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Celesta - Thematischer Index. Die besten klassischen Melodien.
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Arabian Dance, from Act 2, Nutcracker ballet (Tchaikovsky) featuring Celesta
 
1 This mysterious tune is played by the clarinets, after 4 bars of muted low octaves on the cellos and violas.
2 This second tune is played by the violins, still mystic, in G minor key.
Chinese Dance, from Act 2, Nutcracker ballet. (Tchaikovsky) featuring Celesta
1 After the bassoons set up a plodding, comic rhythmic background, the flute soars up with this tune.
Dance of the Reed Pipes from Act 2, Nutcracker Ballet (Tchaikovsky) featuring Celesta
1 After a two-bar introductory um-pah from the pizzicato lower strings, this flute melody is played by three flutes in close harmony.
Dance of the Sugar Plum fairy from Act 2, Nutcracker ballet (Tchaikovsky) featuring Celesta
1 This fairy-like theme is played on the celesta after 4 bars of pizzicato pianissimo chords from the strings.
March, from Act 1, Nutcracker ballet (Tchaikovsky) featuring Celesta
1 This main theme is introduced by the trumpets and clarinets
Miniature Overture, from Nutcracker ballet (Tchaikovsky) featuring Celesta
1 First theme, pianissimo, very light texture employing only violins and violas.
2 Second theme, cantabile on 1st violins, backed by syncopated pizzicato chords on 2nd violins and violas.
Trepak, or Russian Dance, Act 2, Nutcracker ballet (Tchaikovsky) featuring Celesta
1 This dance is introduced molto vivace by the strings and woodwinds.
Waltz No.2 from Suite for Variety Orchestra (Shostakovich) featuring Celesta
1 Main theme
Waltz of the Flowers (Tchaikovsky) featuring Celesta
1 Opening tune on the woodwinds, interspersed with glittering harp arpeggios.
2 The main waltz tune, on french horns..
3 Second waltz theme, on violins, another knockout sweeping Tchaikovsky tune!
4 Third waltz theme, played by flutes and oboes, interspersed with gliding scales on the strings, and accompanied by the harp.
5 Fourth theme is played by cellos and violas, an animated expressive passage in the relative minor key.
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