Festival Overture on the Danish National Hymn, Op. 15
13:10
Hamlet, Op. 67bis
49:16
Overture and incidental music
2.
Overture
10:03
ACT I
3.
Scene 1: Mélodrame
1:34
Moderato assai
First appearance of Ghost
4.
Scene 4: Fanfare
0:22
Allegro vivo
'A Flourish of Trumpets'
5.
Scene 4: Mélodrame
0:41
Moderato assai
Appearance of Ghost to Hamlet
6.
Scene 5: Mélodrame
3:07
Allegro giusto ed agitato
The Ghost tells Hamlet of his father's death
ACT II
7.
Entr'acte
3:02
Allegro semplice
Prelude to Scene 1 and first appearance in the play of Ophelia
8.
Scene 2: Fanfare
0:21
'A Room in the Castle' - 'Flourish'
First appearance of King, Queen, Rosencrantz, Guildenstern and Attendants
ACT III
9.
Entr'acte
3:16
Andante quasi allegretto
Prelude to Scene 1 which features Hamlet's soliloquy
'To be or not to be'
10.
Scene 2: Fanfare
0:10
'A Flourish' - Enter King, Queen, Polonius, Ophelia, Rosencrantz, Guildenstern and others
11.
Scene 2: Fanfare
0:15
'The Dumb Show enters'
12.
Scene 2: Mélodrame
2:04
Allegro giusto ed agitato
The Players enact the Scene of the Poisoning
ACT IV
13.
Entr'acte
7:12
Andante non troppo ('Elegy for Strings')
Prelude to Scene 1 - 'A Room in the Castle'
14.
Scene 5: Scène d'Ophélie*
2:24
Andantino
'Elsinore' - Ophelia's 'Mad Scene'
15.
Scene 5: Deuxième scène d'Ophélie*
2:07
Moderato
'Re-enter Ophelia, fantastically dressed with straws and flowers'
ACT V
16.
Entr'acte
5:27
Marcia. Moderato assai
Prelude to Scene 1 - 'A Churchyard'
17.
Scene 1: Chant du Fossoyeur†
0:54
Andantino
18.
Scene 1: Marche funèbre
4:36
Marcia. Moderato assai
'Funeral March' - 'Enter Priests and others in procession; the Corpse of Ophelia; Laertes and Mourners following: King, Queen and their Trains'
19.
Scene 2: Fanfare
0:21
Allegro giusto
'Trumpets sound'
20.
Scene 2: Marche finale
0:43
Allegro risoluto ma non troppo
62:35
Solo:Janis Kelly soprano*
Solo: Derek Hammond-Stroud baritone†
Orchestra: London Symphony Orchestra
Conductor:Geoffrey Simon
January 1981
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Reviews
The performances here under Geoffrey Simon are excitingly committed and spontaneous; the orchestral playing is nearly always first-rate, and the digital recording has spectacular resonance and depth to balance its brilliance.
The Penguin Complete Guide
High praise originally greeted this enterprise, on all grounds – music, performance and recorded sound – and a decade on, there is little competition… a fascinating appendix for the eager Tchaikovskian.
Gramophone
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