Mikis Theodorakis: Alexis Zorbas (Ballet Suite)

Hungarian State Orchestra · Mikis Theodorakis
Hungarian Radio Choir · Lukas Karytinos

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Eleni Lampiri: Symphony in b minor - Athens Philharmonia Orchestra

Barber: Symphony no. 1 in One Movement, Op. 9 | Chicago Youth Symphony Orchestra

Here is the composer's analysis of the work:

The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony.

Ennio Morricone: Gabriel's Oboe from "The Mission" | Maja Łagowska, oboe

Malena - Ennio Morricone

Top of the top (personal opinion, of course)

Enrique Granados: "Dante", Symphonic Poem (1908)

I. Dante e Virgilio (0:00)
II. Paolo e Francesca (14:05)

Barcelona Symphony and National Orchestra of Catalonia
Conducted by Pablo González

Richard Strauss: Metamorphosen for strings | Nathalie Stutzmann

Rachmaninov: Symphony No.3, Op.44

A question that seems to have puzzled some composers of symphonies is the following: should the slow movement be the second movement, preceding the Scherzo, or should it be the other way around?

Beethoven changed his mind only in his final (9th) symphony, putting the Scherzo in the second movement. So did Bruckner in his last two symphonies (8th and 9th). Mahler was ambivalent concerning this issue in his own 6th symphony, of which two versions exist where the Scherzo is placed either 2nd or 3rd.

Rachmaninov had an ingenious idea in his 3rd symphony: he "sandwiched" the Scherzo within the slow (second) movement, creating a most symmetric structure of the form ABA (A=slow, B=fast). Who says a great pianist cannot be simultaneously a very inventive master of symphonic form?

Mozart: Piano Concerto No.20 in d-minor, K.466 | Mitsuko Uchida

15-year-old Alexander Malofeev plays Rachmaninov's Piano Concerto No.2