What Love Tells Me: Searching for Meaning in the Music of Mahler (Part 1)

By Charlie Odulio

Charlie Odulio

Hi there! I’m Charlie Odulio, an intern at WDAV this summer. I study music at Amherst College and am a trumpet player. As a brass musician, I love the music of Gustav Mahler and wanted to share that passion through a deeper dive into a specific piece of music: Mahler’s Third Symphony and its famous “posthorn solo.” There are entire books written about this symphony, so while we can’t cover the full scope of the piece in this two part series, I hope to provide some insight that might help you understand and appreciate this wonderful Mahler masterwork.

The Third Symphony

For many brass players, the music of Gustav Mahler represents the pinnacle of symphonic brass writing. From his fanfares, to epic Wagnerian solis, to sweet, wistful melodies, Mahler wrote for every personality of the brass family, and his music offers musicians a chance to showcase the full emotional range of their playing. Among the composer’s works, his Third Symphony stands out as the longest in the general orchestral repertoire, lasting more than 90 minutes. The behemoth piece comprises six movements and contains several of Mahler’s iconic brass moments. One of these, the third movement’s “posthorn solo,” is one of the most beautiful and demanding of all orchestral trumpet solos. 

Gustav Mahler

Part I
Movement 1. Kräftig. Entschieden. Introduction: “Pan Awakes, Summer Marches In”
Part II
Movement 2. Tempo di Menuetto/Grazioso. “What the Flowers in the Meadow Tell Me”
Movement 3. Comodo, Scherzando [Rondo]. “What the Animals in the Forest Tell Me”
Movement 4. Sehr Langsam. Misterioso. “What Mankind Tells Me”
Movement 5. Lustig im Tempo und keck im Ausdruck. “What the Angels Tell Me”
Movement 6. (Finale) Langsam. Ruhevoll. Empfunden. “What Love Tells Me”

Note: Mahler redacted the movement titles in quotations prior to the publication of the symphony. They appeared in neither the published score, nor the program notes. These titles were discovered in manuscripts, notes, and letters. They have been widely used in analyses of the work, and are accepted as legitimate.

The Kiss artwork by Gustav Klimt
Gustav Klimt’s famous painting, “The Kiss” (Google Art Project, Public Domain.) Klimt was a prominent figure in fin-de-siècle Vienna. He was also an early love interest and lifelong friend of Gustav Mahler’s wife, Alma.

The Third Symphony doesn’t outline a firm “plot,” so it isn’t explicitly programmatic. However, insight from Mahler’s own notes and correspondence has generated a corpus of critical interpretations imbuing the symphony with more concrete “meaning.” The first movement opens with a somber funeral march depicting the harsh struggle for existence. In fin-de-siècle Europe, philosophical pessimism weighed heavily on the minds of intellectuals, artists, and composers – including Mahler. The philosophy was a staple in the writing of Arthur Schopenhauer, a highly influential nineteenth century German philosopher. He suggested that life is filled with constant struggle, motivated by an instinctual and insatiable drive for survival. Considering Mahler’s own difficult childhood, it is no surprise that Schopenhauer’s ideas resonated with the composer.

Arthur Schopenhauer
Portrait photograph of German philosopher Arthur Schopenhauer, 1859. By Schäfer, Johann – Frankfurt am Main University Library, Public Domain.

Mahler depicts this philosophical pessimism in the first movement of the symphony, “Pan Awakes, Summer Marches In,” musically illustrating the brutal struggle for existence that precedes summer’s eventual renewal of life. Appropriately, the movement begins with an ominous funeral march featuring an iconic unison melody played by a whopping eight french horns. Filled with foreboding brass melodies, frantic runs in the strings, and disturbingly dark harmonies, the opening section of the movement evokes a petrified sense of animalistic fear. Eventually, fear gives way to childlike jubilance, as the strings and upper woodwinds finally take the melody from the lower instruments. Mahler captures a sense of carefree simplicity, although on several occasions we slip back into the primordial chaos of the introduction. Ultimately, the movement concludes in what seems like a jubilant affirmation of life, although the underlying sense of foreboding never quite dissipates. In Mahler’s own words, “life gradually breaks through, out of soulless, petrified matter.”

In Part II of the symphony, Mahler explores human nature and the search for meaning in light of the struggle for existence evoked in Part I. He does so by issuing five musical depictions of life, moving from base life in the form of “Flowers,” up to “Animals,” then “Mankind,” “Angels,” and finally, “Love.” We might liken the progression of Mahler’s movements to man’s escape from Plato’s famous cave. Yet, in a typically fin-de-siècle turn, man is not imprisoned by an external “other,” but instead by his own pessimistic psyche. Moreover, Mahler’s highest good is not some abstract, perfect form; nor is it God, whom we might expect to take on that role. With Nietzche as a known influence on Mahler, it is no surprise that the composer leans not on religion, but on human meaning as the greatest form. In the sixth movement, “What Love Tells Me,” Mahler finds resolution in his desperate search for meaning in our ability as humans to love – to experience and act upon the empathy that comes from our own struggle. Mahler’s Third Symphony is a colossal affirmation of human life that does not shy away from the suffering we experience, but invites us to flourish in spite of it.

Keep an eye out for Part Two of this series, where we explore how the posthorn fits into the Third Symphony.

Sources and Further Reading

Boston Symphony Orchestra Video on Mahler 3

Leonard Bernstein: Who is Gustav Mahler? (lecture/performance)

Video on Plato’s Allegory of the Cave

“God is dead”: What Nietzsche really meant (BigThink)

Arthur Schopenhauer (Stanford Encyclopedia of Philosophy)

Plato’s Middle Period, Metaphysics and Epistemology (Stanford Encyclopedia of Philosophy)

Mahler Symphony No. 3 Score (PDF via IMSLP)

Mahler Symphony No. 3 by Peter Franklin (Cambridge University Press)

Fin-de-siècle Vienna by Carl E. Schorske (Vintage)

Celebrate the Sounds of Summer with Outstanding Carolina Festivals

by Hayden Neumann

There’s something about enjoying a symphony in the fresh mountain air that simply can’t be replicated. Luckily, the Carolinas are home to a wealth of beloved summer music festivals, many of which offer the opportunity to savor thrilling performances surrounded by our states’ most glorious natural landscapes. With countless opportunities to hear live classical music (and much more) just a day trip away from Charlotte, where will this summer take you?

Introducing WDAV’s SummerStages Spotlight
Judlyne Gibson

As you listen to WDAV this summer, keep an ear out for our new Summer Stages Spotlight, a series of shorts that highlight important happenings at this year’s Eastern Music Festival, An Appalachian Summer Festival, and Brevard Music Center Summer Festival. Host Judlyne Gibson checks in with artists from all three festivals in quick and insightful interviews airing daily throughout the season. Listen to a season preview below, and find additional episodes throughout the season on demand at our website.

Summer Festivals Preview

Visit Summer Stages Spotlight for more

Whittington Pfhol Auditorium at the Brevard Music Center

Brevard Music Center Summer Festival | June 5 – August 6

Location: Brevard, NC | brevardmusic.org

Amidst a lovely wooded 180-acre campus lies Brevard Music Center (BMC), one of the country’s premier summer training programs and festivals for young and developing musicians. 

Students receive a plethora of opportunities to perform and study with distinguished faculty and renowned guest artists throughout the summer. This season offers diverse experiences highlighted by the BMC debuts of jazz great Branford Marsalis* and Broadway luminaries Patti LuPone* and Audra McDonald*. Moments to look forward to include appearances from bluegrass virtuosos Bryan Sutton* and Béla Fleck*, classical masterpieces including Mahler’s Symphony No. 1 (the “Titan”)* and the Verdi Requiem*, plus family-friendly performances like Patriotic Pops* and Harry Potter and The Sorcerer’s Stone™ in Concert*.

Find Tickets Here

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Eastern Music Festival | June 24 – July 29

Location: Greensboro, NC | easternmusicfestival.org

Eastern Music Festival

Located on the campuses of Guilford College, UNCG and other venues in Greensboro, North Carolina, Eastern Music Festival (EMF) is a nationally recognized classical music festival and summer educational program. EMF provides guidance from its prestigious faculty to over 265 young, developing musicians from across the country as they take their first steps towards careers in the arts. Some highlights throughout the season will include Rimsky-Korsakov’s Scheherazade*, Beethoven’s Symphony No. 5*, Mahler’s Symphony No. 5*, and Ravel’s Bolero*.

Find Tickets Here

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An Appalachian Summer Festival | June 24 – July 29

Location: Boone, NC | appsummer.org

Appalachian Summer Festival logo.

Now entering its 39th season, An Appalachian Summer Festival has risen to become one of the nation’s most highly respected summer festivals, acclaimed for the breadth and quality of its artistic programming. The festival continually seeks to enlighten and educate – a focus reflected in such initiatives as the festival’s discounts for children’s tickets, school coupons, and ticket prices that are typically 30-40% lower than prices for comparable events in other venues. Some events that attendants can look forward to include evenings with Leslie Odom Jr.*, Lea Salonga*, the Calidore String Quartet*, John Oates*, and more.

Find Tickets Here

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International Lyric Academy at Opera Carolina | June 19 – July 9

Location: Charlotte, NC | operacarolina.org/ila-festival

Celebrating 29 years of success, the International Lyric Academy is partnering with Opera Carolina this summer! Charlotte will play host to an intensive 5-week program that will wrap up in Vicenza, Italy for the last two weeks. Young musicians and singers from across the world will receive professional coaching and voice lessons and participate in a full range of masterclasses, individualized instruction, concerts, recitals and rehearsals culminating in performances of Le Nozze Di Figaro* by W. A. Mozart and J. Offenbach’s Les Contes D’ Hoffmann*. The festival also offers several free events, though tickets are required!

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Playlist: Song & Celebration for Juneteenth

By Hayden Neumann and Mary Lathem

On June 19, 1865, enslaved African Americans in Texas were finally informed of their freedom nearly two and a half years after the Emancipation Proclamation was issued. The anniversary of that day became Juneteenth, a globally celebrated holiday that commemorates the end of slavery in the United States and honors African American culture and achievements. Since the earliest Juneteenth celebrations over 150 years ago, themes of family togetherness, freedom, progress, and the continued struggle for equity that Black Americans face have been at the forefront.

We’re celebrating Juneteenth 2023 with jubilant works written by African American composers, many of which paint heartfelt pictures of faith, family, liberation, and identity. Wishing all WDAV friends and family members who are celebrating this weekend a joyful and meaningful Juneteenth!

  1. Lift Every Voice and Sing (John Rosamond Johnson) – We Shall Overcome (The Boys Choir of Harlem)
  2. Fanfare on Amazing Grace (Adolphus Hailstork) – Hailstork: Orchestral Music (Virginia Symphony Orchestra, Joann Falletta)
  3. Maple Leaf Rag (Scott Joplin) – Joplin: Piano Rags, Vol. 1 (Alexander Peskanov)
  4. The Princeton Grand March (Francis “Frank” Johnson) – Those Fabulous Americans (Symphony Orchestra of America)
  5. Simon Bore the Cross: III. The Trial (Margaret Bonds) – Margaret Bonds: Credo; Simon Bore the Cross (Langston Hughes, Malcolm J. Merriweather, The Dessoff Choirs, The Dessoff Orchestra)
  6. Piano Quintet in A Minor: III. Juba (Florence Beatrice Price) – Uncovered, Vol.2: Florence B. Price (Catalyst Quartet)
  7. Violin Concerto in D Major: 2. Rondo Burlesque (Wynton Marsalis) – Marsalis: Violin Concerto; Fiddle Dance Suite (Nicola Benedetti, Philadelphia Orchestra, Cristian Măcelaru)
  8. Troubled Water (Margaret Bonds) – Some Of These Days (Lara Downes)
  9. Short Piece for Orchestra (Julia Perry) – Music of Talma, Fine, Perry, Daniels & Howe (Imperial Philharmonic of Tokyo, William Strickland)
  10. Symphony No. 1 in E Minor: IV. Finale, Presto (Florence Beatrice Price) – Florence Price: Symphonies Nos. 1 & 3 (Philadelphia Orchestra, Yannick Nézet-Séguin)
  11. Cyclone Galop (Thomas “Blind Tom” Wiggins) – Halley’s Comet: Around the Piano with Mark Twain & John Davis (John Davis)
  12. Lilacs for Voice and Orchestra: :I (George Walker) – Lilacs (Arizona State University Symphony Orchestra, Timothy Russell)
  13. Strum (Jessie Montgomery) – Strum: Music for Strings (Catalyst Quartet)
  14. Tale Of Two Powers 1 (Terence Blanchard) – BlacKkKlansman (Original Motion Picture Soundtrack) (Terence Blanchard)
  15. Suite for Violin and Piano: I. African Dancer (William Grant Still) – Roots (Randall Goosby, Zhu Wang)
  16. Suite from “The Quiet One”: Street Wanderings (Ulysses Kay) – Works for Chamber Orchestra (Metropolitan Philharmonic Orchestra, Kevin Scott)
  17. Piano Concerto No. 1: III. Lento-Vivace (Adolphus Hailstork) – Elfman: Violin Concerto, ‘Eleven Eleven’ – Hailstork: Piano Concerto No. 1 (Stewart Goodyear, Buffalo Philharmonic Orchestra, Joann Falletta)
  18. There Is a Balm in Gilead (Arr. W.L. Dawson for Choir) (William L. Dawson) – The Spirituals of William L. Dawson (Marvis Martin, The St. Olaf Choir, Anton Armstrong)
  19. Movement IV: Southwestern Shakedown (Wynton Marsalis) – Blues Symphony (Philadelphia Orchestra, Cristian Măcelaru)
  20. Basque Folk Song (Clarence Cameron White) – But Not Forgotten (Marcus Eley, Lucerne DeSa)
  21. 3 Spirituals for Orchestra: No. 3. Oh Freedom (Adolphus Hailstork) – Hailstork: Orchestral Music (Virginia Symphony Orchestra, Joann Falletta)
  22. Afro-American Suite for Flute, Cello and Piano: II. Allegro molto e marcato (Undine Smith Moore) – Flute and Piano Music by Composers of African Descent, Vol. 2 (Laurel Zucker, John Cozza, Jia-Mo Chen)
  23. Negro Folk Symphony: III. O Let Me Shine! (William Dawson) – Dawson & Kay: Orchestral Works (ORF Vienna Radio Symphony Orchestra, Arthur Fagen)
  24. Lift Ev’ry Voice and Sing (John Rosamond Johnson) – The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs (Leontyne Price, Charles Gerhardt, National Philharmonic Orchestra)

Bach Akademie Charlotte Closes with Old-School, New-School Bachs

By Lawrence Toppman

One can drown happily in words at the main Bach Akademie Charlotte concerts: Helpful words from artistic director/host Scott Allen Jarrett, erudite words in Brett Kostrzewski’s essays in the program guide — surely the most elaborate and attractive in Charlotte — librettists’ words projected on walls behind the chorus, and inspiring words expertly sung by Baroque specialists from around North America.

So for once, let’s think about something else.

Consider the way concertmaster Aisslinn Nosky’s consoling violin, warm but not schmaltzy, reassured us of bliss as she accompanied a trio of singers wondering when salvation would come in J.S. Bach’s Christmas Oratorio. Or the way principal trumpeter Josh Cohen brought high clarion interjections to the cantata “Unser Mund sei voll Lachens,” mirroring the text about awakening our senses.

The longer you listened to the final concert of the 2023 season, broadcast live Tuesday by WDAV-FM, the more details you heard. The wooden flutes of Colin St. Martin and Alaina Diehl, warmer and more rustic sounding than metal instruments, struck a pastoral note in the opening cantata. The continuo playing of cellist Guy Fishman and bassist Sue Yelanjian laid down a subtle but solid carpet of sound underneath the vocalists.

Naturally, the singers performed admirably. Gene Stenger stood out as the Evangelist and tenor soloist in the last section of the Christmas Oratorio, repudiating foes of Christianity (especially Herod) in the one really dramatic moment of that cycle of six cantatas. Yet I stayed attuned to the instrumentation even then, enjoying the way Margaret Owens and Kristin Olson cushioned his voice with their mellow oboes d’amore.

One of the two most exciting moments of the night came at the very beginning, as the whole orchestra bounced into the opening to “Unser Mund.” Bach repurposed the overture to his fourth orchestral suite for this cantata, adding trumpets and timpani (played grandly by Jonathan Hess), and Myers Park Presbyterian Church rocked with the rich sound.

Interestingly enough, the other highlight was the most ethereal. Jarrett conducted the eight-minute “Heilig” (Holy”) of Carl Philipp Emanuel Bach, the most gifted of Johann’s sons and the most interesting Classical Era composer behind Mozart, Haydn and Beethoven.

Four soloists representing angels ascended to the rear balcony of the church, leaving the other 12 members of the chorus up front behind the orchestra. After a graceful alto solo by Sylvia Leith, the angels and humans entered a strange but instantly appealing dialogue. The humans sang conventional praise of God in robust fashion, while the celestial quartet quietly explored less conventional harmonies. (I wonder how far God’s tastes go. Would the Lord occasionally plug Arnold Schoenberg’s astringent cantata “A Survivor from Warsaw” into the heavenly iPod?)

As I listened, I wished for one more thing besides a chance to hear a wider range of composers at future festivals: Pieces that highlight only the orchestra, perhaps even soloists within it. Choral singing lies at the heart of BAC’s approach, but surely a Brandenburg Concerto wouldn’t be out of line. If C.P.E. Bach appeals to Jarrett, as he does to me, why not let Fishman take a crack at his A minor cello concerto?

The Akademie has done a first-rate job of balancing vocal works large and small, deep and uncomplicated, by J.S. Bach for six years. Could it be time to think more broadly about the 18th century, without abandoning the German master who gives the festival its name and mission?

Bach Akademie Charlotte Springs into Christmas

By Lawrence Toppman

Before the pandemic, Bach Akademie Charlotte (BAC) anchored its first two seasons with Johann Sebastian Bach’s profoundest utterances, the B Minor Mass and the St. Matthew Passion. During the pandemic, BAC settled for virtual performances and lectures via Zoom.

Since then, artistic director Scott Allen Jarrett has devoted himself to celebration in the big pieces on his spring programs: The Easter and Ascension Oratorios in 2022 and the six-part cycle of cantatas known as the Christmas Oratorio this week. WDAV broadcast the Saturday night concert live from Myers Park Presbyterian Church and will do so again Tuesday night.

You have to attend four concerts to get all six segments, which premiered in Leipzig in 1734-35. Jarrett has divided those up and paired them with other works over two evening performances and two matinees. The fest officially opened Saturday night with parts 1 and 2, accompanied by a brief Sanctus in C and yet another Christmas cantata, this one unrelated – though similarly buoyant in tone – and composed two decades earlier. (The fest opened unofficially Friday with a performance by harpist Andrea Mumm Trammell at Olde Mecklenburg Brewery.)

I’ve been to three of the four live festivals and have grown accustomed to the satisfying pattern: An orchestra of about 24 musicians, mostly Baroque specialists recruited from around the nation, plays alongside a chorus of 16. Singers function like an all-star sports team: Each comes forward at some point to take solos, and they’re all skilled in Baroque performance style.

Unlike the Mostly Mozart Festival, whose title defines it, this one seldom veers from Bach. Organist Clive Driskill-Smith devoted 40 percent of his Sunday concert at St. Peter’s Episcopal Church to other composers, but Jarrett doesn’t diversify. The five concerts he programmed offer 16 minutes of music by anyone else, eight by one of Bach’s cousins and eight by one of his sons.

Any variety in them comes from the composer himself. Even those of us who commit the heresy of wishing Handel and Vivaldi joined the mix can admire the way Bach colors his compositions.

Consider the oboes da caccia, curved wooden instruments bound in leather that look as if they summoned hounds in the 18th century. (The name means “hunting oboes.”) When they enter in Part 2 of the Christmas Oratorio, which depicts the angel’s announcement of Jesus’ birth, they suggest the pipes of shepherds walking down the hill to see the newborn king.

Jarrett, an informative host, told us the timpani flourishes that open part 1 are probably the first timpani solo in Western music. Those and the trumpet fanfares that followed reminded us that Bach repurposed a lot of this music from secular cantatas, often those written for patrons’ birthdays or name days.

These musical bursts and the opening line for the chorus – “Shout ye exultant, this day of salvation” – set the tone for the whole Christmas Oratorio, which Bach meant to be spread out from Christmas Day through January 6. “The 12 days of Christmas” is more than a teeth-grating holiday song: It’s a period stretching from Jesus’ birth through his circumcision and naming to the visit from the Magi. Except for a brief moment of unease from the deceptive Herod, Bach gives this whole musical arc a buoyant warmth.

Yet for me, the highlight Saturday night was “Christen, ätzet diesen Tag” (“Christian, etch this blessed day,” as in bronze or marble). Bach wrote it in his late 20s, as a hard-working choir director in Weimar known mainly as a keyboard player, and it has a young man’s exuberance.

It opens with a blast from four trumpets, something he never did again, and it sweeps us away on a tide of positive thinking. Though Satan briefly peeps impotently at us in the finale, the chorus affirms that Christ’s arrival means we can walk in grace henceforth. If that sentiment didn’t send you out of the church on a cloud of joy Saturday, what could?

Playlist: Opalescent Music of the Ocean

By Hayden Neumann

June 8 is World Oceans Day! Dive into seafaring classical selections that make a splash. 

  1. Jeux d’eau, M. 30 (Maurice Ravel) – Martha Argerich – Debut Recital (Martha Argerich)
  2. The Waves of Cape Kolka (Marina Gribinčika) – The Glittering Wind (Liepāja Symphony Orchestra, Gintaras Rinkevicius)
  3. The Sea (Farhad Badalbeyli) – Azerbaijani Piano Concertos (Royal Philharmonic Orchestra, Dmitry Yablonsky)
  4. The Oceanides, Op. 73 (Jean Sibelius) – Sibelius: Symphonies Nos. 1-7, Kullervo, Pohjola’s Daughter, The Oceanides (London Symphony Orchestra, Sir Colin Davis)
  5. Caprice, The Water Sprites (Amy Beach) – Beach, A.: Rendezvous (Meininger Trio)
  6. Sea Pictures, Op. 37: No. 4, Where Corals Lie (Edward Elgar) – Elgar Sea Pictures (Alice Coote, Sir Mark Elder, Hallé)
  7. Circulating Ocean: Waves from the Ocean (Toshio Hosokawa) – Toshio Hosowaka: Woven Dreams, Blossoming II & Circulating Ocean (Orchestre National De Lyon, Jun Markl)
  8. 12 Études, Op. 25: No. 12 in C Minor “Ocean” (Frédéric Chopin) – Chopin: Etudes; Prélues; Polonaises (Maurizio Pollini)
  9. The flying Dutchman: Overture (Richard Wagner) – Wagner: The Flying Dutchman (David Parry, London Philharmonic Orchestra)
  10. Poems of the Sea (version for orchestra): I. Waves: Poco Agitato (Ernest Bloch) – Bloch:Symphony in C-Sharp Minor & Poems of the Sea (London Symphony Orchestra, Dalia Atlas)
  11. 25 Preludes dans tous les tons majeurs et mineurs, Op. 31: No. 8 La chanson de la folle aubord de la mer: Lentement (Charles-Valentin Alkan) – Alkan: Preludes, Op. 31 (Laurent Martin)
  12. The Sunken Cathedral (Claude Debussy) – Zen Classics Meditative Melodies from East and West (Alberto Lizzio, Munchner Sinfonie Orchester)
  13. Calm Sea and Prosperous Voyage, Op. 27 (Felix Mendelssohn) – Mendelssohn – Symphony (Claus Peter Flor)
  14. Concerto for Water Percussion and Orchestra in Memory of Toru Takemitsu: III. Allegro Molto Agitato (Tan Dun) – Tan Dun: Concerto for Water Percussion and Orchestra in Memory of Toru Takemitsu (Recorded 1999) (Christopher Lamb, Kurt Masur, New York Philharmonic)
  15. Water Music, Suite No. 1, HWV 348: III [Allegro] (George Frideric Handel) – Handel: Water Music (Akademie für Alte Musik Berlin)
  16. Peter Grimes, Op.33 / Act 1: Interlude II: The Storm (Benjamin Britten) – Britten: Peter Grimes (Orchestra of the Royal Opera House, Covent Garden)
  17. TreeStone: Part I: A Grand Funferall (Stephen Albert) – Albert: In Concordiam – TreeStone (Lucy Shelton, David Gordon, New York Chamber Symphony, Gerard Schwarz)
  18. 2 Pieces, Op. 41: II. Song of the Waves (Jāzeps Vītols) – The Three Osokins in Latvian Piano Music (Andrejs Osokins)
  19. Scheherazade, Op. 35: I. The Sea and Sinbad’s Ship (Nikolai Rimsky-Korsakov) – Rimsky-Korsakov: Scheherazade, Op.35 (Pelin Halkacı Akın, Sascha Goetzel, Borusan Istanbul Philharmonic Orchestra)
  20. Un rêve en mer, Op. 28 (Teresa Carreño) – Carreño: Piano Music (Clara Rodriguez)
  21. La Mer, L.109: 2. Play of the Waves (Jeux de vagues) (Claude Debussy) – Debussy: La Mer (Orchestre Symphonique de Montréal, Charles Dutoit)
  22. Die schöne Müllerin, D. 795: XX. Des Baches Wiegenlied (Franz Schubert) – Die schöne Müllerin D795 (Dietrich Fischer-Dieskau, Gerald Moore)
  23. Impressions de mer: No. 1, La grève (Marcelle De Manziarly) – Seascapes (Janice Weber)
  24. Triptyque for Clarinet & Piano: I. Sail in a Morning Calm on the Sea (Takuro Iga) – Triptyque (Kazuki Watanabe, Mayuko Ohno)
  25. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 – “Tempest”: 1. Largo-Allegro (Ludwig Van Beethoven) – Beethoven: Piano Sonatas Nos.17 “The Tempest”, 21 “Waldstein”, 25 & 26 “Les Adieux” (Maurizio Pollini)