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M
O
B
classic
Rolv Yttrehus
ARTIST MUSICS
1
Symphony No. 1  Crescendo Theme in Violins
Symphony No. 1  Crescendo Theme in Violins
 
3:33
2
Symphony No. 1  Transition and Adagio
Symphony No. 1  Transition and Adagio
 
2:59
3
Symphony No. 1  March of the Minor Thirds (The C Major Substratum of the World)
Symphony No. 1  March of the Minor Thirds (The C Major Substratum of the World)
 
2:18
5
Symphony No. 1  The Grand Crescendo
Symphony No. 1  The Grand Crescendo
 
1:
6
Symphony No. 1  Parallel Ninths Cantus Firmus
Symphony No. 1  Parallel Ninths Cantus Firmus
 
1:6
7
Symphony No. 1  Mirror Canon Cantus Firmus
Symphony No. 1  Mirror Canon Cantus Firmus
 
1:22
8
Symphony No. 1  Tuba: Antecedent phrase and Consequent Phrase leading to Climax
Symphony No. 1  Tuba: Antecedent phrase and Consequent Phrase leading to Climax
 
1:12
9
Symphony No. 1  Transition leading to Coda. Last Tutti outburst
Symphony No. 1  Transition leading to Coda. Last Tutti outburst
 
48
10
Symphony No. 1  Xylophone Motive
Symphony No. 1  Xylophone Motive
 
3:48
12
Gradus ad Parnassus  Invocation of the Dionysian Muse I
Gradus ad Parnassum  Invocation of the Dionysian Muse I
 
4:44
13
Gradus ad Parnassus  Apollonian Admonition I
Gradus ad Parnassum  Apollonian Admonition I
 
2:47
14
Gradus ad Parnassus  The Master's Inspirational Message
Gradus ad Parnassum  The Master's Inspirational Message
 
3:8
15
Gradus ad Parnassus  The Dionysian Substratum of the World
Gradus ad Parnassum  The Dionysian Substratum of the World
 
2:27
16
Gradus ad Parnassus  The Descent to the Dionysian Substratum of the World
Gradus ad Parnassum  The Descent to the Dionysian Substratum of the World
 
5:2
17
Gradus ad Parnassus  Invocation of the Dionysian Muse II
Gradus ad Parnassum  Invocation of the Dionysian Muse II
 
4:16
18
Gradus ad Parnassus  Apollonian Admonition II
Gradus ad Parnassum  Apollonian Admonition II
 
4:26
19
Music for winds, percussion, cello & voices  Introduction and Antecedent Section (Exposition)
Music for winds, percussion, cello & voices  Introduction and Antecedent Section (Exposition)
 
6:41
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