Instruments of the Orchestra [7 CD set]

Tracks:

Disc 1

01. Overture to 'Tannhauser' 2:06
02. Domna, pos vos ay chausida 0:28
03. We don't merely use instruments, we play on them. And they play on us. 1:19
04. Hungarian Dance No.7 1:39
05. The violin is one of the most tender and beautiful instruments ever invented. 0:45
06. Violin Concerto in D major (Adagio) 1:08
07. But for a long time it was seen as the instrument of the devil. 0:17
08. The Soldier's Tale (Triumphal March of the Devil) 0:45
09. The manipulative seductiveness of the gypsy violin 0:43
10. Csardas Music 3:33
11. The violin and the imitation of nature 0:23
12. The Four Seasons (Spring, mvt 1) 0:35
13. Birds are again evoked in the second concerto, especially music's natural favourite 0:09
14. The Four Seasons (Summer, mvt 1) 0:41
15. Like the devil, the violin is a master of disguise. 0:18
16. Old Viennese Dance No.3 'Schon Rosmarin' 1:55
17. The menacing sensuality of Ravel's Tzigane; a very different side of the violin 0:15
18. Tzigane 0:51
19. Do we now have the true measure of this instrument? Not just yet. 0:15
20. Caprice No.24 0:48
21. Brandenburg Concerto No.4 (last mvt), Quartettsatz in C minor 1:57
22. Variations on a Theme of Frank Bridge (No.7) 1:06
23. Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime 0:22
24. Romeo and Juliet 0:46
25. Vivaldi uses it to illustrate the shivering of travellers crossing the ice. 0:14
26. The Four Seasons (Winter, mvt 1) 0:57
27. The violin muted 0:31
28. Clair de lune 1:41
29. The gentleness of muted strings persists even when a whole orchestra plays. 0:30
30. Piano Concerto No.21 in C major, K.467 (slow mvt) 1:26
31. The pizzicato violin 0:38
32. Pizzicato Polka 2:29
33. In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato. 0:26
34. Violin Concerto No.2 in G minor (slow mvt) 2:02
35. Colas Breugnon (The People's Feast), Capriol Suite (Tordion), Romeo and Juliet (Act I) 3:09
36. The Planets (Mars - the bringer of War) 1:27
37. Sonata No.3 in C major for unaccompanied violin (Fugue) 2:09
38. Hungarian Dance No.4 3:51
39. Double-stopping is a standard feature of a lot of folk music. 0:14
40. The Four Seasons (Autumn, mvt 1) 0:37
41. Now the same technique, but the sound might have come from another world. 0:30
42. Bolero 0:49
43. Double-stopping can only approximate the sound of a real violin duet. 0:20
44. Cadenza to the Violin Concerto by Brahms 0:44
45. Now compare that with a real violin duet. 0:12
46. Forty-four Duos (No.1: Teasing Song) 0:52
47. Another duo by Bartok, demonstrating the violin's rich lower register 0:10
48. Forty-four Duos (No.2: Maypole Dance) 0:40
49. And now what may be the most beautiful accompanied violin duet in history 0:17
50. Concerto in D minor for two violins (Largo) 6:43
51. The soul of the violin is in song; but what about this weird passage? 0:42
52. Violin Concerto No.1 in D major (mvt 2) 0:34
53. The use of harmonics in the orchestra can be both magical and unsettling. 0:29
54. Symphony No.1 'Titan' (mvt 1, opening) 1:33
55. Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring. 0:11
56. The Sleeping Beauty (Act II, No.15: Entr'acte) 0:33
57. Ravel's harmonics in Mother Goose effect a magical transformation. 0:29
58. Ma Mere l'oye - Mother Goose (Beauty and the Beast) 0:36
59. The Firebird (Introduction) 0:32
60. The natural upper notes of the violins have a unique emotional 'grab'. 0:32
61. Also sprach Zarathustra (Of the Afterworldsmen) 0:55
62. Still in their upper register, the violins unleash the energy of a young colt. 0:14
63. Variations on a Theme of Frank Bridge (No.4) 1:10
64. Elsewhere, Britten uses the same high register to create a very different mood. 0:11
65. Four Sea Interludes (Dawn) from 'Peter Grimes' 1:08
66. To end this outing with the violins, a charming little elfin dance 0:12
67. Elfenreigen 1:29

Disc 2
01. Introduction to the viola 0:42
02. Viola Concerto (mvt 1) 2:46
03. Khatchaturian gets a very different sound from it: fuller, fruitier, more exotic. 0:14
04. Gayane Suite No.1 (Armen's Solo) 1:15
05. Very nearly the whole of the violin's upper register is also available to the viola. 0:39
06. Passacaglia, op.33b from 'Perer Grimes' 1:00
07. Dib Quixote 1:03
08. Harold in Italy (mvt 4) 2:00
09. The muted viola: intimate, gentle, poignant in Dvorak 0:34
10. Cypresses (No.9) 3:00
11. The massed violas of the modern symphony orchestra in Mahler 0:40
12. Symphony No.4 (mvt 3) 1:13
13. The 'period' viola in Bach 1:05
14. Brandenburg Concerto No.6 (last mvt) 5:18
15. The cello: a voice of unique nobility 0:28
16. Suite No.1 for unaccompanied cello (Prelude) 2:30
17. Brahms and the 'soul' of the cello 0:19
18. Piano Concerto No.2 in B flat major (mvt 30 1:04
19. Most orchestral composers tend to emphasise the cello's lower register. 0:27
20. Cantata 'Herz und Mund und Tat und Leben', BWV 147 3:03
21. In the time of Beethoven the cello remained as fundamental as ever. 0:14
22. Symphony No.3 'Eroica' (finale) 0:46
23. But the cello is not condemned to spend its life in the basement. 0:33
24. Elfentanz, Op.39 2:55
25. Not only in recital showpieces like that is the cello is used in its highest register. 0:10
26. The Protecting Veil (opening) 2:54
27. A cello with an identity-crisis: the pizzicato Flamencan 0:15
28. Flamenco 2:48
29. Double-stopping in the lower reaches of the cello's range 0:31
30. Solo Suite for Cello and Piano (Sardana) 1:08
31. It's in its middle register that the cello really comes into its own. 0:21
32. Oriental Dance, Op.2 No.2 1:32
33. Symphony No.5 (mvt 2) 0:54
34. Symphony No.9 (finale) 0:54
35. Introduction to the double-bass 0:43
36. The Carnival of the Animals (The Elephant) 1:32
37. But the double-bass can be intensely expressive and graceful. 0:10
38. Elegy No.1 in D major 2:37
39. Allegro di concerto, 'Alla Mendelssohn' 0:47
40. Capriccio di bravura 4:42
41. Symphony No.1 'Titan' (mvt 3), Symphony No.3 (mvt 1) 1:33
42. Lieutenant Kije Suite (Kije's Wedding), Romeo and Juliet (Act III) 2:25
43. Symphony No.5 (mvt 3) 1:20

Disc 3
01. The antiquity and magic of the flute 0:20
02. Prelude a l'apres-midi d'un faune 3:19
03. The versatility and agility of the flute 0:21
04. Orchestral Suite No.2 in B minor (Badinerie) 1:18
05. The flute in fifteenth-century Spain 0:24
06. Sa'dawi 0:55
07. Other flutes: the bass and alto 0:29
08. Chamber Music No.II 1:12
09. The Piccolo - aptly named 0:19
10. La Naissance d'Osiris (mvt 6) 0:47
11. From a piccolo of the eighteenth century to one of its descendants in the twentieth 0:09
12. Suite No.1 for Small Orchestra (Valse) 0:54
13. A variety of techniques 0:19
14. Chamber Music No.II 0:31
15. Flutter-tonguing. But Tchaikovsky got there eighty years before. 0:28
16. The Nutcracker (Act II, No.2: Scene) 0:44
17. From the transverse to the vertical: the Baroque recorder 0:40
18. Recorder Suite in A minor (Menuet II) 2:12
19. An unfamiliar, early vision of the instrument 0:23
20. Naelden, Naelden 1:09
21. The Bachian oboe 0:35
22. Cantata 'Ein feste Burg ist unser Gott', BWV 80 (No.7: Duetto) 3:34
23. Introduction to the cor anglais or 'English horn' 0:41
24. Symphony No.9 'From the New World' (mvt 2) 1:24
25. The loneliness of the cor anglais 0:11
26. The Swan of Tuonela 1:49
27. The cor anglais joins the French horn in Haydn. 0:17
28. Symphony No.22 'The Philosopher' 1:43
29. Introduction to the oboe d'amore, beloved of Bach - but also of Ravel 0:22
30. Bolero 0:50
31. The Egyptian (Violence), Taras Bulba (The Death of Ostap) 0:37
32. Petrushka (No.8:Peasant with Bear), Symphonie fantastique (last mvt), Romeo and Juliet (Act II) 1:38
33. As the high clarinets tend to be loud, so the bass tends to be soft 0:18
34. Gayane Suite No.1 (mvt 5) 0:54
35. Pertushka (no.4: The Blackamoor), Iberia (Almeria) 1:44
36. The range of the normal clarinet parts goes quite high... 0:14
37. The Snow Maiden (Scene 5: Melodrama) 1:17
38. ....and quite low. 0:05
39. Peter and the Wolf (The Cat) 0:45
40. The Clarinet as concerto soloist 0:19
41. Clarinet Concerto in A major (Rondo) 2:48
42. But that's not the instrument Mozart wrote it for; this is: 0:16
43. Clarinet Concerto in A major (Rondo) 2:47
44. Introduction to the saxophone 2:47
45. Hary Janos Suite (mvt 4) 1:03
46. The soprano saxophone has quite a different feel to it 0:09
47. L'Arlesienne Suite No.1 (Minuet) 1:17
48. The little sopranino sax goes even higher 0:12
49. Bolero 0:53
50. The most famous use of the saxophone is in an orchestration by Ravel 0:16
51. Pictures at an exhibition (The Old Castle) 0:55
52. The saxophone can be quite contagiously good-humoured. 0:11
53. Sax-o-phun 0:22
54. The puffa-puffa image of the bassoon 0:25
55. Peter and the Wolf (Grandfather) 0:46
56. The Bachian bassoon, in accompanimental mode 0:20
57. Cantata "Weicher nur, betrubte Schatten" ('Wedding Cantata') 1:19
58. Carmen Suite No.1 (Les Dragons d'Alcala) 0:56
59. And Ravel, also in Spanish mode, does likewise 0:16
60. Bolero 0:59
61. The bassoon as a voice of high seriousness, indeed desolate loneliness 0:15
62. Symphony No.3 (opening) 1:03
63. Instruments of the Orchestra 0:15
64. The Rite of Spring (opening) 0:58
65. Stravinksy now draws on its lowest register, lonely and melancholy. 0:21
66. The Firebird Suite (1919, Berceuse) 1:01
67. The bassoon as concerto soloist, avoiding all exaggeration 0:14
68. Bassoon Concerto in G minor (finale) 2:02
69. The deep-voiced contra-bassoon, as a fairy-tale beast 0:28
70. Ma Mere l'oye-Mother Goose (Beauty and the Beast) 1:30
71. The French Horn under its woodwind hat 0:25
72. Wind Quintet, Op. 43 (last mvt) 1:42
73. Now a more prominent role, in a woodwind quintet from an earlier era 0:12
74. Wind Quintet in A Minor, op. 100 No.5 (mvt 2) 1:32
75. The horn in harmonious blend with strings in another quintet 0:16
76. Horn Quintet, K. 407 (finale) 3:55

Disc 4
01. The Trumpet as virtuoso soloist 1:02
02. Instruments of the Orchestra 2:37
03. The Special brilliance of paired trumpets 0:19
04. Concerto in C for two trumpets, RV537 (mvt 1) 2:54
05. The ceremonial trumpet 0:36
06. Fanfare for the Common Man 1:25
07. Trumpets and drums - an incomparable alliance 0:34
08. Messiah (The Trumpet Shall Sound) 4:10
09. The versatility of the trumpet, from the most public to the most lonely 0:38
10. Pianoo Concerto in F (slow mvt) 1:14
11. An American in Paris, The Soldier's Tale (The March) 2:05
12. Carmen Suite No. 2 (Habanera) 0:55
13. The trumpet as the voice of strength and courage 0:13
14. Carmen Suite No. 2 (Toreador's Song) 2:20
15. Petrushka (No. 4: The Blackamoor), Lieutenant Kije Suite (opening) 1:14
16. Billy the Kid 1:16
17. The trumpet as character actor 0:31
18. Pictures at an exhibition (No.6) 2:25
19. The trumpet as the voice of God 0:15
20. Mass in B minor ('Et exspecto') 4:35
21. The birth of the trombone 0:38
22. Aenmerckt nu hier 1:36
23. The birth of the brss as a family 1:24
24. Canzon 12 in double echo 3:18
25. The trombone in the eighteenth century 0:36
26. Trombone Concerto in B flat major (finale) 3:06
27. Romance for Trombone and Organ, Requiem (mvt 2) 2:18
28. Hosannah 1:20
29. The trombones become part of the orchestra 0:47
30. Symphony No.5 (finale) 2:46
31. Overture to 'Tannhauser' 1:04
32. The Trombone as caricaturist 0:13
33. Pulcinella (No.19: Vivo) 1:37
34. Concerto for Orchestra (Intermezzo) 1:46
35. The horn and the hunt 0:40
36. Horn Concerto No.4 in E flat, K, 495 (finale) 3:39
37. The challenging horn of the Baroque 0:42
38. Abaris ou les Boreades (Menuet) 1:20
39. The scarcity of first-rate players in Handel's time 0:24
40. Water Music (Minuct 1) 1:57
41. The Firebird Suite (1919, finale) 0:59
42. Horns and the sound of nobility 0:12
43. OVerture to 'Tannhauser' (opening) 0:56
44. The special sound of the horn in its higher register 0:11
45. Mass in B minor ('Quoniam ru solus sanctus') 4:15
46. The trumpet-like sound of massed horns 0:21
47. Symphony No.3 (mvt, opening) 0:38
48. The tuba - unfairly maligned 0:49
49. Symphony No.6 (mvt, opening) 1:07
50. The tuba perfectly cast by Ravel 0:26
51. Pictures at an exhibition (bydlo) 3:00

Disc 5
01. Introduction. And we begin with a bang. 1:02
02. Fanfare for the Common Man, Wellington's Victory. Op. 91 (Opening) 1:03
03. At the opposite extreme is the triangle. 0:26
04. Piano Concerto No.1 in E flat (Scherzo) 1:21
05. Categories of percussion: tuned and untuned . The side drum 0:36
06. Overture to 'La gazza ladra'-The Thieving Magpie (opening) 0:52
07. Clarinet Concerto (mvt 1) 1:08
08. The tambournie. One of the oldest instruments in the world 0:21
09. Den hoboecken dans 1:43
10. Even older is the originally oriental gong. 0:28
11. Ma Mere l'oye-Mother Goose (Laideronette) 1:00
12. Passacaglia, Op. 33b from 'Peter Grimes' 1:00
13. Gymnopedie No. 2 1:02
14. The Sanguine fan, But they needn't be clashed together at all 1:28
15. Piaono Concerto in G major (opening), The Nutcracker (Act I, Secene 5) 1:05
16. ...which crop all over the place in twentieth-century American music. 0:31
17. Rodeo (Hoe-Down) 0:44
18. Jota aragonesa 1:09
19. Scherzi musicali (Damigella tutta belle) 1:50
20. A still earlier example from fifteenth-century Spain 0:30
21. Yo m'enamori d'un aire 1:06
22. The birth of the bongo 0:33
23. Symphonic Dances from 'West Side Story' 1:39
24. II trovatore ('Anvil Chorus') 1:08
25. Grand Canyon Suite (On the Trail), Arcana 1:27
26. Huapango 1:20
27. Onwards to the tuned percussion. First, the timpani 0:14
28. Also sprach Zarathustra (Introduction) 1:48
29. Symphony No.2 'Resurrection' (mvt 3) 0:29
30. Grand Canyon Suite (Sunrise), Symphonie fantastique (last mvt) 0:37
31. Taking advantage of tunability 0:22
32. Music for Strings, Percussion and Celeste (mvt 2) 2:25
33. Carmen Suite (Changing of the Guard) 1:01
34. Carmen Suite (Carmen's Entrance and Habanera) 1:15
35. Saint-Saens and the xylophone 0:16
36. The Carnival of the Animals (Fossils) 1:18
37. Ravel and the xylophone 0:11
38. Ma Mere l'oye - Mother Goose (Laidernotte) 2:37
39. Carmen Suite (First Intermezzo) 0:38
40. Introducing the vibraphone 0:20
41. The Treasure of the Sierra Madre (Narange dolce) 1:25
42. Carmen Suite (Carmen's Entrance and Habanera), Carmen Suite (Carmen's Entrance and Habanera) 0:57
43. Introducting the Hungarian cimbalom 0:23
44. Folk Dances 3:00
45. The cimbalom and the symphony orchestra 0:10
46. Hary Janos Suite (mvt 3) 1:30
47. Introducing the tubular bells 0:17
48. Hary Janos Suite (Viennese Musical Clock) 2:04
49. A more 'up-front' approach from Radion Shchedrin 0:06
50. carmen Suite (Introduction) 1:08
51. Symphony No.7 'Sinfonia antartica' (mvt 1) 0:38
52. Introducing the celeste 0:14
53. The Nutcracker (Dance of the Sugar Plum Fairy) 2:10
54. Magic, in the use of collective percussion 0:19
55. Miroirs (La Vallee des clothes) 1:39
56. Carmen Suite (Scene) 1:25
57. the Nutcracker (Act II, No.I: Scene), Hungarian Rhapsody No. 1 1:16
58. The traditionally subservient role of the harpsichord in the Baroque orchestra 0:48
59. Brandenburg Concerto No.2 (slow mvt) 3:11
60. Symphony No.3 'Organ' (mvt 3) 1:28
61. Petrushka (Russian Dance) 1:28
62. The anti-Romanic piano as an integral part of the orchestra 0:23
63. Music for Strings, Percussion and Celecte (last mvt) 5:06

Disc 6
01. Keyboard instruments in the orchestra-the most powerful of them all: 0:18
02. Symphony No.3 'Organ' (finale) 1:49
03. But things in Handel's day were very differenct. 0:15
04. Organ Concerto in B flat, Op. 4 No. 3 (last mvt) 3:44
05. The organ is difficult to classify 0:24
06. An unexpected, organ-related guest 0:14
07. Concerto pour Zampogna (last mvt) 0:14
08. Peasant-fancying....and a touch of the roaming cowboy 0:40
09. Les Miserables (Drink with Me) 1:02
10. German Dance, K.603 No.3 1:16
11. Symphony No. 4 (opening) 0:47
12. Symphony No.6 'Tragic' (mvt 1) 0:53
13. The Typewriter, Parade 2:46
14. Integrales, An American in Paris, Sandpaper Ballet 2:35
15. Symphony No.7 'Sinfornia antartica' (opening) 1:42
16. Don Quixote (Variation VIII) 1;13
17. Concierto de Aranjuez (finale) 0'56
18. Washington Breakdown 0:19
19. The Treasure of the Sierra Madre (Packing Up) 0:18
20. Romeo and Juliet 0:13
21. The Treasure of the Sierra Madre (EI Desayuno) 0:18
22. The bongos and the congas and a whole wealth of other drums for Africa and Central America 0;26
23. Evening Raga: Bhapoli 0:17
24. Paris cancaille 0:20
25. The Third Man (Theme) 0:25
26. Folk Dances 0:21
27. Rondena 1:20
28. Svetit Mesiats 1:02
29. Symphony No.7 'Sinfonia antartica' (mvt 1) 1:27
30. Nocturnes (Sirenes) 4:15
31. Instruments and the imitation of nature. The clarinet as cuckoo 1:46
32. The Carnival of the Animals (The Cuckoo) 1:46
33. The flute as an all-purpose aviary 0:14
34. The Carnival of the Animals (The Aviary) 1:08
35. The oboe as duck 0:36
36. Peter and the Wolf (The Duck) 1:55
37. The recording of reality. Does it work as well? 0:12
38. The Pines of Rome (The Pines of the Janiculum) 1:17
39. The Recording of reality electronically reborn in new guises 1:17
40. Cantus arcticus - Concerto for Birds and Orchestra (mvt 2) 1:12
41. Beethoven turns avian: cuckoo, nightingale, and quail 0:26
42. Symphony No.6 'Pastoral' (Andante molto mosso) 1:12
43. Some importable casting : the violin as braying donkey 0:33
44. The Carnival of the Animals (Persons with long Ears) 0:47
45. A truly orchestral hee-haw to be reckoned with 0:09
46. Overture to 'A Midsummer Night's Dream' 0:29
47. A thunderstorm in a million 0:17
48. Symphony No.6 'Pastoral' (Allegro-Allegretto) 3:57
49. The instrumental depiction of a silent world 2:07
50. The Carnival of the Animals (The Aquarium) 2:20
51. Saint-saens' menegerie takes a curtain call 0:24
52. The Carnival of the Animals (finale) 2:09

Disc 7
01. The grouping of instrumental families. An additive approach. First, two violins. 1:20
02. Forty-four Duos (No. 4) 0:47
03. A greater contrast, of both pitch adn character, violin and viola 0:27
04. Duo for Violin and Viola in B flat major, K. 424 (finale, Vars 1 & 2) 2:18
05. Arrival at the standard string trio: violin, viola and cello 0:12
06. String Trio in B flat (Menuetto) 1:09
07. The string quartet: two violins, viola and cello 0:12
08. String Quaartet in F, Op.18 No. 1 (mvt 3) 1:53
09. The string quintet -when the extra instrument is a second viola 0:30
10. String quintet No. 5 in D, K. 593 (Adagio) 2:21
11. The string quintet - when the extra instrument is a second cello 0:19
12. String Quintet in C (mvt 30 2:12
13. The string sextet: two violins, two violas, and two cellos 0:16
14. String Sextet in B flat (mvt 2) 1:27
15. The string octet: the standard string quaartet times two 0:20
16. Octet in E flat, Op.20 (mvt 1) 2:16
17. Double the string octet: a fully fledged string orchestra 0:15
18. String Symphony No.2 (finale) 2:12
19. The massed strings of a symphony orchestra 0:37
20. Fantasia on a Theme of Thomas Tallis 2:58
21. Contrasts of pitch and instrumental 'colour' in the woodwind section 0:44
22. Wind Quintet in A minor, Op. 100 /no. 5 (Theme) 1:10
23. In the First Variation it's the horn that gets the lion's share 0;05
24. Wind Quintet in A minor, Variation 1 1:28
25. In Variation Two the torch is handed to the bassoon 0:07
26. Wind Quintet in A minor, Variation 2 1:08
27. In Variation Three the oboe leads 0:13
28. Wind Quintet in A minor, Variation 3 1:12
29. Variation Four: conversation before returning to a solo-dominated texture 0:07
30. Wind Quintet in A minor, Variation 4 1:17
31. And Variation Five is dominated by the clarinet 0:04
32. Wind Quintet in A minor, Variation 5 1:12
33. The next to be featured is the virtuoso flute. 0:07
34. Wind Quintet in A minor, Variation 6 1:22
35. Individual farewells and a closing chorus 0:19
36. Wind Quintet in A minor, Variation 7 0:40
37. A mixed group: clarinet, bassoon, horn, string quartet, and double-bass 0:19
38. Octet in F (mvt 3) 2:01
39. The early classical symphony orchestra of Haydn and Mozart 0:34
40. Symphony No.29 in A, K. 201 (finale) 3:32
41. Strings, wind, but no brass. What Haydn and Mozart never knew 0:34
42. Canzon 28 1:39
43. Beethoven's Fifth : two horns, two trumpets, and three trombones join the team 0:58
44. Symphony No.5 (finale) 4:28
45. From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler 0:27
46. Beethoven changed the face of the symphony and the ordchestra forever. 0:47
47. Symphony No.6 'Tragic' (mvt 1) 1:44
48. The cult of orchestral elephantiasis reaches its peak 1:04
49. Symphony No.1 'Gothic' (VI: Te ergo quaesumus) 1:43
50. When large doesn't necessarily mean loud: Debussy 1:10
51. Images (Gigues) 1:50
52. A crisis of confidence; the orchestra' survival hangs in the balance, 2:41
53. Turangalila Symphony (Chant d'amour I) 1:14
54. The advent of the 'early music' movement brings a new vitality and freshness 0:57
55. Ballet de Xerxes (Gavotte en rondeau) 0:47
56. Computer and synthesiser: friends or foes? 1:35
57. Concerto in D minor for two violins (Largo) 2:13
58. Mass in B minor ('Dona nobis pacem') 3:24