Tag Archives: Allegro

Mendelssohn / String Symphony No. 2 in D major: make music part of your life series


Mendelssohn / String Symphony No. 2 in D major

 

 

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

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)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

Wolfgang Amadeus Mozart: Piano Concerto no. 8, in C major “Lutzow” in KV 246: make music part of your life series


Derek Han, piano. Philharmonia Orchestra, Paul Freeman.
Wolfgang Amadeus Mozart – Piano Concerto No. 8 in C major, KV 246
I. Allegro aperto
II. Andante
III. Tempo di menuetto

  • Purchase

    • Concerto for Piano and Orchestra No 8 K.246 “Lützow”, III. Rondeau. Tempo di Minuetto (iTune

Franz Schubert – Symphony No.2 in B-flat major, D.125 (1815): make music part of your life series



***from  KuhlauDilfeng2  KuhlauDilfeng2

Franz SchubertSymphony No.2 in B-flat major, D.125 (1815)

***Picture: Carlo Bossoli – Abendliches Vergnügen vor den Toren Konstantinopels

***Franz Schubert:  Symphony No.2 in B-flat major, D.125 (1815)

Mov.I: Largo – Allegro vivace 00:00
Mov.II: Andante 14:07
Mov.III: Menuetto: Allegro vivace 22:20
Mov.IV: Presto vivace 25:32

***Orchestra: Failoni Orchestra
***Conductor: Michael Halász

In the opening movement, the initial theme of the Allegro vivace is based on the corresponding first theme of Ludwig van Beethoven’s overture to The Creatures of Prometheus.

The second movement is a theme with five variations in E flat major. Although there is some variation in the melody, the primary focus of the variations are on instrumentation and tone color. The first variation features violins and winds. The second variation passes the theme between the low strings and the woodwinds. The third variation is again violins and winds. The fourth variation is in C minor and features some acceleration with the use triplet-sixteenth notes. The fifth variation maintains the triplet-sixteenths, but they move into the background with the melody returning close to its original form as a kind of recapitulation. A coda concludes the movement.

The minuet is in C minor and mainly scored for the tutti and fortissimo. The contrasting Trio in E flat major is more thinly scored winds, violins and pizzicato bass. The melody of the trio is actually a variation of the theme used in the second movement forming a melodic and harmonic (E-flat/C minor) link is made between the inner two movements.

The finale is a galop in fast 2/4 time.

***From Wikipedia, the free encyclopedia:

List of compositions by Franz Schubert by genre

Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker: make music part of your life series


Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker

Ludwig van Beethoven Symphony No. 3 in E flat major (Op. 55):
Berliner Philharmoniker

Symphony No. 3 in E flat major (Op. 55), is a landmark musical work marking the full arrival of the composer’s “middle-period,” a series of unprecedented large scale works of emotional depth and structural rigor.
The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.
Instrumentation
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 3 horns in E flat, 2 trumpets in E flat and C, timpani in E flat and B flat, and strings.
Form
The piece consists of four movements:
1. Allegro con brio
2. Marcia funebre: Adagio assai in C minor
3. Scherzo: Allegro vivace
4. Finale: Allegro molto

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1: great compositions/performances



From Carlos Garcia Carlos Garcia

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1

ANTONIN DVORAK.-
Rhapsody en Re mayor Op. 45 Nº1

1. Allegro con moto
2. Allegro ma non troppo-Moderato
3. Andante maestoso-Allegro assai

Orquesta Filarmónica Checa
Director: Václav Neuman
Fecha y año de composición 1878
Dedicatoria Baron Paul von Dervies
Estilo Romantic

Instrumentación: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Timpani, Bass Drum, Cymbals, Triangle, Harp, Violins I, Violins II, Violas, Cellos, Double Basses.

1878 fue un año importante para Antonín Dvorák : Dvorák amigo de Johannes Brahms le ayudó a levantar desde el pozo de la oscuridad haciendo los arreglos para la publicación alemana de sus Duetos moravos; en consecuencia, recibió el encargo del primer volumen de sus Danzas eslavas que, hasta el día de hoy, siguen siendo, junto con el “Nuevo Mundo” Symphony, Dvorák música más conocidas. Estos eventos marcan el inicio de Dvorák llamado períodos eslavo “(finales de 1870 a principios de 1880), durante el cual él respondió directamente a la demanda del público y de los deseos de su editor por componer música explícitamente bohemio / Checo / Morava de tono, el estilo, y en cierta medida, de diseño. Las tres eslava rapsodias para orquesta, op. 45, de 1878, son las más grandes manifestaciones de esa financieramente rentable vena musical.

El primero de los tres eslava rapsodias en re mayor, op. 45/1, fue compuesto durante febrero y marzo de 1878 y por lo tanto en realidad es anterior a las Danzas eslavas; N º 2 en sol menor y n º 3 en La bemol mayor que siguió en el otoño y principios del invierno, respectivamente. La orquesta empleada es bastante grande; el contingente habitual de los vientos y las cuerdas se ve aumentada por el arpa y una brigada de percusión de tamaño considerable. Las tres piezas se unen para formar un ciclo de clases, aunque casi nunca se oye hablar de ellos interpretados juntos como un conjunto.
La característica más memorable del N º 1 es el episodio-march como central, mientras que el No. 2 se distingue por sus numerosos cambios entre 3/4 y 4/4. La tercera eslava Rhapsody se abre con un solo de arpa cuya sustancia es inmediatamente absorbido por los instrumentos de viento, y procede a explorar una serie de melodías de buen carácter; la gran culminación parece disolverse elusively sin una resolución final, pero al final dos acordes brillantes dibujar la pieza a la cadencia que anhelamos

1878 was an important year for Antonín Dvorák: Dvorák friend Johannes Brahms helped him lift from the pit of darkness making arrangements for the German publication of his Moravian Duets; consequently, he was commissioned the first volume of his Slavonic Dances that until today, remain, along with the “New World” Symphony, Dvorák‘s music known. These events mark the beginning of Dvorák Slavonic called periods (late 1870s to early 1880s), during which he answered directly to the public demand and the wishes of his editor to compose music specifically Bohemian / Czech / Moravian tone , style, and to some extent, design. Slavic Three rhapsodies for orchestra, op. 45, 1878, are the largest demonstrations that financially rewarding musical vein.

The first of the three Slavonic Rhapsodies in D major, op. 45/1, was composed during February and March 1878 and therefore actually predates the Slavonic Dances; No. 2 in G minor and No. 3 in sun-flat major followed in the fall and early winter, respectively. The orchestra employed is quite large; the usual contingent of winds and strings is augmented by harp and percussion brigade of considerable size. The three pieces come together to form a cycle of classes, but almost never hear of them performed together as a whole.
The most memorable feature of the No. 1-march is the central episode, while No. 2 was distinguished by its many changes between 3.4 and 4.4. The third Slavonic Rhapsody opens with a harp solo whose substance is immediately absorbed by the wind instruments, and proceeds to explore a number of tunes of good character; seems to dissolve the grand climax elusively without a final resolution, but in the end two bright chords drawing the piece to the cadence that yearn

Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano: make music part of your life series


Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano

Frédéric Chopin – 12 Études Opp. 10 & 25. 3 Nouvelles Études. (Claudio Arrau, “The Philosopher of the Piano”, 1956) (2007 Digital Remastering)
Recorded: 15-22 & 29.VI. and 5.IX.1956, No.3, Abbey Road Studios, London. First issued in 1957 by Columbia Ltd. Mono/ADD
“Great Recordings of the 20th Century”. EMI Icons, EMI Classics, 2011 & Warner Classics, 2013.

I. Book No.1: 12 Etudes for Piano Op.10, 1830-32.
Before Chopin, there was a tradition of writing studies for the development of keyboard technique, but the pieces were primarily didactic. This set of 12 Études, dedicated to Liszt, represents a new form: concert pieces that serve a secondary function as development of advanced piano skills. Each étude begins with a pattern of pianistic figuration, which creates the specific technical problem for the étude and persists for the duration of the piece. That Chopin was able to create poetry in spite of such controlled and limited means of expression is a testament to his creative genius. The twelve Études published as Chopin’s Opus 10 are an indispensable tool of the modern pianist’s craft: they are a rite of passage that no serious pianist can ignore.
00:00 Nº 1 in C major. Allegro
01:59 Nº 2 in A minor. Allegro
03:23 Nº 3 in E major. Lento ma non troppo (Tritesse – L’intimite) – http://youtu.be/FKDir13g7ow
07:55 Nº 4 in C sharp minor. Presto (Torrent)
10:10 Nº 5 in G flat major. Vivace (Black Keys)
11:55 Nº 6 in E flat minor. Andante
14:49 Nº 7 in C major. Vivace (Toccata)
16:26 Nº 8 in F major. Allegro
18:51 Nº 9 in F minor. Allegro molto agitato
21:00 Nº 10 in A flat major. Vivace assai
23:14 Nº 11 in E flat major. Allegretto
26:17 Nº 12 in C minor. Allegro con fuoco (Revolutionary – Fall of Warsaw)

II. Book No.2: 12 Etudes for Piano Op.25, 1835-37.
This Op.25 collection bears a dedication to Liszt’s mistress, Countess Marie d’Agoult, a writer who used the pseudonym Daniel Stern (the Op.10 Études are dedicated to Franz Liszt). One reason Chopin attempted to capture Liszt’s sympathies with the dedications had to do with the performance design of the pieces in the two sets: each was written to highlight some facet of pianism.
28:57 Nº 1 in A flat major. Allegro sostenuto (Aeolian Harp – Shepherd Boy)
31:21 Nº 2 in F minor. Presto (Balm)
33:05 Nº 3 in F major. Allegro (Carwheel)
35:08 Nº 4 in A minor. Agitato
37:28 Nº 5 in E minor. Vivace
40:52 Nº 6 in G sharp minor. Allegro (Thirds)
43:00 Nº 7 in C sharp minor. Lento (Cello)
48:21 Nº 8 in D flat major. Vivace (Sixths)
49:30 Nº 9 in G flat major. Allegro assai (Butterfly)
50:35 Nº 10 in B minor. Allegro con fuoco
55:04 Nº 11 in A minor. Lento – Allegro con brio (Winter Wind)
58:41 Nº 12 in C minor. Allegro molto con fuoco (Ocean)

III. Trois Nouvelles Études for piano, 1839-40.
Chopin composed this set of etudes for the Méthode des methods, a publication of Ignaz Moscheles, a leading pianist and composer of his day who was not always in agreement with Chopin’s compositional techniques, and François-Joseph Fétis, a now largely forgotten Belgian musicologist.
1:01:26 Nº 1 in F minor
1:03:31 Nº 2 in A flat major
1:05:56 Nº 3 in D flat major

As always with Arrau, the Pianist takes a back seat to Music Making, are a prime example of how myth making regarding Arrau’s Recordings. Arrau approaches Chopin’s Etudes as a genuinely mature musician and sensitive interpreter. In Opus 10, No. 3, for instance, he infuses the music with a deep sadness that recalls its XIX Century title, “La Tristesse.” Incidentally, this record received the Grand Prix du Disque Frédéric Chopin from the Warsaw Chopin Society when it was re-released in 1990.

The 24 Études of Frédéric Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study “in [his] own manner,” and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin’s intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room

Despite the slightly cramped, airless sonics, Arrau’s characteristically warm and ample sonority makes itself felt in these 1956 recordings. The pianist uncovers layers of depth and disquiet in the slower Études that others merely prettify. The treacherous extensions in the E-Flat Étude, for instance, are distinctly projected and balanced, rather than strummed. Arrau’s spectacularly honest technique enables him to articulate Chopin’s sparkling figurations with a liquid legato unaided by the pedal.

Schubert / Symphony No. 8 in B minor, D. 759 “Unfinished” (Mackerras): make music part of your life series



FROM:

Schubert / Symphony No. 8 in B minor, D. 759 “Unfinished” (Mackerras)

Franz Schubert (1797-1828)

Symphony No. 8 in B minor, D. 759 “Unfinished” (1822):
1. Allegro moderato – 00:00
2. Andante con moto – 13:32

***Performed by Charles Mackerras and the Orchestra of the Age of Enlightenment (1990).

***Painting: Wanderer in the Storm, Karl Julius von Leypold

Dohnanyi Serenade Trio in C Major, Op.10 (Heifetz, Primrose, Feuermann) – 1941: unique musical moments


Dohnanyi Serenade Trio in C Major, Op.10 (Heifetz, Primrose, Feuermann) – 1941

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

Jascha Heifetz, violin (189101987)
William Primrose, viola (1904-1982)
Emanuel Feuermann, cello (1902-1942)

Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky: make music part of your life series



From:

Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky

Sergei Rachmaninov:  Suite for two pianos n°1 op.5:

I. Allegretto. Barcarolle 0:00
II. Adagio sostenuto. La nuit… L’amour 7:35
III. Largo di molto. Les larmes 13:53
IV. Allegro maestoso. Pâques 19:24

Vadim Rudenko
Nikolai Luganski
Live recording, Moscow

Frederic Chopin – Krakowiak Op.14: great compositions/performances


Hopeful that this and all other posts and shared Links are received everywhere!

Frederick Chopin – Krakowiak Op.14

Grande rondò da concerto.

FROM:

Bedřich Smetana – Piano Trio in G minor, Op. 15: make music part of your life series


Sviatoslav Richter plays Schubert Sonata D.575: Great compositions/performances


Sviatoslav Richter plays Schubert Sonata D.575

The Piano Sonata in B major, D. 575 by Franz Schubert is a sonata for solo piano, posthumously published as Op. 147. Schubert composed the sonata in August 1817.

Movements

I. Allegro ma non troppo (B major)

II. Andante (E major)

III. Scherzo: Allegretto – Trio (G major, D Major)

IV. Allegro giusto (B major)

 

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141: great compositions/performances


Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141

Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141
1. Allegro maestoso 12’42
2. Poco adagio 10’21
3. Scherzo, vivace 7’49
4. Finale, allegro 9’49

W. A. Mozart – Symphony No. 41 “Jupiter” in C major Do major) (Harnoncourt): great compositions/performances


W. A. Mozart – Symphony No. 41 “Jupiter” in C major (Harnoncourt)

Uploaded on Feb 10, 2012

W. A. Mozart – Symphony No. 41 “Jupiter” in C major, K. 551 (1788):
1. Allegro vivace, 4/4
2. Andante cantabile, 3/4 in F major
3. Menuetto: Allegretto – Trio, 3/4
4. Molto allegro, 2/2

The Chamber Orchestra of Europe
Conductor – Nicolaus Harnoncourt
Grosser Musikvereinsaal Wien

Johannes Brahms – Serenade No.1 in D-major, Op.11 (1857): make music part of your life series


Johannes Brahms – Serenade No.1 in D-major, Op.11 (1857)

Johannes Brahms

Mov.I: Allegro molto 00:00
Mov.II: Scherzo: Allegro non troppo 10:27
Mov.III: Adagio non troppo 17:55
Mov.IV: Menuetto I & II 33:35
Mov.V: Scherzo: Allegro 37:13
Mov.VI: Rondo: Allegro 39:47

Orchestra: Capella Agustina
Conductor: Andreas Spering

Saint-Saëns – Violin Sonata No. 1 – Heifetz, Smith: Great compositions/performances


from:  ryan teall:

Saint-Saëns – Violin Sonata No. 1 – Heifetz, Smith

Camille Saint-Saëns, Violin Sonata No. 1, Op. 75 (1885)

I. Allegro agitato
II. Adagio (6:45)
III. Allegro moderato (12:33)
IV. Allegro molto (16:13)

Jascha Heifetz, Brooks Smith

Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky: make music part of your life series


Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky

FROM

Mendelssohn – String Quartet No. 1, Op. 12: make music part of your life series


Mendelssohn – String Quartet No. 1, Op. 12

Felix Mendelssohn-Bartoldy

String Quartet No.1, Op.12 (1829)

1. Adagio non troppo – Allegro non tardante
2. Canzonetta – Allegretto (7:42)
3. Andante espressivo (11:48)
4. Molto allegro e vivace (15:23)

Melos Quartet

Editor:
Julius Rietz (1812–1877)

Publisher Info.:
Felix Mendelssohn-Bartholdys Werke, Serie 6.
Leipzig: Breitkopf & Härtel, 1875. Plate M.B. 22.

Reprinted:
Mineola: Dover Publications

Antonín Dvořák – Sonatina in G major, Op. 100: make music part of your life series


Antonín Dvořák – Sonatina in G major, Op. 100

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Sonatina in G major, Op. 100
1. Allegro risoluto 5’52
2. Larghetto 4’02
3. Scherzo 2’56
4. Allegro 6’20

Johann Nepomuk Hummel – Piano Concerto in A-minor, Op.85 (1816): make music part of your life series


Johann Nepomuk Hummel – Piano Concerto in A-minor, Op.85 (1816)

Johann Nepomuk Hummel (14 November 1778 — 17 October 1837) was an Austrian composer and virtuoso pianist.

Work: Piano Concerto in A-minor, Op.85 (1816)

Mov.I: Allegro moderato 00:00
Mov.II: Larghetto 16:19
Mov.III: Rondo: Allegro moderato 20:47

Pianist: Alessandro Commellato
Orchestra: Solamente Naturali
Conductor: Didier Talpain

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

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)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

 

 

Prokofiev – Piano sonata n°6 – Richter Locarno 1966 (great compositions/performances)


Prokofiev – Piano sonata n°6 – Richter Locarno 1966

Sergei Prokofiev:
Piano sonata n°6 op.82

I. Allegro moderato 0:00
II. Allegretto 8:55
III. Tempo di valzer lentissimo 12:45
IV. Vivace 19:07

Sviatoslav Richter
Live recording, Locarno, 18.IX.1966

make music part of your life sereis: Felix Mendelssohn – Piano Concerto in A Minor (13 year old Mendelssohn)


Felix Mendelssohn – Piano Concerto in A Minor (13 year old Mendelssohn)

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)

1. Allegro
2. Adagio (13:32)
3. Finale: Allegro ma non troppo (22:10)

***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)

make music part of your life series: Mozart – Missa Brevis in C, K. 259 [complete] (Organ Solo Mass)


Mozart – Missa Brevis in C, K. 259 [complete] (Organ Solo Mass)

Wolfgang Amadeus Mozart (1756-1791).
Composed December 1775/1776 in Salzburg.

From Wikipedia, the free encyclopedia

The Missa Brevis No. 8 in C major, K. 259, is a mass composed by Wolfgang Amadeus Mozart, probably in 1776.[1] 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.[1][2] The mass derives its nickname Orgelmesse or Orgelsolomesse (Organ Solo Mass) from the obbligato organ solo entry of the Benedictus.[1][3] 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).[4]

The work consists of six movements. Performances require approximately 10–15 minutes.

  1. “Kyrie” Andante, C major, common time
  2. “Gloria” Allegro, C major, 3/4
  3. “Credo” Allegro, C major, common time
  4. Sanctus” Adagio maestoso, C major, 3/4
    “Pleni sunt coeli et terra…” Allegro, C major, cut common time
  5. “Benedictus” Allegro vivace, G major, 3/4
    “Hosanna in excelsis…” Allegro, C major, 3/4
  6. Agnus Dei” Adagio, C major, common time
    Dona nobis pacem…” Allegro, C major, 3/4

FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki

make music part of your life series: Franz Schubert: Quartettsatz in C-moll, D. 703 and Antonín Dvořák:String Quartet No.14, Op.105


Franz Schubert: Quartettsatz in C-moll, D. 703

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.[1][2][3]

Structure

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

Shanghai Quartet

Weigang Li, violin
Yi-Wen Jiang, violin
Honggang Li, viola
Nicholas Tzavaras, cello

Alexander Kasser Theater
Montclair State University
1 Normal Avenue, Montclair, NJ 07043
3:00pm, April 12, 2013

Filmed and edited by Rodney Leinberger