Mendelssohn / String Symphony No. 2 in D major
Johannes Brahms: Symphony No.4 in E minor, Op.98
Leonard Bernstein, conductor
(September 8, 1988, Luzern)
***Franz Schubert: Symphony No.2 in B-flat major, D.125 (1815)
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:
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
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 – 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.
***Painting: Wanderer in the Storm, Karl Julius von Leypold
The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German Pastoral-Sinfonie), is a symphony composed by Ludwig van Beethoven, and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four hour concert.
While the Symphony No. 6 in C minor, Op. 58, of 1896 by Alexander Glazunov is not the most personally characteristic of his eight completed symphonies — the optimistic Third or the Olympian Fifth are more typical of his confident symphonic aesthetic — it is arguably the most typically Russian of his symphonies. Part of the reason for this is the scoring — violins in octaves above massed brass at its climaxes à la Tchaikovsky and gorgeously colorful woodwind writing in its central movements — part of it is the themes — ardent and powerful with a yearning quality characteristic of fin de siècle Russian symphonies — but most of it is the furious tone of the opening movement.
******With the darkly unfolding Adagio leading into a Allegro appassionato that balances a passionately despairing first theme with a fervently supplicating second theme, Glazunov’s Sixth sounds like a Russian symphony composed after the death of Tchaikovsky. But the Sixth is more than the work of a symphonic epigone. While the tone of the opening movement sounds typically Russian, its chromatic melodic and cogent harmonic structure makes it sound much more modern than contemporary symphonies by Kalinnikov or even Rachmaninov. Even more modern are the Sixth’s second and fourth movements.
******The second movement is a theme and seven variations that slowly transmutes the tone of the symphony from the fury of the opening movement to one of calm acceptance.
******The brief third-movement Intermezzo that precedes the Finale is lighter in tone than anything else in the symphony.
******The Finale itself is one of Glazunov’s most successful closing movements. With its magisterial Andante maestoso introduction announcing the chorale theme that will ultimately cap the movement, its highly contrasted themes — the first confidently striding in the winds Moderato maestoso, the second a lilting Scherzando theme for the flutes, horns, and strings — the Finale seems at first too episodic to cohere. Glazunov’s superb technical skills, however, form all the Finale’s material into an organic whole and the tone of the Finale — powerfully positive — is altogether Glazunov’s own. ~ James Leonard, Rovi
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
Performed by La Magnifica Comunità
**Quality – AAC, audio bitrate: 320kbps
Video MP4 – 348kbps
***Perhaps the most Beautiful piece of music is the 3rd movement. There is another version of it on YouTube, but it is in extremely low audio quality. With this recording, you can sometimes hear the performer’s clothes move, or his breathing, only slightly.
***If I enjoy the rest of the CD enough, I will upload the other 2 piano concertos.
*Change to 720p Video to get the a 192 kbps Audio Stream (the highest you can get on YouTube)
Liszt: The Piano Concertos; 3 Etudes de Concert
Études de concert (3), for piano, S. 144 (LW A118)
From Wikipedia, the free encyclopedia
Three Concert Études (Trois études de concert), S.144, are a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today. As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. The Italian subtitles now associated with the studies – Il lamento (“The Lament”), La leggierezza (“Lightness”), Un sospiro (“A sigh”) – were not in early editions.
Il lamento is the first of Liszt’s Three Concert Études. Written in A-flat major, it is among the composer’s longest pieces in this genre. It starts with a four-note lyrical melody which folds itself through the work, followed by a Chopin-like chromatic pattern which reappears again in the coda section. Although this piece opens and ends in A-flat major, it shifts throughout its three parts to many other keys including A, G, B, D-sharp, F-sharp and B.
La leggierezza (meaning “lightness”) is the second of the Three Concert Études. It is a monothematic piece in F minor with a very simple melodic line in each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something a bit more frenetic. It starts with a fast, but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the light atmosphere of its title. The technical difficulties involved are fast passages of minor thirds in the right hand and light, but quick leggiero chromatic scales.
The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for “A sigh”). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszt’s lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.
The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners.
Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.
Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.
This étude, along with the other Three concert études, was written in dedication to Liszt’s uncle, Eduard Liszt (1817–1879), the youngest son of Liszt’s grandfather and the stepbrother of his own father. Eduard handled Liszt’s business affairs for more than thirty years until his death in 1879.
Franz Liszt wrote drafts for his Concerto for Piano and Orchestra No. 2 in A major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly. The fourth and final period of revision ended in 1861. Liszt dedicated the work to his student Hans von Bronsart, who gave the first performance, with Liszt conducting, in Weimar on January 7, 1857.
The English Concert, on period instruments. Simon Standage, violin solo. David Reichenberg, oboe solo. Alastair Mitchell, bassoon solo. Amanda McNamara, double bass solo. Nigel North, theorbo solo. Trevor Pinnock, harpsichord and conductor. Composed by G.F. Handel (1685-1759).
Uploaded on Feb 10, 2012
Ludwig van Beethoven (1770 † 1827)
Work: Namensfeier ‘Name-Day Celebration‘ Overture in C major, Op.115
Movement: Maestoso – Allegro assai vivace
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
*** Hélène Grimaud, piano
From the LP shown above, issued on the Philips label in 1965.
Die Brandenburgischen Konzerte sind eine Gruppe von sechs Konzerten von Johann Sebastian Bach (BWV 1046–1051). Sie sind dem Markgrafen Christian Ludwig von Brandenburg-Schwedt (1677–1734) gewidmet, den Bach im Winter 1718/1719 in Berlin kennengelernt hatte. Im September 1721 schickte er ihm die Partitur mit einer umfangreichen Widmung. Der Titel Brandenburgische Konzerte wurde von Philipp Spitta in seiner 1873–1879 entstandenen Bach-Biografie geprägt und hat sich heute allgemein durchgesetzt. Bachs Originaltitel lautet „Six Concerts Avec plusieurs Instruments”. Die sechs Konzerte weisen eine hohe stilistische und strukturelle Vielfalt auf. In ihrer Mischung der verschiedensten historischen und zukunftsweisenden Elemente bilden sie eine ganz persönliche und trotzdem allgemeingültige Ausdrucksform.
Les concertos brandebourgeois sont un ensemble de six concertos de Johann Sebastian Bach (BWV 1046 à 1051), qui comptent parmi les plus renommés qu’il ait composés. Le qualificatif de brandebourgeois est dû à Philipp Spitta qui, suivant l’usage germanique, fait référence au dédicataire, le margrave Christian Ludwig de Brandebourg.
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): Trio for Clarinet, Viola and Piano in E-flat major, “Kegelstatt”, K. 498 (1786)
Trio pour clarinette, alto et piano en Mi bémol majeur:
III Rondo: Allegretto
Portal: clarinet / clarinette
Pasquier: viola / alto
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.
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/
The Piano Concerto No. 20 in D minor, K. 466, was written by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on February 11, 1785, with the composer as the soloist.
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