Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian[6] Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.
Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later.
Antonio Vivaldi
Tracklist:
1 - As Quatro Estações, Opus 8-a Primavera-allegro
2 - As Quatro Estações, Opus 8-a Primavera-largo
3 - As Quatro Estações, Opus 8-a Primavera-allegro
4 - As Quatro Estações, Opus 8-o Verão-allegro Nom Molto
5 - As Quatro Estações, Opus 8-o Verão-adagio-presto
6 - As Quatro Estações, Opus 8-o Verão-presto
7 - As Quatro Estações, Opus 8-o Outono-allegro
8 - As Quatro Estações, Opus 8-o Outono-adagio
9 - As Quatro Estações, Opus 8-o Outono-allegro
10 - As Quatro Estações, Opus 8-o Inverno-allegro Nom Molto
11 - As Quatro Estações, Opus 8-o Inverno-largo
12 - As Quatro Estações, Opus 8-o Inverno-allegro
13 - Glória, Em Ré Maior (Rv589)-gloria Em Excelsis Deo
14 - Glória, Em Ré Maior (Rv589)-et In Terra Pax
15 - Glória, Em Ré Maior (Rv589)-laudamus Te
16 - Glória, Em Ré Maior (Rv589)-gratias Agimus Tibi
17 - Glória, Em Ré Maior (Rv589)-domine Deus, Rex Caelestis
18 - Glória, Em Ré Maior (Rv589)-domine Fili Unigenite
19 - Glória, Em Ré Maior (Rv589)-domine Deus, Agnus Dei
20 - Glória, Em Ré Maior (Rv589)-qui Tollis Peccata Mundi
21 - Glória, Em Ré Maior (Rv589)-qui Sedes Ad Dexteram Patr...
22 - Glória, Em Ré Maior (Rv589)-quoniam Tu Solus Sanctus
23 - Cum Sancto Spirito
24 - La Tempesta Di Mare (Opus 8, Nº5)-presto
25 - La Tempesta Di Mare (Opus 8, Nº5)-largo
26 - La Tempesta Di Mare (Opus 8, Nº5)-presto
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Ludwig van Beethoven (17 December 1770[1] – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.
Beethoven was born in Bonn, the capital of the Electorate of Cologne, and part of the Holy Roman Empire. He displayed his musical talents at an early age and was vigorously taught by his father Johann van Beethoven, and was later taught by composer and conductor Christian Gottlob Neefe. At age 21, he moved to Vienna and studied composition with Joseph Haydn. Beethoven then gained a reputation as a virtuoso pianist, and was soon courted by Prince Lichnowsky for compositions, which resulted in Opus 1 in 1795.
The piece was a great critical and commercial success, and was followed by Symphony No. 1 in 1800. This composition was distinguished for its frequent use of sforzandi, as well as sudden shifts in tonal centers that were uncommon for traditional symphonic form, and the prominent, more independent use of wind instruments.[2] In 1801, he also gained notoriety for his six String Quartets and for the ballet The Creatures of Prometheus. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his third and fifth symphonies in 1804 and 1808, respectively. His condition worsened to almost complete deafness by 1811, and he then gave up performing and appearing in public.
During this period of self exile, Beethoven composed many of his most admired works; his seventh symphony premiered in 1813, with its second movement, Allegretto, achieving widespread critical acclaim.[3] He composed the piece Missa Solemnis for a number of years until it premiered 1824, which preceded his ninth symphony, with the latter gaining fame for being among the first examples of a choral symphony.[4] In 1826, his fourteenth String Quartet was noted for having seven linked movements played without a break, and is considered the final major piece performed before his death a year later.
His career is conventionally divided into early, middle, and late periods; the "early" period is typically seen to last until 1802, the "middle" period from 1802 to 1812, and the "late" period from 1812 to his death in 1827. During his life, he composed nine symphonies; five piano concertos; one violin concerto; thirty-two piano sonatas; sixteen string quartets; two masses; and the opera, Fidelio. Other works, like Für Elise, were discovered after his death, and are also considered historical musical achievements. Beethoven's legacy is characterized for his innovative compositions, namely through the combinations of vocals and instruments, and also for widening the scope of sonata, symphony, concerto, and quartet,[5] while he is also noted for his troublesome relationship with his contemporaries.
Ludwig van Beethoven
Tracklist:
1. Abertura "Egmont" op. 84
Sinfonia n. 6 em fá maior op. 68 "Pastoral"
2. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande
3. Szene am Bach (Andante molto mosso)
4. Lustiges Zusammensein der Landleute (Allegro)
5. Gewitter, Sturm (Allegro)
6. Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm (Allegretto)
SINFONIA Nº 9 EM RÉ MENOR "CORAL", OP.125
7. Allegro Ma Non Troppo-Un Poco Maestoso
8. Molto Vivace-Presto-Molto Vivace
9. Adagio Molto e Cantabile- Andante Moderato
10. Presto
11. Allegro Assai.Allegro Assai Vivace-Alla Marcia.Andante Maestoso-Allegro Energico-Prestissimo
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Wolfgang Amadeus Mozart(27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years"
Wolfgang Amadeus Mozart
Tracklist:
1. Ato I- Abertura
2. Ato I- Dies Bildnis Ist Bezaubernd Schön (Tamin o)
3. Ato I- Bei Männern, Welche Liebe Fühlen (Pamina , Papageno)
4. Ato I- Wie Stark ist Nicht Dein Zauberton! (Tam ino)
5. Ato I: Schnelle Füsse, Rascher Mut (Pamina, Papageno, Monostatos, escravos)
6. Ato II- O Isis und Osiris (Sarastro, coro)
7. Ato II- Der Hölle Rache Kocht in Meinen Herzen ( A Rainha da Noite)
8. Ato II- Ach, Ich Fuhl's (Pamina)
9. Ato II- Pa-Pa-Pa-Pa-Pa-Pa-Papageno (Papageno, P apagena)
10. Abertura.mp3
11. Ato I Cena 1: Introduzione: Notte e Giorno Faticar (Leporello, Donna Anna, Con Giovanni, Il Commenda
12. Ato I Cena 5- Aria- Madamina, il Catalogo e Que sto (Leporello)
13. Ato I Cena 9- Duettino- La ci Darem la Mano (Ze rlina, Don Giovanni)
14. Ato I Cena 16- Aria- Batti, batti, o Bel Masett o (Zerlina)
15..Ato II Cena 3- Canzonetta- Deh, Vieni Alla Fine stra (Don Giovanni)
16. Ato II Cena 10- Aria- Il Mio Tesoro Intanto (Do n Ottavio)
17. Ato II Cena 15: Don Giovanni, A Cenar Teco (Il Commendatore, Don Giovanni, Leporello, coro)
18. Ato II Cena 16: Questo e il Fin (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Masetto, Leporello)
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Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years"
Wolfgang Amadeus Mozart
Tracklist:
1. "Abertura" de As Bodas de Fígaro
Sinfonia n. 40
2. Molto Allegro
3. Andante
4. Menuetto: Allegreto Áudio
5. Allegro Assai
Sinfonia n. 41
6. Allegro Vivace
7. Andante Cantabile
8. Menuetto Allegreto
9. Finale: Molto Allegro
10. A Flauta Mágica: "Abertura"
SINFONIA Nº36 EM DÓ MAIOR K 425 "Linz"
11. Adagio -- Allegro Spiritoso
12. Poco Adagio
13. Menuetto
14. Presto
SINFONIA infonía Nº39 EM MI BEMOL MAIOR K 543
15. Adagio - Allegro
16. Andante con moto
17. Menuetto: Allegro
18. Finale: Allegro
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Modest Petrovich Mussorgsky (21 March [O.S. 9 March] 1839 – 28 March [O.S. 16 March] 1881) was a Russian composer, one of the group known as "The Five". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music.
Many of his works were inspired by Russian history, Russian folklore, and other national themes. Such works include the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain and the piano suite Pictures at an Exhibition.
For many years Mussorgsky's works were mainly known in versions revised or completed by other composers. Many of his most important compositions have posthumously come into their own in their original forms, and some of the original scores are now also available.
Modest Mussorgsky
Tracklist:
Quadros de uma exposição
1. Promenade
2. Gnomo
3. Promenade
4. O Velho Castelho
5. Promenade
6. Tulherias
7. Bydlo
8. Promenade
9. Balé dos Pintinhos n as Cascas de Ovos
10. Samuel Goldenberg e Schumyle
11. O Mercado Limoges
12. Catacumbas
13. Cum Mortius in Lingu a Morta
14. A Cabana Sobre Patas de Galinha, "Baba Yaga"
15. O Grande Portal de Kiev
16. Uma Noite no Monte Calvo
17. Síntese Sinfônica Sobre Boris Godunov
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Niccolò (27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions, and have served as an inspiration for many prominent composers.
Paganini composed his own works to play exclusively in his concerts, all of which profoundly influenced the evolution of violin technique. His 24 Caprices were likely composed in the period between 1805 and 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas, trios and quartets for the guitar, either as a solo instrument or with strings. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. Many of his variations, including Le Streghe, The Carnival of Venice, and Nel cor più non mi sento, were composed, or at least first performed, before his European concert tour.
Generally speaking, Paganini's compositions were technically imaginative, and the timbre of the instrument was greatly expanded as a result of these works. Sounds of different musical instruments and animals were often imitated. One such composition was titled Il Fandango Spanolo (The Spanish Dance), which featured a series of humorous imitations of farm animals. Even more outrageous was a solo piece Duetto Amoroso, in which the sighs and groans of lovers were intimately depicted on the violin. There survives a manuscript of the Duetto, which has been recorded. The existence of the Fandango is known only through concert posters.
However, his works were criticized for lacking characteristics of true polyphonism, as pointed out by Eugène Ysaÿe. Yehudi Menuhin, on the other hand, suggested that this might have been the result of his reliance on the guitar (in lieu of the piano) as an aid in composition. The orchestral parts for his concertos were often polite, unadventurous, and clearly supportive of the soloist. In this, his style is consistent with that of other Italian composers such as Giovanni Paisiello, Gioachino Rossini and Gaetano Donizetti, who were influenced by the guitar-song milieu of Naples during this period.
Niccolò Paganini
Tracklist:
1. Allegro Maestoso
2. Adagio Espressivo
3. Rondo - Allegro Spiritoso
4. Allegro Maestoso
5. Adagio
6. Rondo à La Clochette
7. Capricho Nº 1
8. Capricho Nº 9
9. Capricho Nº 13
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Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist[3] and critic, and was one of the first significant composers of the Romantic school.
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück in F minor (concert piece), which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, were later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt.
Weber's compositions for clarinet, bassoon, and horn occupy an important place in the musical repertoire. His compositions for the clarinet, which include two concertos, a concertino, a quintet, a duo concertante, and variations on a theme from his opera Silvana, are regularly performed today. His Concertino for Horn and Orchestra requires the performer to simultaneously produce two notes by humming while playing—a technique known as "multiphonics". His bassoon concerto and the Andante e Rondo ungarese (a reworking of a piece originally for viola and orchestra) are also popular with bassoonists.
Weber's contribution to vocal and choral music is also significant. His body of Catholic religious music was highly popular in 19th-century Germany, and he composed one of the earliest song cycles, Die Temperamente beim Verluste der Geliebten ([Four] Temperaments on the Loss of a Lover). Weber was also notable as one of the first conductors to conduct without a piano or violin.
Weber's orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his Treatise on Instrumentation while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.
His operas influenced the work of later opera composers, especially in Germany, such as Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th-century composers such as Debussy, Stravinsky, Mahler (who completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Hindemith (composer of the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber).
Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.
Carl Maria von Weber
Tracklist:
1. Concerto 1 Opus 73 - Alegro
2. Concerto 1 Opus 73 - Adagio
3. Concerto 1 Opus 73 - Rondo
4. Opus 79 Fá Menor
5. Oberon
6. Der Freischutz
7. Convite a Dança
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Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.
Edward Elgar
Tracklist:
Tema e Variações Para Orquestra, enigma, Opus 36
1. Introdução de Variação 1: C.A.E.
2. Variação 2- H.D.S.-P
3. Variação 3- R.B.T
4. Variação 4- W.M.B
5. Variação 5- R.P.A
6. Variação 6- Ysobel
7. Variação 7- Troyte
8. Variação 8- W.N
9. Variação 9- Nimrod
10. Variação 10: Intermezo: Dorabella
11. Variação 11- G.R.S
12. Variação 12- B.G.N
13. Variação 13- Romanza
14. Variação 14: Finale: E.D.U
Concerto Para Violoncelo e Orquestra em Mi Menor, Opus 85
15. Adagio - Moderato
16. Lento - Allegro Molto
17. Adagio
18. Allegro, Ma Non Troppo
19. Marcha Militar #1 Em Ré Maior, Opus 39, Pompa e Circunstância
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Bedřich Smetana (2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his country's aspirations to independent statehood. He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride and for the symphonic cycle Má vlast ("My Homeland"), which portrays the history, legends and landscape of the composer's native Bohemia. It contains the famous symphonic poem "Vltava", also known by its English name "The Moldau".
Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. During this period of his life Smetana was twice married; of six daughters, three died in infancy.
In the early 1860s, a more liberal political climate in Bohemia encouraged Smetana to return permanently to Prague. He threw himself into the musical life of the city, primarily as a champion of the new genre of Czech opera. In 1866 his first two operas, The Brandenburgers in Bohemia and The Bartered Bride, were premiered at Prague's new Provisional Theatre, the latter achieving great popularity. In that same year, Smetana became the theatre's principal conductor, but the years of his conductorship were marked by controversy. Factions within the city's musical establishment considered his identification with the progressive ideas of Franz Liszt and Richard Wagner inimical to the development of a distinctively Czech opera style. This opposition interfered with his creative work, and might have hastened a decline in health that precipitated his resignation from the theatre in 1874.
By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental collapse early in 1884 led to his incarceration in an asylum and subsequent death. Smetana's reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana's works are in the international repertory, and most foreign commentators tend to regard Antonín Dvořák as a more significant Czech composer.
Bedřich Smetana
Tracklist:
Minha Pátria
1. O Alto Castelo
2. O Moldávia
3. Sárka
4. Dos Prados e Bosques da Boêmia
5. Tábor
6. Blaník
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Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style.
There were professional musicians in the previous three generations of Holst's family and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924, and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life.
Holst's works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame, and preferred to be left in peace to compose and teach. In his later years his uncompromising, personal style of composition struck many music lovers as too austere, and his brief popularity declined. Nevertheless, he was a significant influence on a number of younger English composers, including Edmund Rubbra, Michael Tippett and Benjamin Britten. Apart from The Planets and a handful of other works, his music was generally neglected until the 1980s, when recordings of much of his output became available.
Gustav Holst
Tracklist:
1. Marte, O Mensageiro Da Guerra
2. Vênus, A Mensageira Da Paz
3. Mercúrio, O Mensageiro Alado
4. Júpiter, O Mensageiro Da Alegria
5. Saturno, O Mensageiro Da Velhice
6. Urano, O Mágico
7. Netuno, O Místico
8. Egdon Heath, Opus 47*
9. Hammersmith, Opus 52*
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