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.
Concierto de Año Nuevo de la Orquesta Filarmónica de Viena, dirigida por Franz Welser-Möst, en la Sala Dorada de la Musikverein de Viena (Austria) el 01/01/2013.
This is perhaps THE most famous video recording of a Bruckner Symphony.
Many say Bruckner’s 8th is the mount Everest of all symphonies.
Recorded June 4th 1979, and filmed on location in the monastery church in St. Florian, Austria with Herbert von Karajan and the Vienna Philharmonic Orchestra.
This video testament is extremely historically important because it helped solidify the international Brucknerfest in Linz after the opening of the new concert hall, the “Brucknerhaus” in 1974. Herbert von Karajan was the first famous international conductor to conduct a symphony in the Stiftskirche in St. Florian, which helped establish the reputation of the yearly festival to this day.
Karajan later in an interview related that he was given special access to Bruckner’s underground tomb located beneath the great organ, where he was alone with Bruckner’s sarcophagus for a lengthy amount of time before the performance.
On a side note:
Boulez’s video version IMO greatly pales in comparison to Karajan’s power, sensitivity and spirituality in this 1979 recording…even Karajan’s video remake in 1988 (in Vienna) does not come as close.
One musical scholar stated about this concert:
“Massive, glowing and infused with cosmic power”.
…so thankfully we can now finally enjoy the performance COMPLETE, and not in chunks!
From Wikipedia, the free encyclopedia:
František Ignác Antonín Tůma (Kostelec nad Orlicí, Bohemia,
October 2, 1704 – Vienna, January 30, 1774) was an important Czech composer of the Baroque era. Born in Kostelec nad Orlici, Bohemia, he lived the greater part of his life inVienna, first as director of music for Count Franz Ferdinand Kinsky, later filling a similar office for the widow of Emperor Karl VI. He was an important late-baroque composer, organist, gambist and theorbist.
Tůma’s music belongs stylistically to the late Baroque. His sacred works, which were known to Haydn and Mozart, were noted by his contemporaries for their solidity of texture and their sensitive treatment of the text as well as for their chromaticism. His instrumental music includes trio and quartet sonatas, sinfonias and partitas, mostly for strings and continuo; some of them were clearly intended for orchestral use.
Violin ; Isaac Stern [ 1920 - 2001 ]
Piano ; Emanuel Ax [ 1949 - ]
Cello ; Yo-Yo Ma [ 1955 - ]
Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck
From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
Live At Royal Festival Hall
Andre Rieu live at Schönbrunn Vienna, a concert recording from the palace of Schönbrunn – Vienna in 2006.
The album is accompanied by Johan Strauss Orchestra and singers: Platin Tenors, Suzan Erens,
Maffioletti Carla, Carmen Monarch, DJ Ötzi, Karl Moik and Frédéric Jenniges.
Outstanding Stage lighting, music, humor and unusual lighting entire performance make it a really great and amazing show.
LUDWIG VAN BEETHOVEN [1770 - 1827]
Serenade for flute, violin and viola in D major, Op. 25 (Vienna, Cappi, 1802)
date: c. 1796
[note: There is another version Op. 41 for flute and pianoforte]
I. Entrata (Allegro)
II. Tempo ordinario d’un Minuetto
III. Allegro molto in D minor
IV. Andante con variazioni in C major
V. Allegro scherzando e vivace
VII. Allegro vivace
Il Giardino Armonico-Christoph Willibald Gluck (1714-1787) “Dance of the spectres and the furies”
-Allegro non troppo- (Don Juan, Vienna 1761)
From the album “La casa del diavolo/Il Giardino Armonico/Giovanni Antonini”(2004)
(Gluck, C.P. Bach, W.F. Bach, Locatelli, Boccherini)
The Secret Marriage is an opera buffa in two acts written by Domenico Cimarosa between the end of 1791 and beginning of 1792 with a libretto by Giovanni Bertati .
Was performed for the first time February 7, 1792 at the Burgtheater in Vienna.
It was the only work of history that , at the behest of the Habsburg emperor of the time ( ie Leopold II ) , was completely replicated in the same evening of the “first ” .
Visit the blog http://operaomniablog.blogspot.com/ , in which the work is analyzed piece by piece . The site also presents other works , being devoted entirely to the world of opera .
I propose a third version of this song which is in addition to those which I have already posted the overture , and of course the aim is to foster the musical competence of users through the comparison between the various versions of individual songs .
D. Fischer- Dieskau ( Baritone) : Geronimo ;
Julia Varady (Soprano) : Elisetta ;
Augér Arleen (Soprano) : Carolina;
Julia Hamari ( mezzo-soprano ) : Fidalma ;
Alberto Rinaldi ( Baritone) : Earl Robinson ;
Ryland Davies ( tenor): Pauline .
Daniel Barenboim conducts here Inglese Chamber orchestra.
I let you discover the plot! >>>>>>HERE<<<<<<
Ludwig van Beethoven‘s Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning “passionate” in Italian) is a piano sonata. Among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a), it was composed during 1804 and 1805, and perhaps 1806, and was dedicated to Count Franz von Brunswick. The first edition was published in February 1807 in Vienna.
The Appassionata was considered by Beethoven to be his most tempestuous piano sonata until the twenty-ninth piano sonata (known as the Hammerklavier), being described as a “brilliantly executed display of emotion and music”. 1803 was the year Beethoven came to grips with the irreversibility of his progressively deteriorating deafness.
Holy water may be used to cleanse the soul, but the water itself is often far from clean. A vast majority of the holy springs and fonts tested at Austrian churches and chapels were found to be contaminated with fecal matter, likely the result of poor hygiene. Agricultural nitrates and diarrhea-causing bacteria were also frequently present in samples. To minimize issues of contamination, one priest has invented a holy water dispenser that releases drops of water instead of having the faithful dip their potentially dirty hands into the water.More… Discuss
|Genre Categories||Quartets; For 2 violins, viola, cello
The String Quartet No. 14 in D minor, known as Death and the Maiden, by Franz Schubert, is one of the pillars of the chamber music repertoire. Composed in 1824, after the composer suffered through a serious illness and realized that he was dying, it is Schubert’s testament to death. The quartet is named for the theme of the second movement, which Schubert took from a song he wrote in 1817 of the same title; but the theme of death is palpable in all four movements of the quartet.
The quartet was first played in 1826 in a private home, and was not published until 1831, three years after Schubert’s death. Yet, passed over in his lifetime, the quartet has become a staple of the quartet repertoire. It is D. 810 in Otto Erich Deutsch‘s thematic catalog of Schubert’s works.
Original manuscript of Lied Death and the Maiden
1823 and 1824 were hard years for Schubert. For much of 1823 he was sick, some scholars believe with an outburst of tertiary stage syphilis, and in May had to be hospitalized. He was broke: he had entered into a disastrous deal with Diabelli to publish a batch of works, and received almost no payment; and his latest attempt at opera, Fierabras, was a flop. In a letter to a friend, he wrote,
“Think of a man whose health can never be restored, and who from sheer despair makes matters worse instead of better. Think, I say, of a man whose brightest hopes have come to nothing, to whom love and friendship are but torture, and whose enthusiasm for the beautiful is fast vanishing; and ask yourself if such a man is not truly unhappy.”
Yet, despite his bad health, poverty and depression, Schubert continued to turn out the tuneful, light and gemütlichmusic that made him the toast of Viennese society: the song cycle Die schöne Müllerin, the octet for string quartet, contrabass, clarinet, horn and bassoon, more than 20 songs, and numerous light pieces for piano.[3
|Alban Berg Quartett|
|Members||Günter Pichler (violin)
Gerhard Schulz (violin)
Isabel Charisius (viola)
Valentin Erben (violoncello)
|Past members||Klaus Maetzl (2nd violin, 1971-1978)
Hatto Beyerle (viola, 1971-1981)
Thomas Kakuska (viola, 1981-2005)
Composed in Vienna and dated March 31, 1781.
Nr. 32 – Wolfgang Amadeus Mozart – Andante for Flute & Orchestra in C major KV 315
Using stem cells, laboratory researchers have managed to grow cerebral organoids, essentially miniature brainswith several distinct regions—a scientific first. The mini brains are pea-sized and similar to that of a 9-week-oldfetus. They have already been used to studymicrocephaly, a congenital condition characterized by abnormal smallness of the head and underdevelopment of the brain, and may be a useful research tool in future studies of brain diseases. More… Discuss
Johannes BRAHMS: Piano Concerto NO.2, OP. 83
The Piano Concerto No. 2 in B-flat major, Op. 83 by Johannes Brahms is a composition for solo piano with orchestral accompaniment. It is separated by a gap of 22 years from the composer’s first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It is dedicated to his teacher, Eduard Marxsen. The premiere of the concerto was given in Budapest on November 9, 1881, with Brahms as soloist, and was an immediate success. He proceeded to perform the piece in many cities across Europe.
The additional movement results in a concerto considerably lengthier than most other concertos written up to that time, with typical performances lasting around 50 minutes.
Horowitz in Vienna Schumann Kinderszenen
Wein, Weib und Gesang (Wine, Woman, and Song), Op. 333, is a waltz by Johann Strauss II. It is a choral waltz in its original form, although it is seldom heard in this version today. It was commissioned for the Vienna Men’s Choral Association’s so-called Fools’ Evening on 2 February 1869 with a dedication to the Association’s honorary chorus-master Johann Herbeck. Its fanciful title was drawn from an old adage: “Who loves not wine, women and song remains a fool his whole life long.”
Strauss’ works at this age displays the Waltz King at the height of his creative powers, and it was no less evident in this waltz with its 137-bar introduction, combining tranquil melodies with superb orchestration. Its admirers include the famous opera composer Richard Wagner and Strauss’ good friend Johannes Brahms.
The waltz’s primary home key is in E-flat major, with its Introduction interpolating with B-flat major as well as B major. The first waltz melody, with its tapping quality is quintessentially Viennese in nature. Further waltz themes alternate between lush passion and good-humored cheekiness, ending with a swirling finish in the principal home key underlined by a brass fanfare and snare drumroll, as is the usual style of concluding a piece in Strauss’ works dating around that period.
Besides being a waltz, the title is also a German expression for having fun.
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.
A delightful Allegretto in ternary form follows, full of grace and humor.
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. (Source: http://en.wikipedia.org/wiki/Symphony_No._3_(Schubert)
Conductor István Kertész (August 28, 1929 – April 16, 1973)
was a Hungarian orchestral and operatic conductor.
Kertész was born in Budapest, Hungary, in 1929, the first child of Margit Muresian and Miklós Kertész. His sister, Vera, was born four years later. Miklós Kertész, born in Szécsény, Hungary into a large Jewish family, and the director of a leather-works, died of appendicitis in 1938. An energetic, intellectually gifted woman, Margit Muresian Kertész went to work to support her family. Despite strictures against women working professionally in Hungarian society during the first half of the twentieth century, Margit was steadily promoted until she ran the office where she was employed. Kertész began violin lessons at the age of six. “When I was six” he told a High Fidelity interviewer for the December 1969 issue “and started music, it was 1935 and cruel things were going on in Europe… I found my `exile’ in music, practicing the piano, the fiddle, and writing little compositions. By the time he was twelve, Kertész began to study the piano as well.
Shubert’s symphonies never failed to touch my spirit in a unique manner. Symphony No.3 is one of the most beautiful pieces of music ever composed, youthful, full of energy, vitality and hope.
Violin Concerto in A minor, Op. 53 (B.108) is a concerto for violin and orchestra composed by Antonín Dvořák in 1879. The concerto was premiered in 1883 by František Ondříček in Prague. He also gave the premieres in Vienna and London. Today it remains an important work in the violin repertoire.
The concerto’s structure is the classical three movements of fast-slow-fast.
Antonín Dvořák was inspired to write his concerto after having met Joseph Joachim in 1878 and composed the work with the intention of dedicating it him. However, when he finished the concerto in 1879, Joachim became skeptical about it. Joachim was a strict classicist and objected to Dvořák’s inter alia, or his abrupt truncation of the first movement’s orchestral tutti. Joachim also didn’t like the fact that the recapitulation was cut short and that it led directly to the slow second movement. It is also assumed that he was upset with the persistent repetition found in the third movement. However, Joachim never said anything outright and instead claimed to be editing the solo part. He never actually performed the piece.
Composition and premiere
1875 was a fruitful year for Dvořák‘s composing. This was the same year that he wrote his Symphony No. 5, String Quintet No. 2, Piano Trio No. 1, the opera Vanda, and the Moravian Duets. These were happy times in his life. His marriage was young, and his first son had been born. For the first time in his life, he was starting to be recognized as a composer, and was able to live stably without fear of poverty. He received a generous stipend from a commission in Vienna, which allowed him to compose his Fifth Symphony and several chamber works as well as the Serenade.
Allegedly, Dvořák wrote the Serenade in just 12 days, from 3–14 May. The piece was premiered in Prague on 10 December 1876 by Adolf Čech and the combined orchestras of the Czech and German theatres. It was published in 1877 in the composer’s piano duet arrangement by Emanuel Starý in Prague. The score was printed two years later by Bote and Bock, Berlin.
Joseph Haydn (1732)
The principal shaper of the Classical style, Haydn was an Austrian composer who exerted major influence on his contemporaries, including Mozart, and future composers. The first great symphonist, he composed 106 symphonies and virtually invented the string quartet. By his later years, he was recognized internationally as the greatest living composer. He composed important works in almost every genre. As a teacher, Haydn had a difficult relationship with what famous student? More… Discuss
A marvelous program of rediscovery of the beauty of classical music and its effects on our creative day by day life. Always keep music near your heart, and ear, so days are filled with sounds of music: There is life in the harmony created by the wordless language of the musical scores, as eloquent as best ever written poems of joy.
Now in Vienna there’s ten pretty women
There’s a shoulder where Death comes to cry
There’s a lobby with nine hundred windows
There’s a tree where the doves go to die
There’s a piece that was torn from the morning
And it hangs in the Gallery of Frost
Ay, Ay, Ay, Ay
Take this waltz, take this waltz
Take this waltz with the clamp on its jaws
Oh I want you, I want you, I want you
On a chair with a dead magazine
In the cave at the tip of the lily
In some hallways where love’s never been
On a bed where the moon has been sweating
In a cry filled with footsteps and sand
Ay, Ay, Ay, Ay
Take this waltz, take this waltz
Take its broken waist in your hand
This waltz, this waltz, this waltz, this waltz
With its very own breath of brandy and Death
Dragging its tail in the sea
There’s a concert hall in Vienna
Where your mouth had a thousand reviews
There’s a bar where the boys have stopped talking
They’ve been sentenced to death by the blues
Ah, but who is it climbs to your picture
With a garland of freshly cut tears?
Ay, Ay, Ay, Ay
Take this waltz, take this waltz
Take this waltz it’s been dying for years
There’s an attic where children are playing
Where I’ve got to lie down with you soon
In a dream of Hungarian lanterns
In the mist of some sweet afternoon
And I’ll see what you’ve chained to your sorrow
All your sheep and your lilies of snow
Ay, Ay, Ay, Ay
Take this waltz, take this waltz
With its “I’ll never forget you, you know!”
This waltz, this waltz, this waltz, this waltz …
And I’ll dance with you in Vienna
I’ll be wearing a river’s disguise
The hyacinth wild on my shoulder,
My mouth on the dew of your thighs
And I’ll bury my soul in a scrapbook,
With the photographs there, and the moss
And I’ll yield to the flood of your beauty
My cheap violin and my cross
And you’ll carry me down on your dancing
To the pools that you lift on your wrist
Oh my love, Oh my love
Take this waltz, take this waltz
It’s yours now. It’s all that there is