and the Konzertstück (concert piece) in F minor for piano and orchestra.  He completed the piece the morning of June 18th of 1821, the day Der Freischütz had its premier in Berlin.  While the Konzertstück has just one movement (that’s why Weber decided not to call it a concerto), it has four sections and Weber provided a detailed – and highly romantic – program for each.  The first one, according to the composer, describes a knight’s wife on a balcony, gazing into the distance, thinking about her husband who went on a Crusade to the Holy Land.  In the second section, the excited wife, thinking of her possibly wounded husband, falls unconscious, but do we hear the trumpets in the distance?  Yes we do, and in the third section, written in the gay C Major, the knights are returning from the Crusade to the delight of the crowds, and the couple is reunited.  The forth, final episode depicts happiness without end.  Felix Mendelssohn attended the premier, loved it and later played it many times.  We don’t know whether Weber’s extravagant program helps the listener to appreciate the music but it’s a superb piece and is brilliantly played here by Alfred Brendel with the London Symphony Orchestra, Claudio Abbado conducting.

Weber suffered from tuberculosis and was just 39 when he died in 1826.  Manuel de Falla, one of the most important Spanish composers of the early 20th century, was born fifty years later, on December 23rd of 1876 in the port city of Cádiz in Andalusia.  Falla was the youngest of the three composers who revolutionized Spanish music at the end of the 19th century: Isaac Albéniz was born in 1860 and Enrique Granados – in 1867.  While promoting the national roots of Spanish music, the three of them opened up a rather close-minded and xenophobic musical culture of the country to broader musical ideas, many of them emanating from France.  Falla studied in Madrid as a young man, and then, in 1907, moved to Paris, where he met and befriended many composers, including Ravel, Debussy, and Stravinsky.  Falla returned to Spain in 1914; by then he was recognized as one of the leading composers of the time.  His opera La vida breve was successfully staged in France and Spain; he had a written a number of zarzuelas, songs, and chamber pieces.  An even more productive period followed.  One of the pieces Falla wrote shortly after returning from France was Nights in the Gardens of Spain for piano and orchestra, which he completed in 1915.  Here it is, in the performance by the great champion of Spanish music, the late pianist Alicia de Larrocha; L'Orchestre de la Suisse Romande is conducted by Sergiu Comissiona.

Alfred Schnittke, one of the most important Russian composers of the second half of the 20th century, was also born this week, on November 24th of 1934.  We commemorate his birthday every year and hope to do it in 2014 as well, albeit at a later date.


November 10, 2014.  Couperin, Borodin, Hindemith.  François Couperin, one of the greatest French Baroque composers, was born on this day in 1668.  He came from a large family of musicians, some of them very talented (you can read more about the Couperins François Couperinin our earlier post).  He was incomparable as a composer for the harpsichord (clavecin, as it is called in French).  Couperin wrote four Books for the harpsichord, each containing several “orders,” 27 orders altogether.   One of the pieces in Order 6 (Book 2) is called Les Barricades Mistérieuses (The mysterious barricades); it was written in 1717.  Nobody knows for sure why Couperin used this unusual title, although many suggestions have been made, from rather risqué to outlandish.  In any event, here it is, performed by Scott Ross.  (A talented American harpsichordist who spent most of his life in Canada and France, Ross had a tragically short life: he died in 1989 at the age of 38.  Ross recorded all keyboard compositions by Couperin, all 555 sonatas by Domenico Scarlatti, and many other works by the Baroque composers).

The chemist, doctor and accidental composer of great talent, Alexander Borodin was born on November 12th of 1833.  All his life Borodin was mostly interested in sciences, studying in St.-Petersburg and universities abroad and eventually obtaining a teaching position at the prestigious Medical-Surgical Academy.  Music was a love, and composing – a pleasant hobby.  In 1862, at the home of his colleague, the famous doctor Sergey Botkin, Borodin met Mily Balakirev and then through Balakirev, he made friends with Cesar Cui, Modest Mussorgsky, and the young Nikolai Rimsky-Korsakov.  Five years later the music critic Vladimir Stasov would call them the Mighty Five.  The 1862 meeting strongly affected Borodin, and almost immediately he started working on his 1st Symphony.  Even though he wrote three of them, some chamber music, and most of Prince Igor, a truly great opera (it fell upon Rimsky-Korsakov and Glazunov to finish it after Borodin’s death), he never made composing his main profession.  In 1880 Borodin wrote a symphonic poem In the Steppes of Central Asia (the original Russian title was just “Central Asia”).  In 1908, a Frenchman by the name of Joseph-Louis Mundwiller shot a documentary called Moscow Clad in Snow (and it really was that year).  It’s a fascinating film that shows Moscow at the beginning of the 20th century, much of which doesn’t exist any longer.  When the movie was restored, the editors decided that Borodin’s In the Steppes would go well as an accompaniment.  Even though there are thousands of miles between Moscow and Central Asia, somehow it worked.  Here is In the Steppes of Central Asia as performed by Kurt Sanderling and Dresden Staatskapelle.  And here is the movie on YouTube.  It’s worth watching even if you’ve have never been to Moscow.

One of the most important German composers of the 20th century, Paul Hindemith was born on Mathias Grunewald, Isenheim Altarpiece, CrucifictionNovember 16th, 1895.  We need to dedicate an entry to him alone, but right now we’ll present one of his most famous compositions, the symphony Mathis der Maler (Matthias the Painter).  “Mathis” in the title is Matthias Grünewald, a German Renaissance painter who lived from 1470 to 1528.  His greatest work was the so-called Isenheim Altarpiece, which consists of a large central panel depicting the Crucifixion and several side panels with the Annunciation, several saints, the visit of Saint Anthony to Saint Paul the Hermit and other biblical and apocryphal stories.  The side panels can be opened and closed, creating different views of the altar.  The altarpiece is an absolute pinnacle of German art; the power of it is as overwhelming today as it was 500 years ago.  Located in a museum in the Alsatian city of Colmar it is very much worth the trip, as the Michelin guide would put it, even though Colmar itself is not a very interesting place (but of course if you’re there, you’ve already made it to Strasbourg).  If the trip to Alsace isn’t in your plans, then  you can go to the Web Gallery of Art and view it there.  Mathis der Maler consists of three movements, each corresponding to a separate panel: Angelic Concert, Entombment, and The Temptation of Saint Anthony.  Here it is, in the performance by the London Symphony Orchestra, Jascha Horenstein conducting.

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