Prologue, Overture; Prologue, No. 10 Ballet of Zephyrs; Prologue, No. 11 Dance of the Naiads and Tritons; Act I, Overture; Act I, No. 4a March of the Carthaginians; Act I, No. 5a Gavotte; Act II, No. 8 Hunting Call; Act II, No. 9 The Chase; Act II, No. 10 Brotta’s Air; Act II, No. 11 Shooting Arrows; Act II, No. 16 Storm; Act III, No. 4a March of the Carthaginians; Act III, No. 5 March of the Numidians; Act III, No. 15a Dance of the Carthaginian Maidens; Act III, No. 18 March of the Priests; Act IV, No. 8 March of the Roman Soldiers / No. 9 Interlude; Act V, No. 1 Introduction; Act V, No. 9a Ballet; Act V, No. 14 Minuets I and II; Act V, No. 15 Chaconne
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Joseph Martin Kraus was an innovative 18th Century composer, acclaimed by Haydn as one of the only two geniuses he knew (Mozart was the other).
Small wonder that intense interest has been ignited by his forward-looking music, especially theatrical works such as the ballet music for Aeneas in Carthage, a retelling of the famous story of Dido and Aeneas.
Originally intended for the inauguration of the new opera house in Stockholm, the première was delayed for ten years until 1791 allowing Kraus to refine his titanic score into a true magnum opus.
Joseph Martin Kraus: Aeneas i Cartago (Aeneas in Carthage)
Prologue: No. 10. Ballet utaf Zephirer (Ballet of Zephyrs)
Prologue: No. 11. Dans af Najader och Tritoner (Dance of the Naiads and Tritons)
Act II: No. 11. Ballet Att Skjuta med baga (Archery Contest)
Act II: No. 16. Ballet: Stormen (Storm)
Act III: No. 4a. March
Act III: No. 5. March
Act III: No. 15a. Das af de Carthaginensiska Flickor (Dance of the Carthaginian Maidens)
Act III: No. 18. March
Act IV: No. 8. Marsch af de Romerska Soldater (March of the Roman Soldiers) - No. 9. Interlude
Act V: No. 1. Inledning (Introduction)
Act V: No. 9a. Ballet
Act V: No. 14 Menuett
Act V: No. 15. Ciccona (Chaconne)
“...there is some splendid and stirring music here, above all in the two Overtures and the magnificent extended closing Chaconne...Gallois evidently relishes the music's colour and charm, and elicits shapely, graceful phrasing from his Finnish players.”