也称为 《博伊伦之歌》，原是舞台作品 《凯旋三部曲》中的第一部，作于1935—1936年， 1937年初演于法兰克福，后作为康塔塔单独演出， 是奥尔夫最著名的代表作。
其歌词选自在巴伐利亚州贝内迪先特博伊伦修道院中发现的一本13世纪的诗集。共分25个乐章，用女高音、男高音、男低音、童声合唱、合唱及乐队（内有14个乐章为管弦乐曲）。
歌词用拉丁文，其性质是放浪于饮酒、女人与爱情的学生歌曲， 分为3大部分：1.春，2.小酒店，3.爱情，演出时有哑剧动作，伴有丑角和舞蹈场面。 此曲写作手法简单,摒弃了常用的对位、主题发展、变奏等,而是用同度，八度，三度的声部进行，句段多重复， 是一部音效极佳的作品， 现在经常被影视作品所引用

详细内容: 1 黄河船夫曲2 黄河颂3 黄水谣4 河边对口曲5 黄河怨6 保卫黄河7 怒吼吧，黄河！8 救国军歌9 游击军10 在太行山上11 到敌人后方去12 追悼歌13 小快板14 情歌15 王月鲜16 下山虎17 观灯18 秧歌

Carl Orff, <em>Carmina Burana </em><br />

MUSIC FOR THE CORONATION OF NAPOLEON I. Mady Mesple (soprano), Gerard Hunan (tenor), Yves BiSSOn (bass), Pierre Cochereau (organ), chorus and orchestra conducted by Armand Birbaum. Philips Universo 6581 012 (f1.85). Recorded in the Notre-Dame Cathedral, Paris. Le Sueur (orch. Thilde): Coronation Starch. Paisiello (orch. Thilde): Coronation Mass. Te Deum.
This disc is something of a curiosity. Recorded in Notre-Dame, Paris, where the ceremony took place, it offers music from Napoleon&apos;s coronation on December 2nd, 1804. Like so many Frenchmen, Napoleon preferred Italian music to the native product; his favourite was Paisiello, from whom he commissioned the Mass and Te Deum, leaving the lesser music to Le Sueur (who wrote some motetes as well as the march recorded here) and ignoring the fact that the gifted Maul had already expectantly composed a Coronation Mass. (For some of this information I am indebted to Jean Mongredien&apos;s valuable sleeve-note.)
The style of Paisiello&apos;s music, while recognisably that of an opera composer, is not quite what you might expect from the composer of the Barbiere di Siviglia that tickled ears across the whole of Europe. His sacred idiom may not, in general, have been very different from his opera-house one; but although there are a good few solo fioriture he clearly recognised the solemnity of this particular occasion and the need to supply music of dignity and grandeur— and also, surely, of sufficient orchestral ingenuity to satisfy the more sohpisticated of the French ears. The Kyrie of his Mass begins with high, ethereal violins, the Gloria (of course) with splendid, blazing brass; in the "Gratias", a lyrical tenor solo is garnished by warbling clarinets and flutes, and, after a very original. harmonically expressive and enterprising "Qui mills" (with unusual trombone writing, or so it seems) comes the "Domine salvum fac inaperatorem Napoleonem", the work&apos;s climax, with ringing fanfares for the brass and woodwind trills, and then a grandiose bass solo. (I should, incidentally, add that all the works recorded here are specified on the sleeve as "Orchestrated by Jean Thilde", but the note gives reason to presume that most of what we hear is authentic.)
The Te Deum, which occupies the whole of the second side, is more consistently choral, and there is a lot of antiphonal writing for the two choirs; possibly the music depends a little too much on effectiveness and is of less inherent interest. The most attractive movement is the "Te ergo quae sumus", a duet for soprano and baritone, with an expressive oboe solo to start with; the most striking is the "Salvum fac", another grand ceremonial march with brass and percussion prominent—music much influenced by the revolutionary hymns and marches half a generation earlier (and which has echoes too in Beethoven). How different the world of Napoleonic France must have seemed to Paisiello compared with that of the Neapolitan court of his youth.
The ceremony in 1804 was directed by Le Sueur, whose curious, faintly awkward lines in the march that begins the disc have an unconventional solemnity of their own. In all this I have so far not mentioned the record&apos;s principal feature: Notre-Dame itself. It is doubtless an excellent idea in principle to record music in its original setting, but in fact the acoustics are so hugely reverberant that the sound is seriously blurred, and the harmonies smudge and mingle like a watercolour left out in the rain. Possibly the price to be paid for &apos;atmosphere&apos; is too great; what will pass well enough for someone present on a ceremonial occasion in a cathedral may seem less happy when transported to one&apos;s own fireside. Further, the organ&apos;s pitch is by no means secure— although that is scarcely inconsistent with the brass playing, or the chorus, or the soloists. The choral ensemble is at best ragged; the solo singing is adequate, but not much more, with Mady Mesple sweet and agile but not really assured, Gerard Dunan quite smooth and eloquent once firmly on the note, and Yves Bisson a reasonably sturdy bass. S.S.
Performed By :
Brass Ensemble / Elena Jaskunova / Emilia Titarenko / Galina Dolbonos / Galina Gordeeva / Lubov Dziltsova / Oleg Palkin / Sergej Fomenko / Sergej Rokozitza / St. Petersburg State Academic Capella Choir / Tatjana Jashina
Performance Credits
Name Credits
Vladislav Tchernushenko Conductor
Galina Dolbonos Mezzo-Soprano (Vocal)
Lubov Dziltsova Soprano (Vocal)
Sergej Fomenko Tenor (Vocal)
Galina Gordeeva Soprano (Vocal)
Tatjana Jashina Soprano (Vocal)
Elena Jaskunova Soprano (Vocal)
Oleg Palkin Baritone (Vocal)
Sergej Rokozitza Tenor (Vocal)
Emilia Titarenko Soprano (Vocal)
Brass Ensemble Brass, Ensemble
St. Petersburg State Academic Capella Choir Choir, Chorus
St. Petersburg State Academic Capella Symphony Orchestra Orchestra
Dieter Heuler Cover Design
Florence Daguerre de Hureaux Translation
Heinz Klein Balance Engineer

关于瓦格纳，大多数人都知道他的歌剧作品以及《齐格飞牧歌》，却往往忽视了他还有100多部各种形式的其他作品。其实当他所有的作品汇集在一起，才能为我们展现一个真实而全面的瓦格纳。例如他作于1834年底的清唱剧作品《1835,在新的一年的开端》(Bein Antritt des neues Jahres 1835, WWV 36)，是他在马德格堡剧院任总监半年后在几天时间里写就的。1835年元旦于马德格堡国立歌剧院首演。可惜的是，这不独幕剧的剧本被制作人Wilhelm Schmale弄丢了，只留下了曲谱。瓦格纳写这部作品速度之外令人咋舌：特别是写序曲，只用了一个半小时。不过他在其中不停地重复主旋律，其实是偷了个懒。不过看起来似乎这不序曲并非是一首独立的序曲而是清唱剧的一部分，因为瓦格纳在引子中写了一段抒情曲，用以表现“对旧的一年的别离”。此外，瓦格纳还多处引用了自己的《C大调交响曲》，该曲还是沿袭贝多芬开创德奥音乐的早期模式创作的，但是兼有韦伯的德式浪漫风格。1837年秋瓦格纳在里加写了一首国颂《尼古拉》(Nicolay, WWV 44)，是献给当时的俄罗斯沙皇尼古拉一世的（因为当时拉脱维亚还是俄国领土）。其中带有一些俄罗斯民歌风格。
在德累斯顿任职期间，瓦格纳写了一首政治性的作品《黎明》(Der Tag erscheint, WWV 68B)，这是受萨克森国王腓特烈·奥古斯特二世委托创作的，用于1843年6月7日腓特烈·奥古斯特一世纪念牌的落成仪式。瓦格纳用克里斯托弗·克里斯坦·霍尔菲尔德的诗歌作歌词，以人声为主，加入少量管乐伴奏。不过最终演出的时候使用的是无伴奏合唱，这也反应出瓦格纳那时对无伴奏人声的癖好（另一个例子就是1843年7月开始创作的《唐豪塞》）。
《韦伯纪念曲》(An Webers Grabe, WWV 72)和《唐豪塞》有类似的风格，这首合唱作品作于1844年11月，用于韦伯的遗体从伦敦移葬回德累斯顿的仪式。该曲在腓特烈国立公墓的葬礼进行了演唱。
接下来的法国作品Descendons gaiement la courtille,WWV 65。是瓦格纳在巴黎时候创作的一部作品，用于描写巴黎狂欢节的场景。该曲对奥芬巴赫的作曲风格产生过影响。
《浮士德序曲》是瓦格纳交响作品创作中最具雄心的一部。该曲写于1839-40年，当时他受到柏辽兹写的戏剧交响曲《罗密欧与朱丽叶》的影响，也打算写一部多乐章的戏剧交响曲《浮士德》，《浮士德序曲》就是其中的第一乐章。本来瓦格纳已经构思好了第二乐章，但是1855在听了未来的岳父李斯特的浮士德交响曲之后，他决定将此曲单独发表。
《黎恩济》序曲是瓦格纳早期歌剧《黎恩济》的序曲，是音乐会中的常演曲目。网上关于此曲资料很多。在此不做介绍，引用天涯的一篇文章
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原作：Egon Voss
英文翻译：Lionel Salter
中文编译：kalasnikf（Duke Hechburg）

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Composed shortly before his death in 1998, Schnittke’s ultimate symphony – actually his very last work – is a “Ninth” in a most unusual sense: Put down with a shaky left hand by an artist who had survived four strokes and was laterally debilitated, it is an impressive triumph of spiritual energy over physical constraints. The composer’s widow Irina treated the barely-legible manuscript as a testament and was long doubtful whom to entrust with the difficult task of deciphering and reconstructing the highly expressive three movements for large orchestra (some 38 minutes of music). She finally settled on Moscow-born Alexander Raskatov, who not only provided a thorough score but, convinced that Schnittke had intended to write a fourth movement, also developed the idea to add an independent epilogue, the “Nunc Dimitis” (“Lord, let thy servant now depart into thy promis'd rest”) for mezzo soprano, vocal quartett and orchestra. It is based on the famous text by orthodox monk Starets Siluan and on verses by Joseph Brodsky, Schnittke’s favourite poet. Both pieces were given their first performances in the Dresden Frauenkirche in summer 2007 by the musicians of this world première recording which feautures long-standing ECM protagonists the Hilliard Ensemble and conductor Dennis Russell Davies.

《布兰诗歌》也称为《博伊伦之歌》，是音乐史上的一部不朽杰作，有着深厚的文化底蕴。这些诗歌和戏剧出自13至14世纪的游荡诗人，他们是中世纪英国、法国及德国各地的流浪学者及神职人员，以写作赞美酒及狂欢放荡生活的讽刺韵文和诗歌而著称，《布兰诗歌》集中体现了这些游荡诗人的创作风格。这些诗歌的主题和风格各不相同，其中既有酒歌、庄重的爱情诗和放纵的情歌，也有宗教诗篇和牧歌式的抒情诗，也有针对教堂和政府的讽刺诗。作曲家奥夫在1935年读到《布兰诗歌》时，受到极大震动，他以粗犷有力、热情奔放的音乐赋予这部奇异的诗篇以新……