Connecté en tant qu'invité
Recherche rapide toute la musique
Recherchez des artistes, des albums et des titres sur le site.
De $9.90
07:55:17
Qualité audio
Sélectionnez votre qualité audio préférée comme Hi-Res, Cd-kwaliteit ou Haute Qualité
Extension audio
Sélectionnez l'extension en fonction de la qualité audio précédente
aac
mp3
mp4
m4a
oga
ogg
opus
wma
aiff
flac
wav
wv
(C) 2002 Naxos
Titre
Pop.
Heure
Instruments of the Orchestra - Jeremy Siepmann
Wagner: Tannhauser: Overture
Jeremy Siepmann
02:06
Anonymous: Domna, pos vos ay chausida
00:28
We don't merely use instruments, we play on them. And they play on us.
01:19
Brahms: Hungarian Dance No. 7
01:39
The violin is one of the most tender and beautiful instruments ever invented.
00:45
Brahms: Violin Concerto in D Major: II. Adagio
01:08
But for a long time it was seen as the instrument of the devil.
00:17
Stravinsky: The Soldier's Tale: Triumphal March of the Devil
The manipulative seductiveness of the gypsy violin
00:43
Anonymous: Csardas Music
03:33
The violin and the imitation of nature
00:23
Vivaldi: The Four Seasons: Spring: I. Allegro
00:35
Birds are again evoked in the second concerto, especially music's natural favourite.
00:09
Vivaldi: The Four Seasons: Summer: I. Allegro non molto
00:41
Like the devil, the violin is a master of disguise.
00:18
Kreisler: Schon Rosmarin
01:55
The menacing sensuality of Ravel's Tzigane; a very different side of the violin
00:15
Ravel: Tzigane
00:51
Do we now have the true measure of this instrument? Not just yet.
Paganini: Caprice No. 24
00:48
Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C Minor
01:57
Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo
01:06
Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime
00:22
Prokofiev: Romeo and Juliet: Act IV
00:46
Vivaldi uses it to illustrate the shivering of travellers crossing the ice.
00:14
Vivaldi: The Four Seasons: Winter: I. Allegro non molto
00:57
The violin muted
00:31
Debussy: Clair de lune
01:41
The gentleness of muted strings persists even when a whole orchestra plays.
00:30
Mozart: Piano Concerto No. 21 in C Major, K. 467: II. Andante
01:26
The pizzicato violin
00:38
Strauss: Pizzicato Polka
02:29
In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato.
00:26
Prokofiev: Violin Concerto No. 2 in G Minor: II. Andante assai
02:02
Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I
03:09
Holst: The Planets: I. Mars: The Bringer of War
01:27
Bach: Sonata No. 3 in C Major for unaccompanied violin: II. Fugue
02:09
Brahms: Hungarian Dance No. 4
03:51
Double-stopping is a standard feature of a lot of folk music.
Vivaldi: The Four Seasons: Autumn: I. Allegro
00:37
Now the same technique, but the sound might have come from another world.
Ravel: Bolero
00:49
Double-stopping can only approximate the sound of a real violin duet.
00:20
Joachim: Cadenza to the Violin Concerto by Brahms
00:44
Now compare that with a real violin duet.
00:12
Bartok: 44 Duos: I. Teasing Song
00:52
Another duo by Bartok, demonstrating the violin's rich lower register
00:10
Bartok: 44 Duos: II. Maypole Dance
00:40
And now what may be the most beautiful accompanied violin duet in history
Bach: Concerto in D Minor for two violins: II. Largo ma non tanto
06:43
The soul of the violin is in song; but what about this weird passage?
00:42
Prokofiev: Violin Concerto No. 1 in D Major: II. Scherzo
00:34
The use of harmonics in the orchestra can be both magical and unsettling.
00:29
Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening)
01:33
Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring.
00:11
Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte
00:33
Ravel's harmonics in Mother Goose effect a magical transformation.
Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast
00:36
Stravinsky: The Firebird: Introduction
The natural upper notes of the violins have a unique emotional "grab"
00:32
Strauss: Also sprach Zarathustra: Of the Afterworldsmen
00:55
Still in their upper register, the violins unleash the energy of a young colt.
Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana
01:10
Elsewhere, Britten uses the same high register to create a very different mood.
Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn
To end this outing with the violins, a charming little elfin dance
Hellmesberger: Elfenreigen
01:29
Introduction to the viola
Telemann: Viola Concerto: I. Largo
02:46
Khachaturian gets a very different sound from it: fuller, fruitier, more exotic.
Khachaturian: Gayane Suite No. 1: III. Armen's Solo
01:15
Very nearly the whole of the violin's upper register is also available to the viola.
00:39
Britten: Peter Grimes: Passacaglia, Op. 33b
01:00
Strauss: Don Quixote
01:03
Berlioz: Harold in Italy: IV. Orgy of Brigands
02:00
The muted viola: intimate, gentle, poignant in Dvorak
Dvorak: Cypresses: IX. Thou Only Dear One
03:00
The massed violas of the modern symphony orchestra in Mahler
Mahler: Symphony No. 4: III. Ruhevoll, poco adagio
01:13
The "period" viola in Bach
01:05
Bach: Brandenburg Concerto No. 6: III. Allegro
05:18
The cello: a voice of unique nobility
Bach: Suite No. 1 for unaccompanied cello: I. Prelude
02:30
Brahms and the "soul" of the cello
00:19
Brahms: Piano Concerto No. 2 in B-Flat Major: III. Andante
01:04
Most orchestral composers tend to emphasise the cello's lower register.
00:27
Bach: Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu
03:03
In the time of Beethoven the cello remained as fundamental as ever.
Beethoven: Symphony No. 3 "Eroica": IV. Finale
But the cello is not condemned to spend its life in the basement.
Popper: Elfentanz, Op. 39
02:55
Not only in recital showpieces like that is the cello used in its highest register.
Tavener: The Protecting Veil: opening
02:54
A cello with an identity-crisis: the pizzicato Flamencan
Tagell: Flamenco
02:48
Double-stopping in the lower reaches of the cello's range
Cassado: Solo Suite for Cello and Piano: Sardana
It's in its middle register that the cello really comes into its own.
00:21
Rachmaninov: Oriental Dance, Op. 2, No. 2
01:32
Beethoven: Symphony No. 5: II. Andante con moto
00:54
Beethoven: Symphony No. 9: IV. Finale
Introduction to the double-bass
Saint-Saens: The Carnival of the Animals: The Elephant
But the double-bass can be intensely expressive and graceful.
Bottesini: Elegy No. 1 in D Major
02:37
Bottesini: Allegro di concerto, "Alla Mendelssohn"
00:47
Bottesini: Capriccio di bravura
04:42
Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig
Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III
02:25
Beethoven: Symphony No. 5: III. Allegro
01:20
The antiquity and magic of the flute
Debussy: Prelude a l'apres-midi d'un faune
03:19
The versatility and agility of the flute
Bach: Orchestral Suite No. 2 in B Minor: VII. Badinerie
01:18
The flute in fifteenth-century Spain
00:24
Anonymous: Sa'dawi
Other flutes: the bass and alto
Sallinen: Chamber Music II
01:12
The Piccolo - aptly named
Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin
From a piccolo of the eighteenth century to one of its descendants in the twentieth
Stravinsky: Suite No. 2 for Small Orchestra: II. Valse
A variety of techniques
Flutter-tonguing. But Tchaikovsky got there eighty years before.
Tchaikovsky: The Nutcracker: Act II, No. 2: Scene
From the transverse to the vertical: the Baroque recorder
Telemann: Recorder Suite in A Minor: Menuet II
02:12
An unfamiliar, early vision of the instrument
Baston: Naelden, Naelden
01:09
The Bachian oboe
Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die
03:34
Introduction to the cor anglais or 'English horn'
Dvorak: Symphony No. 9, "From the New World": II. Largo
01:24
The loneliness of the cor anglais
Sibelius: The Swan of Tuonela
01:49
The cor anglais joins the French horn in Haydn.
Haydn: Symphony No. 22, "The Philosopher": I. Adagio
01:43
Introduction to the oboe d'amore, beloved of Bach - but also of Ravel
00:50
Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap
Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II
01:38
As the high clarinets tend to be loud, so the bass tends to be soft
Khachaturian: Gayane Suite No. 1: V. Gayane's Solo
Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria
01:44
The range of the normal clarinet parts goes quite high...
Tchaikovsky: The Snow Maiden: Scene 5: Melodrama
01:17
....and quite low.
00:05
Prokofiev: Peter and the Wolf: The Cat
The clarinet as concerto soloist
Mozart: Clarinet Concerto in A Major: III. Rondo
But that's not the instrument Mozart wrote it for; this is
00:16
02:47
Introduction to the saxophone
Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon
The soprano saxophone has quite a different feel to it
Bizet: L'Arlesienne Suite No. 1: II. Minuet
The little sopranino sax goes even higher
00:53
The most famous use of the saxophone is in an orchestration by Ravel
Mussorgsky: Pictures at an exhibition: The Old Castle
The saxophone can be quite contagiously good-humoured.
Wiedoeft: Sax-o-phun
The puffa-puffa image of the bassoon
00:25
Prokofiev: Peter and the Wolf: Grandfather
The Bachian bassoon, in accompanimental mode
Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1
Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala
00:56
And Ravel, also in Spanish mode, does likewise
00:59
The bassoon as a voice of high seriousness, indeed desolate loneliness
Bax: Symphony No. 3: I. Lento moderato
The eerie bassoon in its highest register
Stravinsky: The Rite of Spring: opening
00:58
Stravinsky now draws on its lowest register, lonely and melancholy.
Stravinsky: The Firebird Suite (1919): Berceuse
01:01
The bassoon as concerto soloist, avoiding all exaggeration
Molter: Bassoon Concerto in G Minor: III. —
The deep-voiced contra-bassoon, as a fairy-tale beast
01:30
The French Horn under its woodwind hat
Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni
01:42
Now a more prominent role, in a woodwind quintet from an earlier era
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: II. Andante con variazioni
The horn in harmonious blend with strings in another quintet
Mozart: Horn Quintet in E-Flat Major, K. 407: III. Rondeau
03:55
The Trumpet as virtuoso soloist
01:02
Bach: Brandenburg Concerto No. 2: III. Allegro assai
The special brilliance of paired trumpets
Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro
The ceremonial trumpet
Copland: Fanfare for the Common Man
01:25
Trumpets and drums - an incomparable alliance
Handel: Messiah: The Trumpet Shall Sound
04:10
The versatility of the trumpet, from the most public to the most lonely
Gershwin: Piano Concerto in F: II. Andante con moto - Adagio
01:14
Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March
02:05
Bizet: Carmen Suite No. 2: II. Habanera
The trumpet as the voice of strength and courage
00:13
Bizet: Carmen Suite No. 2: IV. Toreador's Song
02:20
Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije
Copland: Billy the Kid
01:16
The trumpet as character actor
Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle
The trumpet as the voice of God
Bach: Mass in B minor: Et expecto
04:35
The birth of the trombone
Anonymous: Aenmerckt nu hier
01:36
The birth of the brass as a family
Gabrieli: Canzon a 12 in Double Echo
03:18
The trombone in the eighteenth century
Albrechtsberger: Trombone Concerto in B-Flat Major: III. Finale
03:06
Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae
02:18
Liszt: Hosannah, S677/R409
The trombones become part of the orchestra
Beethoven: Symphony No. 5: IV. Allegro
The Trombone as caricaturist
Stravinsky: Pulcinella: No. 19: Vivo
01:37
Bartok: Concerto for Orchestra: IV. Intermezzo interrotto
01:46
The horn and the hunt
Mozart: Horn Concerto No. 4 in E flat, K. 495: III. Rondo
03:39
The challenging horn of the Baroque
Rameau: Abaris ou les Boreades: II. Menuet
The scarcity of first-rate players in Handel's time
Handel: Water Music: Suite No. 1 in F Major, HWV 348: Menuet
Stravinsky: The Firebird Suite (1919): Finale
Horns and the sound of nobility
Wagner: Tannhauser: Overture (opening)
The special sound of the horn in its higher register
Bach: Mass in B Minor: Quoniam tu solus sanctus
04:15
The trumpet-like sound of massed horns
Mahler: Symphony No. 3: I. Kraftig (opening)
The tuba - unfairly maligned?
Prokofiev: Symphony No. 6: III. Vivace
01:07
The tuba perfectly cast by Ravel
Mussorgsky: Pictures at an Exhibition: Bydlo
Introduction. And we begin with a bang.
Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening)
At the opposite extreme is the triangle.
Liszt: Piano Concerto No. 1 in E-Flat Major: Scherzo
01:21
Categories of percussion: tuned and untuned. The side drum
Rossini: La gazza ladra (The Thieving Magpie): Overture (opening)
Nielsen: Clarinet Concerto (opening)
The tambourine. One of the oldest instruments in the world
Anonymous: Den hoboecken dans
Even older is the originally oriental gong.
Ravel: Ma Mere l'oye (Mother Goose): Laideronette
Satie: Gymnopedie No. 2
Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes
01:28
Ravel: Piano Concerto in G Major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5
Wood blocks
Copland: Rodeo: IV. Hoe-Down
Glinka: Jota aragonesa
Monteverdi: Scherzi musicali: Damigella tutta bella
01:50
A still earlier example from fifteenth-century Spain
Traditional: Yo m'enamori d'un aire
The birth of the bongo
Bernstein: West Side Story (Symphonic Dances)
Verdi: II Trovatore: Act II: Anvil Chorus
Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana
Moncayo: Huapango
Onwards to the tuned percussion. First, the timpani
Strauss: Also sprach Zarathustra: Introduction
01:48
Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung
Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat
Taking advantage of tunability
Bartok: Music for Strings, Percussion and Celesta: II. Allegro
Shchedrin: Carmen Suite: IV. Changing of the Guard
Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera
Saint-Saens and the xylophone
Saint-Saens: The Carnival of the Animals: Fossils
Ravel and the xylophone
Shchedrin: Carmen Suite: III. First Intermezzo
Introducing the vibraphone
Steiner: The Treasure of the Sierra Madre: Narange dolce
Introducing the Hungarian cimbalom
Traditional: Folk Dances
The cimbalom and the symphony orchestra
Kodaly: Hary Janos Suite : III. Song
Introducing the tubular bells
Kodaly: Hary Janos Suite: II. Viennese Musical Clock
02:04
A more "up-front" approach from Rodion Shchedrin
00:06
Shchedrin: Carmen Suite: I. Introduction
Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude
Introducing the celesta
Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy
02:10
Magic, in the use of collective percussion
Ravels: Miroirs: V. La vallee des cloches
Shchedrin: Carmen Suite: VI. Scene
Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1
The traditionally subservient role of the harpsichord in the Baroque orchestra
Bach: Brandenburg Concerto No. 2: II. Andante
03:11
Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato
Stravinsky: Petrushka: Russian Dance
04:28
The anti-Romantic piano as an integral part of the orchestra
Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto
05:06
Keyboard instruments in the orchestra - the most powerful of them all
Saint-Saens: Symphony No. 3, "Organ": II. Presto
But things in Handel's day were very different.
Handel: Organ Concerto in B-Flat Major, Op. 4, No. 3: IV. Gavotte
03:44
The organ is difficult to classify.
An unexpected, organ-related guest
Boismortier: Concerto pour Zampogna: III. Allegro
01:59
Peasant-fancying… and a touch of the roaming cowboy
Schoenberg: Les Miserables: Drink with Me
Mozart: German Dance, K. 603, No. 3
Mahler: Symphony No. 4: I. Bedachtig, nicht eilen
Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig
Anderson: The Typewriter / Satie: Parade
Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet
02:35
Strauss: Don Quixote: Variation VIII
Rodrigo: Concierto de Aranjuez: III. Allegro gentile
Seeger / Hays: Washington Breakdown
Steiner: The Treasure of the Sierra Madre: Packing Up
Prokofiev: Romeo and Juliet: Act II: No. 14
Steiner: The Treasure of the Sierra Madre: EI Desayuno
The bongos and the congas and a whole wealth of other drums from Africa and Central America
Evening Raga: Bhapoli
Ferre: Paris cancaille
Karas: The Third Man: Theme
Albeniz: Rondena
Traditional: Svetit Mesiats
Debussy: Nocturnes: III. Sirenes
Instruments and the imitation of nature. The clarinet as cuckoo
Saint-Saens: The Carnival of the Animals: The Cuckoo
The flute as an all-purpose aviary
Saint-Saens: The Carnival of the Animals: The Aviary
The oboe as duck
Prokofiev: Peter and the Wolf: The Duck
The recording of reality. Does it work as well?
Respighi: The Pines of Rome: III. The Pines of the Janiculum
The recording of reality electronically reborn in new guises
Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy)
Beethoven turns avian: cuckoo, nightingale, and quail
Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach
Some importable casting: the violin as braying donkey
Saint-Saens: The Carnival of the Animals: Persons with Long Ears
A truly orchestral hee-haw to be reckoned with
Mendelssohn: A Midsummer Night's Dream: Overture
A thunderstorm in a million
Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm
03:57
The instrumental depiction of a silent world
02:07
Saint-Saens: The Carnival of the Animals: The Aquarium
Saint-Saens' menagerie takes a curtain call
Saint-Saens: The Carnival of the Animals: Finale
The grouping of instrumental families. An additive approach. First, two violins.
Bartok: 44 Duos: IV. Midsummer Night Song
A greater contrast, of both pitch and character, violin and viola
Mozart: Duo for Violin and Viola in B-Flat Major, K. 424: finale: variations 1 and 2
Arrival at the standard string trio: violin, viola and cello
Schubert: String Trio in B-Flat Major: III. Menuetto
The string quartet: two violins, viola and cello
Beethoven: String Quartet in F Major, Op. 18, No. 1: III. Scherzo
01:53
The string quintet - when the extra instrument is a second viola
Mozart: String Quintet No. 5 in D Major, K. 593: II. Adagio
02:21
The string quintet - when the extra instrument is a second cello
Schubert: String Quintet in C Major: III. Scherzo
The string sextet: two violins, two violas, and two cellos
Brahms: String Sextet No. 1 in B-Flat Major: II. Andante ma moderato
The string octet: the standard string quartet times two
Mendelssohn: Octet in E-Flat Major, Op. 20: movement 1
02:16
Double the string octet: a fully fledged string orchestra
Mendelssohn: String Symphony No. 2: III. Allegro vivace
The massed strings of a symphony orchestra
Vaughan Williams: Fantasia on a Theme of Thomas Tallis
02:58
Contrasts of pitch and instrumental 'colour' in the woodwind section
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Theme
In the First Variation it's the horn that gets the lion's share
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1
In Variation Two the torch is handed to the bassoon
00:07
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 2
In Variation Three the oboe leads
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 3
Variation Four: conversation before returning to a solo-dominated texture
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4
And Variation Five is dominated by the clarinet
00:04
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 5
The next to be featured is the virtuoso flute.
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 6
01:22
Individual farewells and a closing chorus
Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 7
A mixed group: clarinet, bassoon, horn, string quartet, and double-bass
Schubert: Octet in F Major, D. 803: III. Trio
02:01
The early classical symphony orchestra of Haydn and Mozart
Mozart: Symphony No. 29 in A Major, K. 201: IV. Allegro con spirito
03:32
Strings, wind, but no brass. What Haydn and Mozart never knew
Gabrieli: Canzon 28
Beethoven's Fifth: two horns, two trumpets, and three trombones join the team
From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler
Beethoven changed the face of the symphony and the orchestra forever.
The cult of orchestral elephantiasis reaches its peak
Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus
When large doesn't necessarily mean loud: Debussy
Debussy: Images: I. Gigues
A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The ondes martenot
02:41
Messiaen: Turangalila Symphony: II. Chant d'amour I
The advent of the "early music" movement brings a new vitality and freshness
Lully: Ballet de Xerxes: Gavotte en rondeau
Computer and synthesiser: friends or foes?
01:35
02:13
Bach: Mass in B Minor: Dona nobis pacem
03:24
par Jeremy Siepmann
Qualité CD (Sans perte)
16bit / 44.1 kHz
Stéréo
Sans perte: FLAC, M4A, WAV, WV, AIFF
Avec perte: AAC, MP3, M4A, MP4, OGA, OGG, OPUS, WMA