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
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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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.
European Journey – The pulse of Europe: Austria
Slovenian Philharmonic String Quartet with guests
Oliver Dizdarević Škrabar – solo violin
Žiga Faganel – violin
Irina Kevorkova – violin
Maja Rome – viola
Gordana Keller Petrej – cello
Petar Brčarević – double bass
Slovenian Philharmonic – The Slavko Osterc Hall
September 23, 2012
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.
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.
Klára Würtz, piano.
Franz Schubert – Piano Sonata in A major, D 664 (Op. 120)
I. Allegro moderato
Kiev, Ukrainian SSR, Soviet Union
Valentina Lisitsa (Ukrainian: Валентина Лисиця, translit. Valentyna Lysytsya) is a Ukrainian-born and trainedclassical pianist who resides in North Carolina. Lisitsa is among the most frequently viewed pianists on YouTube and is often praised as a highly commendable pianist. Lisitsa followed a unique path to success, independently launching the beginnings of her career via social media, without initially signing to a tour promoteror record company.
Despite her early disposition to music, her dream at that point was to become a professional chess player.Lisitsa attended the Lysenko music school for Gifted Children and, later, Kiev Conservatory, where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko. It was when Lisitsa met Kuznetsoff that she began to take music more seriously. In 1991, they won the first prize in The Murray Dranoff Two Piano Competition in Miami, Florida. That same year, they moved to the United States to further their careers as concert pianists. In 1992 the couple married. Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995.
After the death of her manager, and with the thought that she was “just another blonde Russian pianist” Lisitsa almost gave up on her career as a concert pianist, and contemplated becoming a local worker for the government in Washington, D.C., but changed her mind at the last minute influenced by one of her new fans in England. Lisitsa posted her first YouTube video in 2007, gaining even more online attention after uploading her own set of Chopin etudes online for free (in response to an illegal upload of the same set beforehand). Her set of Chopin etudes reached the number one slot on Amazon’s classical video recordings, and became the most-viewed online set of Chopin etudes on YouTube.
Furthering her career, Lisitsa and her husband put their life savings in recording a CD of Rachmaninov concertos with the London Symphony Orchestra in 2010. In the spring of 2012, before her Royal Albert Hall debut, Lisitsa was signed on to Decca Records, who later released her Rachmaninov CD set. By mid-2012 she had nearly 50 million views on her YouTube videos.
Lisitsa has performed in various venues around the world, including Carnegie Hall, Avery Fisher Hall, Benaroya Hall, Musikverein and Royal Albert Hall. She is well known for her online recitals and practicing streams. She has also collaborated with violinist Hilary Hahn for various recital engagements.
Lisitsa has recorded six CDs for Audiofon Records, including three solo CDs and two discs of duets with her husband Alexei Kuznetsoff; a Gold CD for CiscoMusic label with cellist DeRosa; a duet recital on VAI label with violinist Ida Haendel; and DVDs of Frédéric Chopin’s 24 Etudes, Schubert-Liszt Schwanengesang.
Her recording of the 4 sonatas for violin and piano by composer Charles Ives, made with Hahn, was released in October 2011 on Deutsche Grammophone label. Her album “Valentina Lisitsa Live at the Royal Albert Hall” (based on her debut performance at that venue 19 June 2012) was released 2 July 2012.
Lisitsa has recently recorded several projects from the composers Rachmaninoff, Liszt, Chopin, and Beethoven. Her complete album of Rachmaninoff concertos was released in October 2012 by Decca Records. The most recent album of Liszt works was released in October 2013 on Decca label in 2 formats – CD and 12″ LP which was cut unedited from analog tape.
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A compilation of some of the more relaxing piano performances I’ve uploaded to YouTube. All pieces of music in this collection are played and recorded by myself. I’ve added in links/starting times for each piece in the collection, for those who wish to browse, or jump to a favourite spot. I have also added links to the original videos.
The pieces in this collection are:
Moment Musicaux #6 (Schubert) https://www.youtube.com/watch?v=x_iLv…
Handel’s Largo (9:58) https://www.youtube.com/watch?v=x_iLv…
Bethena Waltz (Scott Joplin) (16:14) https://www.youtube.com/watch?v=zWlyc…
Waltz in #15 A Flat (Brahms) (23:46) https://www.youtube.com/watch?v=M6K46…
Ave Maria (Schubert) (26:11) https://www.youtube.com/watch?v=ev9qW…
Waltz #2 (Brahms) (28:58) https://www.youtube.com/watch?v=jjqjq…
Intermezzo in A Minor, Op. 116 #2 (Brahms) (31:44)https://www.youtube.com/watch?v=HeTLN…
Intermezzo Op. 76 #7 (Brahms) (35:31)https://www.youtube.com/watch?v=XCt_L…
Intermezzo In A minor Op. 118 #2 (Brahms) (39:38)https://www.youtube.com/watch?v=oaXUJ…
Intermezzo Op. 119 #2 (Brahms) (46:46)https://www.youtube.com/watch?v=doySb…
Romanze (Brahms) (54:36) https://www.youtube.com/watch?v=HWJej…
Nocturne #2 (Chopin; yes, that is a typo in the title!) (59:11)https://www.youtube.com/watch?v=bS_Gu…
Nocturne #16 (Chopin) (1:04:38) https://www.youtube.com/watch?v=bS_Gu…
Nocturne #18 (Chopin) (1:10:07) https://www.youtube.com/watch?v=BjXUs…
Prelude #17 (Chopin) (1:16:52) https://www.youtube.com/watch?v=sLKLL…
Prelude #23 (Chopin) (1:20:35) https://www.youtube.com/watch?v=4Xhet…
Waltz #3 (Chopin) (1:21:43) https://www.youtube.com/watch?v=HTGlq…
Waltz #9 ‘(Chopin) (1:28:56) https://www.youtube.com/watch?v=O1Jax…
Prelude #4 (Chopin) (1:33:39) https://www.youtube.com/watch?v=VtXlD…
Arabesque #1 (Debussy) (1:36:05) https://www.youtube.com/watch?v=K7-Tv…
Deep River (Samuel Taylor Coleridge Arr.) (1:41:42)https://www.youtube.com/watch?v=iGPAU…
Uploaded on Feb 5, 2009/523,782Views
Wilhelm Kempff: piano
Wilhelm Walter Friedrich Kempff (25 November 1895 – 23 May 1991) was a German pianist and composer. Although his repertoire included Bach, Mozart, Chopin, Schumann, Liszt and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert, by both of whom he recorded complete sets of their piano sonatas . He is considered to have been one of the chief exponents of the Germanic tradition during the 20th century.
Kempff was born in Jüterbog, Brandenburg, in 1895. He grew up in nearby Potsdam where his father was a royal music director and organist at St. Nicolai Church. His grandfather was also an organist and his brother Georg became director of church music at the University of Erlangen. Kempff studied music at first at the Berlin Hochschule für Musik at the age of nine after receiving lessons from his father at a younger age. Whilst there he studied composition with Robert Kahn and piano with Karl Heinrich Barth (with whom Arthur Rubinstein also studied). In 1914 Kempff moved on to study at the Viktoria gymnasium in Potsdam before returning to Berlin to finish his training.
In 1917, Kempff made his first major recital, consisting of predominantly major works, including Beethoven’s Hammerklavier Sonata and Brahms Variations on a theme of Paganini. Kempff toured very widely in Europe and much of the rest of the world. Between 1936 and 1979 he performed ten times in Japan (a small Japanese island was named Kenpu-san in his honor). Kempff made his first London appearance in 1951 and his first in New York in 1964. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease). He died in Positano, Italy at the age of 95, five years after his wife, whom he had married in 1926. They were survived by five children.
He was among the first to record the complete sonatas of Franz Schubert, long before these works became popular. He also recorded two sets of the complete Beethoven sonatas (and one early, almost complete set on shellac 1926-1945), one in mono (1951–1956) and the other in stereo (1964–1965). He recorded the complete Beethoven piano concertos twice as well, both with the Berlin Philharmonic; the first from the early 1950s in mono with Paul van Kempen, and the later in stereo from the early 1960s with Ferdinand Leitner. Kempff also recorded chamber music with Yehudi Menuhin, Pierre Fournier, Wolfgang Schneiderhan, Paul Grummer, and Henryk Szeryng, among others.
The pianist Alfred Brendel has written that Kempff “played on impulse… it depended on whether the right breeze, as with an aeolian harp, was blowing. You then would take something home that you never heard elsewhere.” (in Brendel’s book, The Veil of Order). He regards Kempff as the “most rhythmical” of his colleagues. Brendel helped choose the selections for Phillip’s “Great Pianists of the 20th Century” issue of Kempff recordings, and wrote in the notes that Kempff “achieves things that are beyond him” in his “unsurpassable” recording of Liszt’s first Legende, “St. Francis Preaching to the Birds.”
When pianist Artur Schnabel undertook his pioneering complete recording of the Beethoven sonatas in the 1930s, he told EMI that if he didn’t complete the cycle, they should have Kempff complete the remainder – even though the two pianists took noticeably different approaches to the composer (for example, Schnabel preferred extremely fast or slow tempos, while Kempff preferred moderate ones). Later, when Kempff was in Finland, the composer Jean Sibelius asked him to play the slow movement of Beethoven’s 29th Sonata, the Hammerklavier; after Kempff finished, Sibelius told him, “You did not play that as a pianist but rather as a human being.”
As a performer he stressed lyricism and spontaneity in music, particularly effective in intimate pieces or passages. He always strove for a singing, lyrical quality. He avoided extreme tempos and display for its own sake. He left recordings of most of his repertory, including the complete sonatas of Beethoven and Schubert. He performed to an advanced age, concertizing past his eightieth birthday. His association with the Berlin Philharmonic spanned over sixty years.
From 1924 to 1929, Kempff took over the direction of the Stuttgart College of Music as a successor of Max Pauer. In 1931, he was co-founder of the summer courses at Marmorpalais Potsdam. In 1957, Kempff founded Fondazione Orfeo (today: Kempff Kulturstiftung) in the south-Italian city Positano and held his first Beethoven interpretation masterclass at Casa Orfeo, which Kempff had built especially for this reason. He continued teaching there once a year until 1982. After his death in 1991,Gerhard Oppitz taught the courses from 1992-1994 until John O’Conor took over. Oppitz and O’Conor had both been outstanding participants of Kempff’s masterclasses and were personally closely connected with Wilhelm Kempff.
A lesser-known activity of Kempff was composing. He composed for almost every genre and used his own cadenzas for Beethoven’s Piano Concertos 1-4. His student Idil Biret has recorded a CD of his piano works. His second symphony premiered in 1929 at the Leipzig Gewandhaus by Wilhelm Furtwängler. He also prepared a number of Bach transcriptions, including the Siciliano from the Flute Sonata in E-flat major, that have been recorded by Kempff and others.
Among many others:
Brandis Quartet, Thomas Brandis, violin. Peter Brem, violin. Wilfried Strehle, viola. Wolfgang Boettcher, cello.
Franz Schubert – String Quartet, in A minor, D 804 “Rosamunde“
I. Allegro ma non troppo
III. Menuetto, allegro
IV. Allegro moderato
Work: Symphony No.1 in D-major, D.82 (1813)
Orchestra: Failoni Orchestra
Conductor: Michael Halász
The symphony is scored for 1 flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in D, timpani and strings.
The orchestration, which is balanced between strings and winds, lends itself to small chamber orchestras, as well as larger ensembles. The trumpets are scored particularly high, as in many of Schubert’s early works. Trumpet players will find, in general, the tessitura sitting between a concert D to Concert A for most of the 1st and 4th movements. In the 4th movement, Schubert pushes them up to a high D, in a repeated fashion.
Some careful planning is needed to balance the multiple doublings between horns and trumpets.
Unlike the earlier Die schöne Müllerin and Winterreise, it uses poems by three poets, Ludwig Rellstab (1799–1860), Heinrich Heine (1797–1856) and Johann Gabriel Seidl (1804-1875). Schwanengesang has the number D 957 in the Deutsch catalogue.
The collection was named by its first publisher Tobias Haslinger, presumably wishing to present it as Schubert’s final musical testament to the world.
In the original manuscript in Schubert’s hand, the first 13 songs were copied in a single sitting, on consecutive manuscript pages, and in the standard performance order. Some[who?] claim that the last song, Taubenpost, text by Johann Gabriel Seidl (1804–1875), catalogue number D 965 A, is not part of the cycle as Schubert conceived it. However, it’s not clear that Schubert intended it to be a cycle at all, or if he did, that he completed it before he died. It may have been Tobias Haslinger, Schubert’s publisher, who conceived of it as a cycle, or attempted to finish an incomplete work by adding Taubenpost onto the end. So most people consider Haslinger’s published version ‘the’ version, and that’s how it’s performed today. Taubenpost is considered to be Schubert’s last Lied.
Franz Liszt later transcribed these songs for solo piano.
Schubert also set to music a poem named Schwanengesang by Johann Senn, unrelated to this collection (number D744 in the Deutsch catalogue). ~Taken from Wikipedia
Marian Anderson “Ave Maria” by Schubert
With Leopold Stokowski, 1944
Ave Maria, gratia plena, Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Iesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death. Amen.
In memory of Dietrich Fischer-Dieskau
“Pietà, passioni e gioia: Lieder e canti corali”
Rossella Giacchero: soprano; Federico Tibone, piano; Coro da Camera di Torino diretto da Dario Tabbia; Olivia Manescalchi, voce narrante e aiuto regia.
Contributi video a cura di Davide Livermore. Realizzazione video: Marco Fantozzi.
Progetto di Erik Battaglia e Valentina Valente.
Torino, Unione Musicale, Teatro Vittoria, 12 Marzo 2013
Valses nobles et sentimentales, for piano (or orchestra) (1911)
II. Assez lent
IV. Assez animé
V. Presque lent
VI. Assez vif
VII. Moins vif
VIII. Epilogue: Lent
Maurice Ravel could be slightly obsessive in the way he allowed certain musical interests to reappear throughout his compositions. Two such interests were dance and the past, and in Valses nobles et sentimentales one can hear how Ravel was able to effectively fuse these two curiosities together. While Le Tombeau de Couperin was inspired by the eighteenth century, the Valses was oriented toward the nineteenth century. Written out of homage to Schubert’s piano piece of the same name, the composer declared that the work’s title, “indicates clearly enough my intention of composing a chain of waltzes following the example of Schubert. The virtuoso element that was the basis of Gaspard de la nuit is here replaced by a writing of greater clarity, which has the effect of sharpening the harmony as well as the outline of the music.” Ravel achieved his goal of clarity, as the waltzes were written using intense precision, sophistication, and technical flawlessness.
Valses nobles et sentimentales contains eight waltzes presented in the following order: Modéré, Assez lent, Modéré, Assez animé, Presque lent, Assez vif, Moins vif, and the Epilogue. Originally written for solo piano, the waltzes stimulate but do not disturb, while displaying different aspects of Ravel’s imagination including pride, tenderness, and sentiment. The work was dedicated to Louis Aubert and it was he who gave the first performance on May 9, 1911, at a concert held by the Société Musicale Indépendante, where Schubert’s piece of the same name was also premiered. As a little game, the composers’ names were withheld, leaving the audience to guess who had written each piece. Audience suggestions included Eric Satie, Zoltán Kodály, and even a correct answer from Debussy, whose ears could not be fooled by the identifiable quality he appreciated. Even though several of Ravel’s friends confessed their dislike, others claimed to be strongly drawn to the piece. Tristan Klingsor commented that he was one among several who, “were immediately seduced by the music, and yet he had taken a lot of risks, at least for the period….He had taken the use of unresolved dissonances to its furthest point. What we now find very piquant was extremely daring at the time. The first bars of the Valses seemed quite extraordinary. Then, since there was nothing there that was not well thought-out, the ear quickly grew to enjoy these pseudo-‘wrong notes,’ and a glance at the score revealed that they had a proper harmonic justification.”
As with Ma mère l’oye Ravel allowed only himself to alter Valses nobles et sentimentales through orchestration. He adapted the waltzes for the ballet Adélaïde ou Le langage des fleurs, for a performance by the troupe of Natasha Trouhanova, and it was premiered as an orchestral work on April 22, 1912, at the Théâtre du Châtelet. Some say that the ironic overtones of the Valses foreshadow the superb choreographic poem La Valse while confirming to audiences that dissonance was indeed an essential element of his musical style. [Allmusic.com]
Art by Antoine Blanchard
Piano Sonata in A Minor D845:
I. Moderato, A minor 00:00
II. Andante poco moto, C major. (4 measures missing after measure 43) 8:06
III. Scherzo: Allegro vivace – Trio: Un poco più lento, A minor 17:13
IV. Rondo: Allegro vivace, A minor 23:58
Daniel Coren has discussed the nature of the recapitulation in the first movement of this sonata.
Wilhelm Kempff: piano
Well regarded among pianists, the “Little” A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key. The manuscript, completed in July 1819, was dedicated to Josephine von Koller of Steyr in Upper Austria, whom he considered to be “very pretty” and “a good pianist.” The lyrical, buoyant, in spots typically poignant nature of this sonata fits the image of a young Schubert in love, living in a summery Austrian countryside, which he also considered to be “unimaginably lovely.”
The A major sonata is straightforward, with a dulcet melodic opening. It was the first of Schubert’s piano sonatas where the sonata form as perfected by his idol, Beethoven, does not seem wrestled with; rather, it is a “joyous breakthrough,” a carefree triumph over strict rules of construction.
The manuscript to this “little” sonata has been lost.
Early life and education
Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor’s fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna’s 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father’s school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At 7, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer’s lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner‘s apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.
Schubert first came to the attention of Antonio Salieri, then Vienna’s leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to theovertures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge.One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an importantLied composer of the time, which, his friend Joseph von Spaun reported, he “wanted to modernize”.Schubert’s friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.
Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt’s orchestra, and Salieri decided to begin training him privately in musical composition andtheory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father’s birthday in 1813), and his first symphony (D. 82).
At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father’s school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.
In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob’s brother Heinrich a collection of songs, which were retained by her family into the 20th century.
Schubert’s most prolific year was probably 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814.
Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother’s house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father’s school. By the end of the year, he became a guest in Schober’s lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. “I compose every morning, and when one piece is done, I begin another.” During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert’s senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert’s main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert’s music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.
In late 1817, Schubert’s father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.
Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet.
The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert’s friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently banned from Vienna. The other four, including Schubert, were “severely reprimanded”, in part for “inveighing against [officials] with insulting and opprobrious language”. While Schubert never saw Senn again, he did set some of his poems, “Selige Welt” and “Schwanengesang”, to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.
The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio “Lazarus” (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the “Wanderer Fantasy” for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert’s operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertoron June 14, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on August 21.Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, withAnton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang “Der Erlkönig” at a concert that was extremely well received. That month, he composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein.
The production of the two operas turned Schubert’s attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber‘s Euryanthe. Die Verschworenen (D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man’s gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert’s music – especially not the instrumental works – as so little of it was printed or performed in the composer’s lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man’s works and exclaimed, “Truly, the spark of divine genius resides in this Schubert!” but what would have come of it if he had recovered we can never know.
Schubert in 1825 (watercolor by Wilhelm August Rieder)
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
The Symphony No. 6 in C major, D. 589, is a symphony by Franz Schubert composed between October 1817 and February 1818. Its first public performance was in Vienna in 1828. It is nicknamed the “Little C major” to distinguish it from his later Ninth Symphony, in the same key, which is known as the “Great C major“.
There are four movements:
Romain Descharmes, Tianwa Yang, Descharmes, Romain, Gallois, Patrick, Sinfonia Finlandia Jyvaskyla, Yang, Tianwa
Violin Sonata in F Minor, Op. 4, MWV Q12
Mendelssohn: Violin Concertos – Violin Sonata in F minor
Robert Schumann (1810 – 1856)
Albumblätter op. 124 Nr. 16 “Schlummerlied”
This recording is part of the ongoing Schumann-Project:
ROBERT SCHUMANN / COMPLETE PIANO WORKS / WOLFGANG WELLER
Claudio Arrau León (February 6, 1903 – June 9, 1991) was a Chilean pianist known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especiallyBeethoven, Schubert, Chopin, Schumann, Liszt and Brahms. He is widely considered one of the greatest pianists of the twentieth century.
Notturno in E flat major, Op. 148, D. 897
Written c. 1827.
Recorded in 1964. Re-release from 1979.
ClassicalRecords is a Youtube channel where I upload some excellent performances from the LPs in my collection. I’m uploading these LPs because they are either not available on CD, out of print on CD, or just difficult to find.
Amati Chamber Ensemble. Gil Sharon, violin. Ron Ephrat, viola. Alexander Hülshoff, cello. Jean Sassen, double-bass. Dalia Ouziel, piano.
Franz Schubert – Quintet for piano, violin, viola, cello & double-bass, in A major, D 667 “The Trout“
I. Allegro vivace
III. Scherzo, presto
IV. Tema con variazioni (Die Forelle)
V. Allegro giusto
Austrian composer Franz Schubert (1797-1828) was one of the great composers of the classical era in music that is associated with Vienna, the others being Mozart, Haydn, and Beethoven.
Schubert, who was born in a suburb of Vienna, was the fourth son of a schoolmaster. At age 5, he learned the violin from his father and the piano from an older brother. Because of Schubert’s excellent voice, at age 11 he became one of the Vienna Choir Boys at the Imperial Chapel. By the age of 16, Schubert wrote an opera, a series of quartets, and his Symphony No. 1.
Shortly afterward, he left Vienna’s Imperial Chapel and began teacher training to become a schoolmaster. However, Schubert’s genius lay in musical creativity, and between 1813 and 1818 he had a surge of creativity where he wrote five symphonies, six operas, and 300 “Lieder” songs, a term which is usually used to describe songs composed to a German poem.
While in the midst of all this creative composing, Schubert found teaching in a classroom to be too boring and in 1816 at age 19 he gave up teaching at the schoolhouse of his father and moved to Vienna where he devoted himself to composition, focusing on orchestral and choral works. During this creative activity, Schubert’s health deteriorated. He died at the age of thirty-one after a brief unconfirmed illness.
It is lovingly modeled on the lyrical finale of Beethoven’s sonata: his theme follows a similar harmonic pattern, and even the keyboard layout of its opening bars, with the melody’s initial phrase followed by a more assertive answer in octaves, echoes Beethoven’s.
Schubert mirrors Beethoven’s procedure, too, by transferring the final reprise of the Rondo theme to the sonorous tenor register, with a continuous pattern of semiquavers unfolding above it.
But Schubert’s composition is far from a slavish imitation, and it can more than hold its own against Beethoven’s. Particularly beautiful is the manner in which one of the important subsidiary themes returns towards the end, surmounted by a shimmering pianissimo accompaniment in repeated chords from the primo player.
Rondo in A for Violin and Strings was published in December 1828, less than a month after Schubert died.
The Symphony No. 9 in C major, D. 944, known as the Great (published in 1840 as “Symphony No. 7 in C Major”, listed as No. 8 in the Neue Schubert-Ausgabe), is the final symphony completed by Franz Schubert. Originally called The Great C major to distinguish it from his Symphony No. 6, the Little C major, the subtitle is now usually taken as a reference to the symphony’s majesty. A typical performance takes around 55 minutes, though it can be played in as little as 45 minutes by employing a faster tempo and not repeating sections as indicated in the score.
For a long time, the symphony was believed to be a work of Schubert’s last year, 1828. It was true that, in the last months of his life, he did start drafting a symphony – but this was the work in D major now accepted as Symphony No. 10, which has been realized for performance by Brian Newbould. In fact, we now know that the ‘Great’ was largely composed in sketch in the summer of 1825: that, indeed it was the work to which Schubert was referring in a letter of March 1824 when he said he was preparing himself to write ‘a grand symphony’. By the spring or summer of 1826 it was completely scored, and in October, Schubert, who was quite unable to pay for a performance, sent it to the Gesellschaft der Musikfreunde with a dedication. In response they made him a small payment, arranged for the copying of the orchestral parts, and at some point in the latter half of 1827 gave the work an unofficial play-through (the exact date and the conductor are unknown) – though it was considered too long and difficult for the amateur orchestra of the conservatory.
The Piano Sonata No. 16 in C major, K. 545, by Wolfgang Amadeus Mozart was described by Mozart himself in his own thematic catalogue as “for beginners,” and it is sometimes known by the nickname Sonata facile or Sonata semplice. Mozart added the work to his catalogue on June 26, 1788, the same date as his Symphony No. 39. The exact circumstances of the work’s composition are not known, however. Although the piece is well-known today, it was not published in Mozart’s lifetime and first appeared in print in 1805. A typical performance takes about 14 minutes. The work has three movements:
The first movement is written in sonata form and is in the key of C major. The familiar opening theme is accompanied by an Alberti bass, played in the left hand.
A bridge passage composed of scales follows, arriving at a cadence in G major, the key in which the second theme is then played. A codetta follows to conclude the exposition, then the exposition is repeated. The development starts in G minor and modulates through several keys. The recapitulation begins, unusually, in the subdominant key of F major. According to Charles Rosen, the practice of beginning a recapitulation in the subdominant was “rare at the time [the sonata] was written,” though the practice was later taken up by Franz Schubert. The second movement is in the key of G major, the dominant key of C major. The music modulates in the middle of this movement to the parallel minor (G minor) and its relative major (B-flat major). The movement then modulates to the tonic, and, after the main theme and development is heard again, ends.
The third movement is in rondo form and is in the tonic key, C major. The first theme is lively and sets the mood of the piece. The second theme is in G major and contains an Alberti bass in the left hand. The first theme appears again and is followed by a third theme. The third theme is in a minor key and modulates through many different keys before modulating into C major. The first theme appears again followed by a coda and finally ends in C major.
The finale was transcribed to F major and collected with a solo piano arrangement of the second movement of the violin sonata in F major to form the Piano Sonata in F major, K. 547a.
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…
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Recording of Liszt album in all analog ( or analogue if you will :-)) 1/4 inch Studer tape , no edits allowed !!!! 6 tapes , each one 40 minutes long is what it takes to get approximately 53 minutes of final result. I always knew that Liszt was dangerous :-) One tape was gone for sound tests , and another wasted on takes that had a squeeky pedal ( or was it a boot )? Anywya, here is more technical stuff…
Digital back-up ( lol) on Sequoia digital platform .
Interviews with the producer Michael Fine, sound engineers Wolf Dieter Karwatky and Wim Makkee. Liszt Ballade #2, Hungarian Rhapsody #12, Verdi – Liszt Aida, Schubert – Liszt songs (Ave Maria, Gute Nacht, Der Erlkonig, Der Muller und der Bach, Das Madchen Klage), Rondo Fantastique “El Contrabandista”.
Klára Würtz, piano.
Franz Schubert – Piano Sonata in B flat major, D 960 (Op. posth.)
I. Motto moderato
II. Andante sostenuto
III. Scherzo, allegro vivace con delicatezza
IV. Allegro, ma non troppo
Franz Schubert – Piano Sonata in B major, D 575 (Op. posth. 147)
I. Allegro, ma non troppo
III. Scherzo, allegretto
IV. Allegro giusto
1. Andante — Allegro con fuoco
2. Allegro vivace
4. Andante con moto — Allegro maestoso
NY Philharmonic Orchestra
Leonard Bernstein Conductor
I. Allegro con brio – [0:06]
II. Adagio – [9:57]
III. Allegretto grazioso, molto vivace – [21:28]
IV. Allegro ma non troppo – [27:05]
Wiener Philharmoniker –
Herbert von Karajan, Leitung -
Großer Musikvereinssaal Wien -
The Symphony No. 1 in D major, D. 82, was composed by Franz Schubert in 1813, when he was just 16 years old. Despite his youth, No. 1 is an impressive piece of orchestral music for both its time and size. The first movement opens with a stately Adagio introduction, reminiscent of the Haydn‘s 104 in its format. The short Adagio sets off a lively Allegro vivace.
The symphony is scored for 1 flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in D, timpani and strings. The orchestration, which is balanced between strings and winds, lends itself to small chamber orchestras, as well as larger ensembles. The trumpets are scored particularly high, as in many of Schubert’s early works. Trumpet players will find, in general, the tessitura sitting between a concert D to Concert A for most of the 1st and 4th movements. In the 4th movement, Schubert pushes them up to a high D, in a repeated fashion. Some careful planning is needed to balance the multiple doublings between horns and trumpets.
Performed by Anne Gastinel, cello
Claire Désert, piano
Piano: Maria João Pires, 1996
From Wikipedia, the free encyclopedia
Franz Schubert‘s Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first set was published in the composer’s lifetime as Op. 90, and the second set was published posthumously as Op. posth. 142. They are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.
Three other unnamed piano compositions (D. 946), written in May 1828, a few months before the composer’s death, are alternatively indicated as Impromptus orKlavierstücke (“piano pieces”).
The Impromptus are often considered companion pieces to the Six moments musicaux, and they are often recorded and published together.