Symphony No.1 in E Minor, Op.1: III. Scherzo: Vivace (1884 Version)
By Composer Nikolai Rimsky-Korsakov
Performed By Conductor Gerard Schwarz And Rundfunk-Sinfonieorchester Berlin
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Symphony No.1 in E Minor, Op.1: III. Scherzo: Vivace (1884 Version)
By Composer Nikolai Rimsky-Korsakov
Performed By Conductor Gerard Schwarz And Rundfunk-Sinfonieorchester Berlin
Symphony No.1 in G Minor, Op.13, TH 24 “Winter Daydreams” - II. Adagio Cantabile Ma Non Tanto (Land Of Desolation, Land Of Mists)
By Composer Pyotr Tchaikovsky
Performed By Conductor Gerard Schwarz And The Seattle Symphony Orchestra
Symphony No.1 In G Minor, Op.13, TH 24 “Winter Daydreams” - IV. Finale: Andante Lugubre - Allegro Maestoso
By Composer Pyotr Tchaikovsky
Performed By Conductor Gerard Schwarz And The Seattle Symphony Orchestra
Artwork By Fidelma Flanagan
Symphony No.1 In E Minor, Op.1 - III. Scherzo.Vivace - Trio
By Composer Nikolai Rimsky-Korsakov
Performed By Conductor Neeme Järvi And The Göteborgs Symfoniker
Symphony No.1 In C Major, Op.19 - III. Scherzo: Presto
By Composer Carl Maria von Weber
Performed By Conductor Karl Etti And The Vienna Radio Symphony Orchestra
Listen to Ophir Ilzetzki - Symphony No.1 by Halas Audio #np on #SoundCloud
Can I suggest that movie composers can use their work outside their cinematic parameters and expectations as a sonic laboratory? Bernard Herrmann, for instance, basically tested his musical ideas in his pieces that didn’t serve as the soundtracks for the famous movie directors. Listen to the composition in the link, where you can notice some of his later scores in there, presenting themselves as the demo versions. Of course, the truth is he never really did that much on his own after he became a well-known composer, so the fact we can glean some futures out of the tune I posted to prove my point might be our eager hindsight playing tricks with us. Still, why should he change his sound for the other works, that would make no sense at all.