Schubert / Symphony No. 8 in B minor, D. 759 “Unfinished” (Mackerras)
***Painting: Wanderer in the Storm, Karl Julius von Leypold
***Painting: Wanderer in the Storm, Karl Julius von Leypold
Erno Dohnanyi (1877-1960):
Serenade Trio for Strings in C Major, Op.10 (1902 – Hungary)
1. Marcia (Allegro)
2. Romanza (Adagio non troppo, quasi andante) 1:48
3. Scherzo (Vivace) 5:07
4. Tema con variazio, (Andante con moto) 8:48
5. Rondo (Finale) (Allegro vivace) 13:54
Live recording, Moscow
Uploaded on Feb 10, 2012
Orchestra: Capella Agustina
Conductor: Andreas Spering
Camille Saint-Saëns, Violin Sonata No. 1, Op. 75 (1885)
Jascha Heifetz, Brooks Smith
String Quartet No.1, Op.12 (1829)
Julius Rietz (1812–1877)
Felix Mendelssohn-Bartholdys Werke, Serie 6.
Leipzig: Breitkopf & Härtel, 1875. Plate M.B. 22.
Mineola: Dover Publications
Work: Piano Concerto in A-minor, Op.85 (1816)
Leonard Bernstein, conductor
September 8, 1988, Luzern
Live recording, Locarno, 18.IX.1966
Jakob Ludwig Felix Mendelssohn Bartholdy (German born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 — 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
Piano Concerto in A Minor (1822)
***Cyprien Katsarsis piano and the Franz Liszt Chamber Orchestra conducted by Janos Rolla
***Paintings and drawings by Felix Mendelssohn (except his images and his wife’s)
Wolfgang Amadeus Mozart (1756-1791).
Composed December 1775/1776 in Salzburg.
The Missa Brevis No. 8 in C major, K. 259, is a mass composed by Wolfgang Amadeus Mozart, probably in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo.
Although classed as a missa brevis (brief mass), the inclusion of trumpets in the scoring makes it a missa brevis et solemnis. The mass derives its nickname Orgelmesse or Orgelsolomesse (Organ Solo Mass) from the obbligato organ solo entry of the Benedictus. This is one of three masses Mozart composed in November and December 1776, all set in C major, including the Credo Mass (K. 257) and the Piccolominimesse (K. 258).
The work consists of six movements. Performances require approximately 10–15 minutes.
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Franz Schubert： Quartettsatz in C-moll, D. 703
The Quartettsatz in C-moll (English: Quartet Movement in C minor), D. 703 was composed by Franz Schubert in December 1820. It is the first movement, of a Twelfth String Quartet which Schubert never completed. In addition to the opening movement, Schubert also composed the first forty bars of a second movement marked Andante. The unfinished quartet is regarded as one of the first products of Schubert’s mature phase of composition.
The composition consists of a single sonata form movement marked Allego assai and typical performances last around 10 minutes.
Antonín Dvořák：String Quartet No.14, Op.105
I. Adagio ma non troppo—Allegro appassionato
II. Molto vivace
III. Lento e molto cantabile
IV. Finale. Allegro non tanto
Weigang Li, violin
Yi-Wen Jiang, violin
Honggang Li, viola
Nicholas Tzavaras, cello
Filmed and edited by Rodney Leinberger
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About the WORK:
ETUDES SYMPHONIQUES op.13
[from Wikipedia, read more: http://en.wikipedia.org/wiki/Symphoni...]
The first edition in 1837 carried an annotation that the tune was “the composition of an amateur”: this referred to the origin of the theme, which had been sent to Schumann by Baron von Fricken, guardian of Ernestine von Fricken, the Estrella of his Carnaval Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Etudes Symphoniques (as in that of many other masterpieces of Schumann’s). * Theme – Andante * Etude I (Variation 1) – Un poco più vivo * Etude II (Variation 2) – Andante * Etude III – Vivace * Etude IV (Variation 3) – Allegro marcato * Etude V (Variation 4) – Scherzando * Etude VI (Variation 5) – Agitato * Etude VII (Variation 6) – Allegro molto * Etude VIII (Variation 7) – Sempre marcatissimo * Etude IX – Presto possible * Etude X (Variation 8) – Allegro con energia * Etude XI (Variation 9) – Andante espressivo * Etude XII (Finale) – Allegro brillante (based on Marschner’s theme).
Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. ‘Florestan and Eusebius’ then signed the Davidsbündlertänze, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.
Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Etudes Symphoniques became Etudes en forme de variations, two studies (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.
The entire work was dedicated to Schumann’s English friend, the pianist and composer William Sterndale Bennett. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara not to play it.
About the Artist:
Mehmet Okonsar is a pianist-composer-conductor and musicologist. Besides his international concert carrier he is a prolific writer. Founder of the first classical music-musicology dedicated blog-site:”inventor-musicae” (http://www.inventor-musicae.com) as well as the first classical-music video portal : http://www.classicalvideos.net. Okonsar homepage: http://www.okonsar.com.
Sviatoslav Richter, piano
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Along with the Impromptus, they are among the most frequently played of all Schubert’s piano music, and have been recorded many times. No. 3 in F minor has been arranged by Leopold Godowsky and others.
They were published by Leidesdorf in Vienna in 1828, under the title “Six Momens [sic] musicals [sic]“. The correct French forms are now usually used – moments (instead of momens), and musicaux (instead of musicals). The sixth number was published in 1824 in a Christmas album under the title Les plaintes d’un troubadour.
|The Seventh Symphony is in four movements:|
The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries.
At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.
Slovak Philharmonic Orchestra, Zdenek Kosler
Antonín Dvořák – Symphony No. 6 in D major, Op. 60, B. 112
1. Allegro non tanto 12’52
2. Adagio 10’56
3. Scherzo, Furiant 6’55
4. Finale, allegro con spirito 10’34
The Symphony No. 4 in C minor, D. 417, commonly called the Tragic (German: Tragische), was composed by Franz Schubert in April 1816. It was completed one year after the Third Symphony, when Schubert was 19 years old. However, the work was premiered only on November 19, 1849, in Leipzig, more than two decades after Schubert’s death.
The title Tragic is Schubert’s own. It was added to the autograph manuscript some time after the work was completed. It is not known exactly why he added the title, but the work is one of only two symphonies (the Unfinished Symphony is the other) which Schubert wrote in a minor key.
Luigi Boccherini (1743-1805)
Octet (Notturno) in G major, Op. 38 No. 4 [G. 470] (1787)
Violins – Jeanne Lamon & Ingrid Matthews
Viola – Stephen Marvin
Violoncellos – Anner Bylsma & Christina Mahler
Double bass – David Sinclair
Flute – Marten Root
Bassoon – Michael McCraw
Horn – Derek Conrod
“The Notturno [in G major] is really a chamber work for two violins, a viola, two cellos, oboe (or flute), bassoon, and horn — heard here in a nonet version with a double bass. It opens with a charming ‘Andantino amoroso ma non largo’ in an ABA form, marked with Boccherini’s pleas for grace — such as ‘con grazia’ and ‘dolcissimo e teneramente’. The work continues with a minuet with ‘reversed’ harmonies, beginning on an extended dominant seventh and resolving to the tonic. A trio and a ‘minore’ section are interspersed with the main body of the minuet in true 18th-century fashion. The finale is an ‘Allegro vivo’ in sonata form. It opens softly and then bursts out with a zest that carries through the movement. After a curious series of dotted chords that reach into the flat keys before a short pause, Boccherini leads the listener back into the merry chase in a manner worthy of Haydn at his best. The movement ends with no warning, in just the delightful spirit in which it began.” – David Montgomery
Symphony No. 2 in D major, Op. 73
I. Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . (00:42)
II. Adagio non troppo – L’istesso tempo, ma grazioso . . . (21:53)
III. Allegretto grazioso (quasi andantino) . . . . . . . . . . . . (34:41)
IV. Finale. Allegro con spirito . . . . . . . . . . . . . . . . . . . . (40:13)
Recorded live at the Große Musikvereinssaal
Vienna, 1-6 September 1982
Picture: Carlo Bossoli – Paris Bourse
Orchestra: Failoni Orchestra
Conductor: Michael Halász
The Allegro con brio, which follows a broad introduction in a form which reminds us of the French Overture in two parts, the first slow and dramatic, the second more lyrical, is remarkable for its charm and the interplay of solo clarinet with syncopated strings, which developed pp from within the bounds of the style of chamber music to the larger sphere of the symphonic form. This is an extremely dramatic movement in sonata form. It owes much, as Michael Trapp points out in the liner notes of Günter Wand’s recording, to the influence of Rossini, whose music was quite popular at the time, particularly evident in the overture-like structure.
A delightful Allegretto in ternary form follows, full of grace and humor.
Then comes a high-spirited Minuet, which, with its accented up-beats, suggests a scherzo and a popular flavor due to this low and popular gesture, and is contrasted by a graceful Ländler-like trio.
The concluding Presto in tarantella rhythm is remarkable for its bold harmonic progressions and for its wealth of dynamic contrast. This movement is in sonata form with a looser conception.
Antonio Lucio Vivaldi (1678 † 1741)
1.Movement: Allegro molto
2.Movement: Andante molto
Violins: Fabio Biondi, Lorenzo Colitto, Raffaello Negri, Carla Marotta
Violins in troba marina: Fabio Biondi, Lorenzo Colitto, Renata Spotti, Luca Giardini
Viola all’inglese: Fabio Biondi, Ernesto Braucher
Cellos: Maurizio Naddeo, Antonio Fantinuoli
Mandolines: Giovanni Scaramuzzino, Sonia Maurer
Recorders: Petr Zejfart, Maurice Steger
Oboes: Stefano Vezzani, Simone Toni, Claudio Pinardi
Bassoon: Francois de Rudder
Chalumeaux: Gili Rinot, Carles Riera
Theorbos: Giangiacomo Pinardi, Ugo Nastrucci
Harpsichords: Sergio Ciomei, Paola Erdas
Fabio Biondi, violin & direction
Introduction und Allegro appassionato
[Konzertstück für Klavier und Orchester G Dur op. 92]
Sviatoslav Richter, Klavier
Sinfonie-Orchester der Nationalen Philharmonie Warschau -
Stanislaw Wislocki, Leitung
Georges BIZET: Jeux d’enfants Op.22, 12 pieces for piano 4 hands
0:05 / 1. L’Escarpolette (Reverie. Andantino) [2'52'']
2:57 / 2. La Toupie (Impromptu. Allegro vivo) [0'57'']
3:53 / 3. La Poupée (Berceuse. Andantino semplice) [2'49'']
6:42 / 4. Les Chevaux de Bois (Scherzo. Allegro vivo) [1'18'']
8:01 / 5. Le Volant (Fantaisie. Andantino molto) [1'14'']
9:15 / 6. Trompette et Tambour (Marche. Allegretto) [2'07'']
11:22 / 7. Les Bulles de Savon (Rondino. Allegretto) [1'22'']
12:44 / 8. Les Quatre Coins (Esquisse. Allegro vivo) [2'07'']
14:52 / 9. Colin-Maillard (Nocturno. Andante non troppo) [1'58'']
16:50 / 10. Saute-Mouton (Caprice. Allegro molto) [1'21'']
18:10 / 11. Petit Mari, petite Femme! (Duo. Andantino) [3'00'']
21:10 / 12. Le Bal (Galop. Presto) [1'39'']
Alfons & Aloys Kontarsky, piano (rec. 1982 – vinyl (p)1983 DGG)
Alfons & Aloys KONTARSKY – piano duet *vinyl*
II. Adagio cantabile — Allegro — Tempo I
III. Scherzo. Allegro
IV. Allegro molto, quasi presto
Sándor Végh, 1st violin
Sándor Zöldy, 2nd violin
Georges Janzer, viola
Paul Szabo, violoncello
The 1952 Haydn Society Recordings
Of the Op. 18 string quartets, this one is the most grounded in 18th-century musical tradition. According to Steinberg, “In German-speaking countries, the graceful curve of the first violin’s opening phrase has earned the work the nickname of Komplimentier-Quartett, which might be translated as ‘quartet of bows and curtseys’.”
The nickname may have originated from one of Haydn’s last string quartets written about the same time (Op. 77, No. 1; 1799), which was also known as the Komplimentier-Quartett. Haydn was Beethoven’s teacher at the time, and there are similarities in style between the two quartets. They are also both in the key of G major.
After he finished the quartet, Beethoven was not satisfied with the second movement and wrote a replacement. Sketches of the original slow movement survive and a complete version has been reconstructed by musicologist Barry Cooper. It was performed publicly, possibly for the first time, by the Quatuor Danel in the Cosmo Rodewald Concert Hall at the Martin Harris Centre, University of Manchester, on 30 September 2011.
Klára Würtz, piano.
Franz Schubert – Piano Sonata in A major, D 664 (Op. 120)
I. Allegro moderato
The Symphony No. 5 in D major/D minor, Op. 107, known as the Reformation, was composed by Felix Mendelssohn in 1830 in honor of the 300th anniversary of the Presentation of the Augsburg Confession. The Confession is a key document of Lutheranism and its Presentation to Emperor Charles V in June 1530 was a momentous event of the Protestant Reformation. This symphony was written for a full orchestra and was Mendelssohn’s second extended symphony. It was not published until 1868, 21 years after the composer’s death – hence its numbering as ‘5’. Although the symphony is not very frequently performed, it is better known today than it was during Mendelssohn’s lifetime.
The key of the symphony is stated as D major on the title page of Mendelssohn’s autograph score. However, only the slow introduction is written in D Major, whereas the main theme and the cadence setting of the first movement are in D minor. The composer himself referred to the symphony on at least one occasion as in D minor.
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, “serpente” (possibly a serpent) and contrabassoon (fourth movement only, now usually played on the contrabassoon alone), 2 horns, 2 trumpets, 3 trombones, timpani and strings.
The symphony is in four movements:
|Symphony No. 8|
|by Antonín Dvořák|
Title page of the autograph score
|Composed||26 August 1889 – 8 November 1889 – Vysoká u Příbramě|
|Dedication||Bohemian Academy of Science, Literature and Arts|
|Date||2 February 1890|
|Performers||Orchestra of the National Theatre|
The Symphony No. 8 in G major, Op. 88, B. 163, is a symphony by Antonín Dvořák, composed in 1889 at Vysoká u Příbramě, Bohemia, on the occasion of his election to the Bohemian Academy of Science, Literature and Arts. Dvořák conducted the premiere in Prague on 2 February 1890. In contrast to other symphonies of both the composer and the period, the music is cheerful and optimistic
The symphony is in four movements:
The orchestration of piccolo and English Horn is unusual in this symphony. The piccolo only sustains a long note in unison with the flute at the exposition of the 1st movement and the English Horn only plays a short, but exposed phrase during the second recapitulation of the main “bird call” theme, also in the 1st movement. In some editions the 2nd oboe doubles on English horn rather than the 1st oboe as indicated in most scores.
Wolfgang Amadeus Mozart (1756-1791)
Symphony No.29 in A major, K.201
Festspielhaus, Salzburg, 28 1/2000
The Symphony No. 29 in A major, K. 201/186a, was completed by Wolfgang Amadeus Mozart on 6 April 1774. It is, along with Symphony No. 25, one of his better known early symphonies. Stanley Sadie characterizes it as “a landmark … personal in tone, indeed perhaps more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner.”
There are four movements:
The first movement is in sonata form, with a graceful principal theme characterized by an octave drop and ambitious horn passages. The second movement is scored for muted strings with limited use of the winds, and is also in sonata form. The third movement, a minuet, is characterized by nervous dotted rhythms and staccato phrases; the trio provides a more graceful contrast. The energetic last movement, another sonata-form movement in 6/8 time, connects back to the first movement with its octave drop in the main theme.
Composed in 1821.
The Piano Sonata No. 31 in A-flat major, Op. 110, by Ludwig van Beethoven was composed in 1821. It is the central piano sonata in the group of three opp. 109–111 which he wrote between 1820 and 1822, and the thirty-first of his published piano sonatas.
The sonata is in three movements. The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.
In the summer of 1819 Moritz Schlesinger, from the Schlesinger firm of music publishers based in Berlin, met Beethoven and asked to purchase some compositions. After some negotiation by letter, and despite the publisher’s qualms about Beethoven’s retaining the rights for publication in England and Scotland, Schlesinger agreed to purchase 25 songs for 60 ducats and three piano sonatas at 90 ducats (Beethoven had originally asked 120 ducats for the sonatas). In May 1820 Beethoven agreed, the songs (op. 108) already being available, and he undertook to deliver the sonatas within three months. These three sonatas are the ones now known as opp. 109–111.
Beethoven was prevented from completing all three of the promised sonatas on schedule by factors including an attack of jaundice; Op. 109 was completed and delivered in 1820, but correspondence shows that Op. 110 was still not ready by the middle of December 1821, and the completed autograph score bears the date December 25, 1821. Presumably the sonata was delivered shortly thereafter, since Beethoven was paid the 30 ducats for this sonata in January 1822.
Alfred Brendel characterizes the main themes of the sonata as all derived from the hexachord – the first six notes of the diatonic scale – and the intervals of the third and fourth that divide it. He also points out that contrary motion is a feature of much of the work, particularly prominent in the scherzo second movement.
Johannes Brahms: Symphony No.4 in E minor, Op.98
I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)
Leonard Bernstein, conductor
September 8, 1988, Luzern
All files courtesy of Musopen
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The Symphony No. 4 in E minor, Op. 98 by Johannes Brahms is the last of his symphonies. Brahms began working on the piece in Mürzzuschlag. then in the Austro-Hungarian Empire, in 1884, just a year after completing his Symphony No. 3, and completed it in 1885.
The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle (third movement only), and strings
The work was given its premiere in Meiningen on October 25, 1885 with Brahms himself conducting. The piece had earlier been given to a small private audience in a version for two pianos, played by Brahms and Ignaz Brüll. Brahms’ friend and biographer Max Kalbeck, reported that the critic Eduard Hanslick, acting as one of the page-turners, exclaimed on hearing the first movement at this performance: “For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.” Hanslick later spoke more approvingly of it, however.
Niccolo Paganini – Grande Sonata: Allegro Risoluto, Romanze, Andantino Variato
Bach – First Violin Sonata, BWV 1001: Adagio, Fuga, Siciliana, Presto
Manuel Ponce – Sonatina Meridional: Campo, Copla, Fiesta
William Walton – Five Bagatelles: Allego, Andante, Alla Cubana, Smpre Expressivo, Con Slancio
Federico-Moreno Torroba – Sonatina: Allegretto, Andante, Allegro
Start – 16:00 Paganini
16:01 – 29:40 Bach
29:42 – 38:06 Ponce
38:09 – 51:00 Walton
51:02 – End Torroba
The work is in four movements:
1. Adagio — Allegro vivace, 2/2
2. Adagio, 3/4 in E flat major
3. Allegro vivace, 3/4
4. Allegro ma non troppo, 2/4
Symphony No. 4 in B flat major (Op. 60), It was written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert.
The work was dedicated to Count Franz von Oppersdorff, a relative of Beethoven’s patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky’s summer home where Beethoven was staying. Von Oppersdorff listened to Beethoven’s Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him.
The dedication was made to “the Silesian nobleman Count Franz von Oppersdorf”. Hector Berlioz was so enamoured of the symphony’s 2nd movement that he claimed it was the work of the Archangel Michael, and not that of a human.