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Ode An Die Freude ( Ode To Joy ) Beethoven Symphony No.9 Classical Music

This is my digital arrangement of the high-energy can-can from Offenbach’s operetta Orpheus in the Underworld. This festive, quirky music is bound to lift even the most dreary of spirits.

All parts were recorded using EastWest/Quantum Leap Symphonic Orchestra.

Here's a link to the YouTube video of the same arrangement: https://www.youtube.com/watch?v=ZNnYPka8qTc

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Offenbach - Infernal Galop (can-can)

In The Hall Of The Mountain King

This is the finale of Rossini's William Tell Overture. This section is also known as "March of the Swiss Soldiers." The popular rhythmic pattern is commonly associated with galloping horses both in cartoons and in real life.

This digital arrangement was based on the original score. Instrumentation consists of a piccolo, a flute, two oboes, two clarinets, two bassoons, four french horns, two trumpets, three trombones, timpani, a triangle, cymbals, and section strings.

All parts were recorded using EastWest/Quantum Leap Symphonic Orchestra.

Rossini - William Tell Overture (Finale)

Excerpted from a complete performance in collaboration with the Amherst College Choral Society, the exciting second movement of the Requiem by Giuseppe Verdi as performed by the Amherst Symphony Orchestra.

Verdi Requiem: "Dies Irae"

"Vocatio Abrahae" (The Calling of Abraham) is a two-hour symphonic odyssey, divided into 12 main parts (plus optional postlude), designed for performance or sectional listening. Inspired by the Romantic tradition of programmatic music, it follows the biblical patriarch Abraham as a metaphor for radical faith — leaving home, journeying through trials, receiving divine promises, interceding for others, and ultimately facing the supreme test at Mount Moriah.

The work begins with a brooding Call in Ur, grows into the restless Journey, expands in wonder under the Starry Promise, and erupts into conflict in the War of Kings. A solemn Covenant passage anchors the symphony in sacred ritual, before turning toward the playful Hospitality at Mamre and the tragic shadows of Sodom’s Cry.

The final two sections, The Ascent to Moriah and The Sacrifice of Isaac, are the emotional and spiritual summit of the symphony: an immense meditation on obedience, anguish, and redemption. Here, motifs from earlier movements return, transformed into radiant light as the angel intervenes and the promise of faith is fulfilled.

The Postlude closes the journey with a gentle pastoral benediction, leaving the listener in peace after the storm.

Movement III – The War of Kings - Part III-B: Allegro Eroico

Tchaikovsky - 1812 Overture (Full With Cannons)

London Symphony Orchestra conducted by Witold Rowicki
DECCA 478 2302 
Audio kindly supplied by Silver Partner Universal Music


DVORÁK Symphony No.9, New World:  4th movement – Allegro con fuoco

Edvard Grieg - In the Hall of the Mountain King

Les Toreadors

Chicago Symphony Orchestra
Riccardo Muti, conductor
Barbara Frittoli, soprano
Olga Borodina, mezzo-soprano
Mario Zeffiri, tenor
Ildar Abdrazakov, bass
Chicago Symphony Chorus
Duain Wolfe, director

DVORÁK Symphony No.9, New World: 4th movement – Allegro con fuoco

Sydney Symphony Orchestra

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