Tag Archives: Wolfgang Amadeus Mozart

Make Music Part of Your Life Series: Muzio Clementi – Minuetto Pastorale

Make Music Part of Your Life Series: Muzio Clementi – Minuetto Pastorale

Muzio Clementi (24 January 1752 — 10 March 1832) was a composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer. Born in Rome, he spent most of his life in England.

Work: Minuetto Pastorale

Orchestra: The Philharmonia

Conductor: Francesco d’Avalos

Enhanced by Zemanta

Make Music Part of Your Life: Mozart Violin Sonata K.301 Hilary Hahn & Natalie Zhu

W. A. Mozart Sonata for violin and piano in G major, K.301/293a (No.18)

Violin Sonata No. 18 in G Major (K 301) was composed by Wolfgang Amadeus Mozart in March 1778 in Mannheim, Germany and was first published in the same year as part of Mozart’s Opus 1 collection, which was dedicated to Maria Elisabeth, Electress of the Palatinate and are consequently known as the Palatine Sonatas.

The work consists of two movements:

- [Allegro con spirito]
- [Allegro]

Hilary Hahn (violin/violon)
Natalie Zhu (piano)
Official website : http://www.hilaryhahn.com/index.html 
Deutsche Grammophon :http://www.deutschegrammophon.com/art…

Enhanced by Zemanta


Dinu Lipatti (1917)

Lipatti was a Romanian pianist whose career was tragically cut short by Hodgkin’s lymphoma at age 33. Despite a relatively short playing career and a small recorded legacy, Lipatti is considered among the finest pianists of the 20th century. He was much admired for his pianistic technique, and he is noted for his interpretations of Mozart, Bach, and Chopin. As a teen, Lipatti came in second in the Vienna International Piano Competition. How did his failure to take first place impact his future? More… Discuss


Enhanced by Zemanta

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

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


Enhanced by Zemanta

Mozart – Violin Sonata No. 27 in G, K. 379

Wolfgang Amadeus Mozart (1756-1791).
Composed April 1781, in Vienna.
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/

Buy “Mozart: 2g. Tema – 2g. Tema” on

Google PlayiTunesAmazon MP3 

Arthur Grumiaux


Enhanced by Zemanta

Make Music Part of Your Life Series: V.A.Mozart – 12 Variations on a French folk song ”Ah, Vous dirai-je, Maman” .

V.A.Mozart – 12 Variations on a French folk songAh, Vous dirai-je, Maman” .
Composed during 1781-1782 K.265, in C-Dur
This theme is widely known as a children’s song ( such as ”Twinkle Twinkle Little Star”, ”Alphabet Song” and others).
Performed by Anastasia Kaminskagia during a piano recital in Athens on 26th of January 2013.
The lyrics ( French and English) are the following:

Ah! Vous dirai-je, Maman
Ce qui cause mon tourment?
Papa veut que je raisonne
Comme une grande personne
Moi je dis que les bonbons
Valent mieux que la raison.

Ah! Shall I tell you, Mommy
What is tormenitg me?
Daddy wants me to reason
Like a grown-up person
Me, I say that sweets
Are worth more than reasoning.

Enhanced by Zemanta

Make Music Part of your Life: W. A. Mozart – Symphony No. 40 in G minor (Harnoncourt)

Make Music Part of your Life:  W. A. MozartSymphony No. 40 in G minor (Harnoncourt)

Symphony No. 40 in G minor, KV. 550 (1788):
1. Molto allegro
2. Andante
3. Menuetto. Allegretto — Trio
4. Finale. Allegro assai

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


Enhanced by Zemanta

Make Music Part of Your Life Series: Emil Gilels – Mozart – Piano Concerto No 27 in B flat major, K 595 – Ovchinnikov

*****Wolfgang Amadeus Mozart

*****Piano Concerto No 27 in B flat major, K 595

*****Emil Gilels, piano
*****USSR State Symphony Orchestra
*****Vyacheslav Ovchinnikov, conductor

Enhanced by Zemanta

Make Music Part of Your Life: Beethoven / Eschenbach, 1970: Piano Quartet in E flat Major, WoO 36, No. 1 – Amadeus Quartet

Make Music Part of Your Life:  Beethoven / Eschenbach, 1970: Piano Quartet in E flat Major, WoO 36, No. 1 – Amadeus Quartet

From David Hertzberg: “In this 1970 recording, Christoph Eschenbach and members of the Amadeus Quartet — Norbert Brainin, violin; Peter Schidlof, viola; and Martin Lovett, cello — perform the Beethoven Piano quartet in E flat major, WoO 36, No. 1. I recorded this video from a cassette I purchased back in the early 1970s, issued on the Deutsche Grammophon label (serial number 3335 174-10). 

Allegro con spirito (6:53)

(Last year I uploaded this recording in three separate segments.)

More Beethoven:

Beethoven / Gilels / Szell, 1968: Piano Concerto in G major, Op. 58 – Complete - http://www.youtube.com/watch?v=hXoxpW…

Leonid Hambro, 1970: “Happy Birthday Dear Ludwig” – Variations in The Style of Beethoven - http://www.youtube.com/watch?v=U-Uga3…

Fur Elise – Wilhelm Kempff: http://www.youtube.com/watch?v=R9DSjo…

Fur Elise – Alicia de Larrocha: http://www.youtube.com/watch?v=FFMUEe…

Beethoven / Artur Balsam, 1952: Piano (Violin) Concerto in D major, Op. 61a – Movement 1 - http://www.youtube.com/watch?v=IKKCGw…

David Oistrakh: Romance No. 2 in F major for Violin and Orchestra, Op. 50: http://www.youtube.com/watch?v=Gz4JEY…

Wilhelm Backhaus: Piano Concerto No. 3 in C minor, Op. 37 – London, 1950s, Karl Böhm: http://www.youtube.com/watch?v=hRSTwj…

Emil Gilels, 1968: Piano Concerto in C minor, Op. 37 (Rondo) Beethoven - http://www.youtube.com/watch?v=EeW79S…

Emil Gilels, 1968: Piano Concerto in C major, Op. 15 (Rondo) Beethoven - http://www.youtube.com/watch?v=ojL4Kx…

Emil Gilels, 1983, Beethoven Klaviersonate Nr. 4 Es-dur, Op. 7 -http://www.youtube.com/watch?v=kEfGQ1…

Stephen Kovacevich, 1975: Piano Concerto in C minor, Op. 37, Movement 3 - http://www.youtube.com/watch?v=sYBM5z…

Beethoven / Istomin-Stern-Rose Trio: Piano Trio in B flat major, Op. 97 – Archduke (Allegro), 1966: http://www.youtube.com/watch?v=TQAswV…

Solomon, 1958: Piano Concerto No. 3 in C minor, Op. 37 – Rondo -http://www.youtube.com/watch?v=6_Vi8m…

Friedrich Gulda, 1954: Sonata No. 1 in F minor, Op. 2, No. 1 (1) -http://www.youtube.com/watch?v=4RwDZs…

Christoph Eschenbach, 1970: Piano Quartet in C Major, WoO 36, No. 3 - http://www.youtube.com/watch?v=WBp3jh…

Artur Balsam: Piano (Violin) Concerto in D major, Op. 61 – Rondo, 1950s - http://www.youtube.com/watch?v=MD8ul2…

Stephen Kovacevich: Piano Sonata in C minor, Op. 13, Movement 1 - http://www.youtube.com/watch?v=LGamRs…

From Wikipedia, the free encyclopedia

In European classical music, piano quartet denotes a chamber music composition for piano and three other instruments, or a musical ensemble comprising such instruments. Those other instruments are usually a string trio consisting of a violinviola and cello.

Piano quartets for that standard lineup were written by Wolfgang Amadeus MozartRobert SchumannLudwig van BeethovenJohannes BrahmsAntonín Dvořák andGabriel Fauré among others. In the 20th century, composers have also written for more varied groups, with Anton Webern‘s Quartet, opus 22 (1930), for example, being for piano, violin, clarinet and tenor saxophone, and Paul Hindemith‘s quartet (1938) as well as Olivier Messiaen‘s Quatuor pour la fin du temps (1940) both for piano, violin, cello and clarinet. An early example of this can be found in Franz Berwald‘s quartet for piano, horn, clarinet and bassoon (1819), his opus 1.[1]

A rare form of piano quartets consist of two pianos with two players at each piano. This type of ensemble is informally referred to as “8 hand piano”, or “2 piano 8 hands”. 8 hand piano was popular in the late 19th century before the advent of recordings as it was a mechanism to reproduce and study symphonic works. Music lovers could hear the major symphonic works all in the convenience of a parlour or music hall that had two pianos and four pianists. Many of the popular works of Wolfgang Amadeus MozartRobert SchumannJohannes BrahmsAntonín Dvořák were transcribed for two piano eight hands. The majority of 8 hand piano music consist of transcriptions, or arrangements.


Ludwig van Beethoven (Listeni/ˈlʊdvɪɡ væn ˈb.tvən/German: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptised 17 December 1770[1] – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs.

Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. 

The three piano quartets of WoO 36, written when the composer was 15, are among the most substantial of Beethoven‘s earliest compositions. They are so early, in fact, that the autograph score calls for “clavecin” instead of piano. The same manuscript gives “basso” instead of cello, with the pieces ordered C major, E flat major, and D major. The pieces were not printed until 1828 in Vienna, in the order E flat, D, and C. Material from the C major Trio was subsequently used in the Piano Sonatas, Op. 2, Nos. 1 and 3. These are the only works Beethoven composed for this ensemble, which he abandoned for the piano trio after moving to Vienna.

When he was a boy, Beethoven was musically influenced primarily by Christian Gottlob Neefe(1748-98), a composer and one of Beethoven‘s first music teachers, Abbé Franz Sterkel(1750-1817), one of the foremost pianists in Europe, and Mozart. Of these influences, Neefe’s was the most immediate and Mozart‘s the most profound. Each of the three quartets of WoO 36 draws on a specific violin sonata by Mozart, from the set published in 1781. The first ofBeethoven‘s quartets is modeled on Mozart‘s K. 379/373a, the second on K. 380/374f, and the third on K. 296. All three quartets of WoO 36 are in three movements.

The E flat major quartet is unusual in that its slow introductory movement jumps without pause into an Allegro con spirito in E flat minor. The E flat minor movement, in sonata form, features a tiny development, but contains some adventurous passages in the recapitulation. The final movement is a set of six variations in an ornamental style on a high-Classical-era theme with two eight-measure segments. Each of the segments is repeated, the first moving to the dominant and the second returning to the tonic. Beethoven follows this pattern in all of the variations, the fifth of which is in E flat minor. After the variations have run their course, the theme returns, only slightly rearranged, followed by a coda reminiscent of the first variation. Throughout the work, the piano dominates the proceedings.

Beethoven cast the D major quartet in a more traditional format, with a central slow movement enclosed by two fast ones. The opening Allegro is in sonata form and modulates to the dominant. Boasting a much larger development section than that of the E flat quartet, the movement touches on D minor before the recapitulation. The second movement, in F sharp minor, is in two parts and marked Andante con moto. The piano opens the concluding Rondo, a movement of youthful energy dominated by the keyboard part.

The quartet in C major is also in three movements, the second of which is in a relaxed F major. After a very brief development section, Beethoven begins the recapitulation on the subdominant, a procedure Schubert would use in several of his works. The second movement features some of the most compelling melodic passages of Beethoven‘s youth, although his tendency to double most of these robs them of some of their delicacy. Nearly all of the thematic material in the closing Rondo is concentrated in the piano part.

Despite the degree to which some aspects of the Piano Quartets, WoO 36, look forward to the mature Beethoven, they have little independent life as concert pieces that command interest for more than curiosity value

Enhanced by Zemanta

Make music Part of Your Life Series: Mozart:Piano Concerto No. 21 in C major, K. 467 (Elvira Madigan) Pollini/Muti

Mozart:Piano Concerto No. 21 in C major, K. 467

Orchestra Filarmonica della Scala
Maurizio Pollini, piano
Riccardo Muti, conductor
From Wikipedia, the free encyclopedia

The Piano Concerto No. 21 in C majorK. 467, was completed on March 9, 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.[1][2]

The concerto has three movements:


  1. Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.[3]
  2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve[4]
  3. Allegro vivace assai

Recordings:  This work has been recorded numerous times by many famous pianists including Géza AndaPiotr Anderszewski,Vladimir AshkenazyDaniel BarenboimMalcolm BilsonAlfred BrendelRobert CasadesusIvan DrenikovAnnie FischerWalter GiesekingFriedrich GuldaStephen HoughKeith JarrettWilhelm KempffWalter KlienAlicia de LarrochaGiorgi LatsabidzeRosina LhevinneDinu LipattiRadu LupuMurray PerahiaMaria João Pires,Maurizio PolliniArthur RubinsteinFazil SayAndrás SchiffArtur SchnabelRudolf SerkinHoward Shelley,Mitsuko Uchida, and Christian Zacharias.

Related articles

Enhanced by Zemanta

Make Music Part of Your Life Series: Mozart / Divertimento in B-flat major, K. 137

Wolfgang Amadeus Mozart (1756-1791)

Divertimento in B-flat major for string quartet, K. 137/125b (1772)
00:00 - Andante
07:52 - Allegro di molto
11:17 - Allegro assai
(Academy of St. Martin-in-the-Fields Chamber Ensemble (1986))

“Three early Mozart pieces, K. 137, 137 and 138, are labeled divertimentos on the manuscripts and are so listed in Grove. However, few Mozart scholars accept that tag as an accurate description of the works, and most doubt that the title came from Mozart. For one thing, a divertimento should have two minuets, and these three have none. At first glance they seem to be straightforward string quartets–yet many experts contend that they don’t sound at all like string quartets. 

So what are they? Mozart scholar Alfred Einstein fancies them as small symphonies for strings, to which the composer was prepared to add extra parts for winds; they are sometimes known as the ‘Salzburg symphonies.’ Musicologist Hans Keller has given them the curious designation of ‘orchestral quartets.’ Others insist that they are indeed string quartets even if they lack the serious temper of that rarefied form. Yet (to complete the confusion) they are universally referred to as divertimentos–the one thing everyone agrees they are not.

Whatever they’re called, they are fine examples of Mozart’s early essays in chamber music…Mozart composed them in 1772, when he was 16, not long before leaving Salzburg on his third (and, as it turned out, his last) trip to Italy. He was going to Milan to produce the opera ‘Lucio Silla‘ on a commission from Count Firmian, governor-general of that city. He probably expected, from previous experience, to need music to entertain the count’s court while he was at work on the opera. So it seems likely that these three works were composed to meet that need. Mozart may have planned to present them with a small orchestra, as Einstein surmises, but here they are played by the four instruments of a string quartet.

The Divertimento in B flat, K. 137…differs from [K. 136 & K. 138] by starting with a slow movement. This affecting ‘Andante’ is led by the first violin and is punctuated by dramatic responses from the accompanying strings. A spirited ‘Allegro di molto’ movement follows, leading to a delicate finale marked ‘Allegro assai’. This section, while not actually a minuet, has a courtly air that suggests a roomful of dancers bowing and curtsying under brilliant chandeliers.” – Harvey B. Loomis

Painting: Still Life (Morning Glories, Toad, & Insects), Otto Marseus van Schrieck


Enhanced by Zemanta

Great Compositions/Performances: Mozart Symphony No 40 G minor K 550 Karl Bohm Wiener Philarmoniker

Wolfgang Amadeus Mozart Symphony No 40 G minor K 550Karl Bhom conducts Wiener Philarmoniker:




Wolfgang Amadeus Mozart


Molto allegro 0:40
Andante 9:42
Menuetto, allegretto 17:25
Finale, allegro assai 22:05


From Wikipedia, the free encyclopedia

Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the “Great G minor symphony,” to distinguish it from the “Little G minor symphony,” No. 25. The two are the only extant minor key symphonies Mozart wrote.[1]





Enhanced by Zemanta

Classical Music Mix – Best Classical Pieces Part I (1/2)

Classical Music Mix – Best Classical Pieces Part I (1/2)

A mix with some of the best classical pieces in the world.

Compositions name list:

00:01 - Albinoni – Adagio in g minor
10:44 - Pachelbel – Canon in D major
16:55 - Beethoven – Moonlight Sonata
22:59 - Carlos GardelPor una cabeza
30:03 - Dmitri Shostakovich – Waltz no 2
33:52 - Eugen Doga – Grammofon
36:20 - Gheorghe Zamfir – The Lonely Shepherd
40:40 - Johann Strauss IIVienna Blood Waltz
47:46 - Johann Strauss II – Voices of Spring Waltz
53:31 - Juventino Rosas – Over the Waves Waltz
59:20 - Mozart – Rondo Alla Turca
1:02:57 - Mozart – Symphony 40 No 1
1:09:16 - Mozart – Lacrimosa
1:12:36 - Nino Rota – Vito’s Waltz
1:15:28 - Nobuo Uematsu – Dance With the Balamb-Fish
1:19:08 - Tchaikovsky – Sleeping Beauty Waltz
1:23:47 - Tchaikovsky – Swan Lake Waltz
1:30:41 - Tchaikovsky – Waltz of the Flowers
1:37:05 - Mozart – Serenade No 13


Enhanced by Zemanta

Great Compositions/Performances: Leonid Kogan – Mozart – Adagio in E major, K 261

Leonid Kogan – Mozart – Adagio in E major, K 261

Wolfgang Amadeus Mozart:
Adagio in E major for violin and orchestra, K 261
Leonid Kogan, violin
Moscow Philharmonic Orchestra
Pavel Kogan, conductor
(Live recording, May 1981)

Buy “Adagio for Violin and Orchestra in E Major K 261″ on

Google PlayiTunesAmazonMP3

  • Artist
    Leonid Kogan, Moscow Philharmonic Orchestra, Pavel Kogan


Enhanced by Zemanta

Great Compositions/Performances: Mozart – Serenade in G major, K. 525 ‘Eine kleine Nachtmusik’ -Conductor: Jordi Savall Le Concert des Nations Ensemble

Mozart Serenade ‘Eine kleine Nachtmusik’ in G major, K.525 / Jordi Savall

Wolfgang Amadeus Mozart (1756 † 1791)
Written: 1787; Vienna, Austria
Work: Serenade No.13 for strings in G major “Eine kleine Nachtmusik”, K.525

01. Allegro
02. Romance (Andante)
03. Menuetto (Allegretto) – Trio
04. Rondo (Allegro)

Violin: Manfredo Kraemer
Violin II: Pablo Valetti
Viola: Angelo Bartoletti
Cello: Bruno Cocset
Double-bass: Xavier Puertas

Conductor: Jordi Savall
Le Concert des Nations Ensemble

Artwork: Fete in a Wood by Nicolas Lancret

From Wikipedia, the free encyclopedia

Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. The German title means “a little serenade,” though it is often rendered more literally but less accurately as “a little night music.”[1] The work is written for an ensemble of two violinsviola, and cello with optional double bass, but is often performed by string orchestras.[2]




Eine kleine nachtmusik.svg

Composition, publication, and reception

The serenade was completed in Vienna on 10 August 1787,[2] around the time Mozart was working on the second act of his opera Don Giovanni.[3] It is not known why it was composed.[4] Hildesheimer (1991, 215), noting that most of Mozart’s serenades were written on commission, suggests that this serenade, too, was a commission, whose origin and first performance were not recorded.

The traditionally used name of the work comes from the entry Mozart made for it in his personal catalog, which begins, “Eine kleine Nacht-Musik.”[5] As Zaslaw and Cowdery point out, Mozart almost certainly was not giving the piece a special title, but only entering in his records that he had completed a little serenade.[6]

The work was not published until about 1827, long after Mozart’s death, by Johann André in Offenbach am Main.[2] It had been sold to this publisher in 1799 by Mozart’s widow Constanze, part of a large bundle of her husband’s compositions.

Today the serenade is widely performed and recorded; indeed both Jacobson (2003, 38) and Hildesheimer (1992, 215) opine that the serenade is the most popular of all Mozart’s works. Of the music, Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.”[7]

Wolfgang Amadeus Mozart: Flute Quartet No.2 G major (K.285a.)

Flute: Sharon Bezaly 
Wolfgang Amadeus Mozart: Flute Quartet No.2 G major (K.285a.)
Andante & 
Tempo di Menuette

Related articles

Enhanced by Zemanta


Birthday of Mozart

Wolfgang Amadeus Mozart was born in Salzburg, Austria, on this day in 1756. His achievements in composing operas, chamber music, symphonies, and piano concerti have earned him a reputation as one of the greatest musical geniuses of all time. Mozart’s birthday is observed by musical societies all over the world, who often give concerts of his music on this day. The city of his birth also honors him at the end of January with Mozart WeekMore… Discuss


Enhanced by Zemanta

Granados / Alicia de Larrocha, 1961: Seis Piezas Sobre Cantos Populares Españoles – Zapateado

Alicia de Larrocha (1923 – 2009) performs Zapateado from Seis Piezas Sobre Cantos Populares Españoles, by Enrique Granados. This performance originally was recorded by Hispavox circa 1961, then distributed in 1974 under the Musical Heritage Society label (MHS 1870).

Alicia de Larrocha i de la Calle, (Barcelona, 23 de maio de 1923 – Barcelona, 25 de setembro de 2009) foi uma pianista espanhola, reconhecida como a de maior projecção internacional, e uma das melhores intérpretes de piano do século XX especialmente em obras de Wolfgang Amadeus Mozart e no repertório espanhol.

Alicia de Larrocha y de la Calle (23. maj 1923 – 25. september 2009) var en spansk pianist, der blev regnet som en af de bedste i sin generation.

Alicia de Larrocha y de la Calle (* 23. Mai 1923 in Barcelona; † 25. September 2009 ebenda) war eine spanische Pianistin.

Alicia de Larrocha y de la Calle (23. toukokuuta 1923 25. syyskuuta 2009) oli espanjalainen pianisti.

Alicia de Larrocha de la Calle est une pianiste espagnole, née le 23 mai 1923 à Barcelone où elle est morte le 25 septembre 2009 à l’âge de 86 ans.

Алисия де Ларроча и де ла Калье (исп. Alicia de Larrocha y de la Calle; 23 мая 1923(19230523), Барселона — 25 сентября 2009, Барселона) — испанская пианистка. 

Alícia de Larrocha i de la Calle (hiszp. Alicia de Larrocha y de la Calle; ur. 23 maja 1923 w Barcelonie, zm. 25 września 2009 tamże) pianistka katalońska. Uczennica Franka Marshalla. Pierwszy raz wystąpiła publicznie w wieku 6 lat. Zadebiutowała w Wielkiej Brytanii w roku 1953, a w Stanach Zjednoczonych w 1955 (z Los Angeles Philharmonic Orchestra). Dokonała wielu nagrań, cenione są jej wykonania muzyki kompozytorów hiszpańskich (m.in. Granadosa i Albeniza).

Enrique Costanzo Granados y Campiña (ur. 27 lipca 1867 w Leridzie, Katalonia, zm. 24 marca 1916) hiszpański pianista i kompozytor, współtwórca narodowego stylu w muzyce hiszpańskiej.

Pantaleón Enrique Joaquín Granados y Campiña (Lleida, Catalonië, 27 juli 1867 – op zee (tussen Folkestone en Dieppe), 24 maart 1916) was een Spaans componist, muziekpedagoog en pianist.

Enrique Granados y Campiña (Enric en catalan) (né le 27 juillet 1867, à Lérida décédé le 24 mars 1916, en mer) est un compositeur et pianiste espagnol.

Enric Granados i Campiña (span. Enrique Granados y Campiña) (* 27. Juli 1867 in Lleida, Katalonien; † 24. März 1916 nach der Torpedierung der Kanalfähre Sussex im Ärmelkanal) war ein spanischer Komponist und Pianist.

Enrique Granados y Campiña (Lérida, 27 de julio de 1867 – Canal de la Mancha, 24 de marzo de 1916), generalmente conocido como Enrique Granados fue un compositor y pianista español.

Энри́ке Грана́дос (полное имя Панталеон Энрике Костанцо Гранадос-и-Кампинья — исп. Pantaléon Enrique Costanzo Granados y Campiña; 27 июля 1867, Лерида — 24 марта 1916, в проливе Ла-Манш) — испанский композитор и пианист, один из наиболее заметных деятелей испанской музыкальной культуры конца XIX — начала XX веков.

אנריקה גרנדוס (בספרדית: Enrique Granados, ‏ 27 ביולי 1876 – 24 במרץ 1916), מלחין ופסנתרן ספרדי.

Enrique Costanzo Granados y Campiña (Lleida, 27 luglio 1867 La Manica, 24 marzo 1916) è stato un compositore e pianista spagnolo.


Enhanced by Zemanta


Farinelli (1705)

Farinelli was an Italian castrato—a singer castrated in boyhood to create an artificial soprano or alto voice. Renowned for his vocal power and agility, he became the greatest opera star of his time but abandoned the public stage for the court of Philip V, where he received an astronomical fee for his only duty: singing the same four songs to the king each night. After retiring, Farinelli received illustrious guests like Mozart at his villa in Bologna. Why were his remains exhumed in 2006? More… Discuss


Enhanced by Zemanta

Great Composers/Compositions: Mozart – Symphony No. 29 in A, K. 201

The Symphony No. 29 in A major, K. 201/186a, was completed by Wolfgang Amadeus Mozart on 6 April 1774. It is, along with Symphony No. 25, one of his better known early symphonies. Stanley Sadie characterizes it as “a landmark … personal in tone, indeed perhaps more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner.” The symphony is scored for 2 oboes, 2 horns and strings, as was typical of early-period Mozart symphonies.
There are four movements:
1. Allegro moderato, 2/2
2. Andante, 2/4
3. Menuetto: Allegretto — Trio, 3/4
4. Allegro con spirito, 6/8
The first movement is in sonata form, with a graceful principal theme characterized by an octave drop and ambitious horn passages. The second movement is scored for muted strings with limited use of the winds, and is also in sonata form. The third movement, a minuet, is characterized by nervous dotted rhythms and staccato phrases; the trio provides a more graceful contrast. The energetic last movement, another sonata-form movement in 6/8 time, connects back to the first movement with its octave drop in the main them


Enhanced by Zemanta

Great Composers/Compositions: Carl Philipp Emanuel Bach: Concerto for Cello in A minor No. 1, Wq. 170

Álbum: Carl Philipp Emanuel Bach: Cello Concertos
Interpretes del álbum: Tim Hugh & Bournemouth Sinfonietta
Compositor: Carl Philipp Emanuel Bach
Año: 2002
Genero: Barroca


Enhanced by Zemanta

Franz Anton Hoffmeister – Piano Concerto in D-major, Op.24 (178/9?)

Franz Anton Hoffmeister

Cover of Franz Anton Hoffmeister

Franz Anton Hoffmeister 
Work: Piano Concerto in D-major, Op.24 (178/9?)

Mov.I: Allegro brioso 00:00
Mov.II: Adagio 15:07
Mov.III: Allegretto 22:57

Pianist: Wilhelm Neuhaus
Orchestra: Cologne Chamber Orchestra
Conductor: Helmut Müller-Brühl (1933 – 2012)

Enhanced by Zemanta

GREAT COMPOSERS/COMPOSITIONS: Mozart – Piano Concerto No. 23 in A, K. 488

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (Photo credit: photoAtlas)

The Piano Concerto No. 23 in A major (K. 488) is a musical composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart’s own catalogue, on March 2, 1786, around the time of the premiere of his opera, The Marriage of Figaro. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these. The concerto is scored for piano solo and an orchestra consisting of one flute, two clarinets, two bassoons, two horns and strings. In Mozart’s later works the wind instruments are equal to the stringed instruments, and this is also the case in this concerto. It has three movements:
1. Allegro in A major and common time.
2. Adagio in F-sharp minor and 6/8 time (in later editions, the tempo is listed as Andante).
3. Allegro assai in A and alla breve (in later editions, the tempo is listed as Presto). In Rondo form.
The first movement is mostly sunny and positive with the occasional melancholic touches typical of Mozart pieces in A major and is in sonata form. The piece begins with a double exposition, the first played by the orchestra, and the second when the piano joins in. The first exposition is static from a tonal point of view and is quite concise, the third theme is not yet revealed. The second exposition includes the soloist and is modulatory. It is also includes the third previously unheard third theme. The second exposition is ornamented as opposed to the first exposition which is not. The second theme has harmonic tension. This is expressed by dissonances that are played on the beat, and then solved by an interval of a second going downwards. This is also expressed in the use of chromatics in the melody and bass lines which is a cause for harmonic tension, as the listeners anticipate the arrival of the tonic.
The second, slow movement, in ternary form, is melancholic and somewhat operatic in tone. The piano begins alone with a theme characterized by unusually wide leaps. This is the only movement by Mozart in F sharp minor. The dynamics are soft throughout most of the piece. The middle of the movement contains a brighter section in A major announced by flute and clarinet that Mozart would later use to introduce the trio “Ah! taci ingiusto core!” in his opera Don Giovanni. The third movement is a vigorous and cheerful rondo, shaded by moves into other keys as is the opening movement (to C major from E minor and back during the secondary theme in this case, for instance) and with a central section whose opening in F sharp minor is interrupted by a clarinet tune in D major, an intrusion that reminds us, notes Girdlestone, that instrumental music at the time was informed by opera buffa and its sudden changes of point of view as well as of scene. 

Enhanced by Zemanta

Great Composers/Compositions: Igor Bukhvalov – Symphony no. 8 in F-Dur, Op. 93 by Ludwig van Beethoven

Igor Bukhvalov conducts Belarusian National Philharmonic performing Symphony #8 in F-Dur ,Op. 93 By Ludwig van Beethoven:

The Eighth Symphony consists of four movements:


  1. Allegro vivace e con brio
  2. Allegretto scherzando
  3. Tempo di Menuetto
  4. Allegro vivace
From Wikipedia, the free encyclopedia
 The Symphony No. 8 in F MajorOp. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as “my little Symphony in F,” distinguishing it from his Sixth Symphony, a longer work also in F.[1]

The Eighth Symphony is generally light-hearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes.[2] As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.
The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony.[3]At the time Beethoven was 41 years old. As Antony Hopkins has noted, the cheerful mood of the work betrays nothing of the grossly unpleasant events that were taking place in Beethoven’s life at the time, which involved his interference in his brother Johann’s love life.[4] The work took Beethoven only four months to complete,[3] and is, unlike many of his works, without dedication.
The premiere took place on 24 February 1814, at a concert in the RedoutensaalVienna, at which theSeventh Symphony (which had been premiered two months earlier) was also played.[5] Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, “the orchestra largely ignored his ungainly gestures and followed the principal violinist instead.”[6]


Enhanced by Zemanta

Antonín Dvořák – Bagatelles, Op. 47

Alberni String Quartet.
Howard Davis, violin.
Peter Pople, violin.
Roger Best, violin/viola.
David Smith, cello.
Virginia Black, harmonium

Antonín Dvořák – Bagatelles, Op. 47
1. Allegretto scherzando 2’59
2. Tempo di menuetto, grazioso 3’16
3. Allegretto scherzando 2’56
4. Canon, andante con moto 3’27
5. Poco allegro 4’21


Enhanced by Zemanta

Fabulous Composers/Compositions: Felix Mendelssohn, Violin Sonata in F Minor, Op. 4, MWV Q12, I. Adagio – Allegro moderato

Felix Mendelssohn
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


Enhanced by Zemanta

GREAT PERFORMANCES: Wilhelm Kempff PlaysBeethoven’s Piano Sonata No. 16 Op. 31 in G major

Piano: Wilhelm Kempff

Ludwig van Beethoven’s Piano Sonata No. 16 in G major, Op. 31 No. 1, was composed between 1801 and 1802.
The sonata consists of three movements. A typical performance lasts about 20 minutes.

  1. Allegro vivace
  2. Adagio grazioso
  3. Rondo, allegretto – presto

Although it was numbered as the first piece in the trio of piano sonatas which were published as Opus 31 in 1803, Beethoven actually finished it after the Op. 31 No. 2, the Tempest Sonata. [From Wikipedia]

Enhanced by Zemanta

Antonín Dvořák – From the Bohemian Forest, Op. 68

Published on Sep 23, 2012

Ingryd Thorson & Julian Thurber, piano

Antonín Dvořák – From the Bohemian Forest, Op. 68

  • In the Spinning Room,  Allegro molto [D major] 
  • By the Black Lake,  Lento [F sharp minor/major] 
  • Walpurgis Night,  Molto vivace [B falt major] 
  • In Wait,  Allegro comodo [F major
  • Silent Woods,  Lento e molto cantabile [D flat major
  • From Troubled Times,  Allegro con fuoco [A minor]


Enhanced by Zemanta

Fabulous Composers/Compositions: Sergei Rachmaninov – Cello Sonata in G minor, Op. 19

SERGEI RACHMANINOV – Cello Sonata in G minor, Op. 19

In this 1994 recording, Michael Grebanier plays the cello while Janet Guggenheim plays the piano. Naxos is the official owner of this recording.

1. Lento/Allegro Moderato (0:00)
Photo #1: Autumn Leaves, by maddox74
Photo #2: The Nature of Leaves, by gapa66

2. Allegro Scherzando (10:54)
Photo: Deciduous Tree, by Hans

3. Andante (17:29)
Photo: Weser Uplands, by AnnaER

4. Allegro mosso (23:43)
Photo #1: Autumn Colors, by giani
Photo #2: Alpine Mountains, by stux

Enhanced by Zemanta

Fabulous Composers/Compositions: Mozart – Symphony No. 35 in D, K. 385 “Haffner”

Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony.

Symphony was written in the key of D major. The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.

It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner’s ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart’s choice of key for the Haffner Symphony is an aspect that catches one’s attention. According to Cuyler, “the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,” including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work’s serenade origins as all of Mozart’s orchestral serenades are scored in D major. 
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34. 
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/

Mozart – Quintet for Piano and Winds in E flat, K. 452

The Quintet in E flat major for Piano and Winds, K. 452, was completed by Wolfgang Amadeus Mozart on March 30, 1784 and premiered two days later at the Imperial and Royal National Court Theater in Vienna. Shortly after the premiere, Mozart wrote to his father that “I myself consider it to be the best thing I have written in my life.” It is scored for piano, oboe, clarinet, horn and bassoon. There are three movements:
1. Largo – Allegro moderato
2. Larghetto
3. Allegretto
This structure closely resembles that of a typical sonata. The first movement is a sprightly sonata form Allegro, with themes being passed from instrument to instrument, usually with the piano introducing a theme and accompanying while the oboe, clarinet, horn and bassoon play variations on it. The Larghetto movement is typical of the 2nd movement of other Mozart pieces: soft and gentle, yet still engaging. The Allegretto movement is a “sonata-rondo” of the kind Mozart used as the finale of many of the piano concertos he was writing at this period, and contains a written-out cadenza-like section toward the end.
This piece was the inspiration for the Quintet in E flat for Piano and Winds, Op. 16, by Ludwig van Beethoven, who composed this tribute in 1796. Both compositions use the same scoring. 
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/


FABULOUS COMPOSERS/COMPOSITIONS: Beethoven – Missa Solemnis – Philharmonia / Karajan

Ludwig van Beethoven

Missa Solemnis op.123

Kyrie 0:00
Gloria 11:12
Credo 28:33
Sanctus 50:54
Agnus Dei 01:07:59

Elisabeth Schwarzkopf
Christa Ludwig
Nicolai Gedda
Nicola Zaccaria
Singverein des Gesellschaft der Musikfreunde in Wien
Philharmonia Orchestra
Herbert von Karajan

Studio recording (11-15.IX.1958)

 Donald Tovey has connected Beethoven to the earlier tradition in a different way:

Not even Bach or Handel can show a greater sense of space and of sonority. There is no earlier choral writing that comes so near to recovering some of the lost secrets of the style of Palestrina. There is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord, every position, and every doubled third or discord.

In this famous portrait of Beethoven byJoseph Karl Stieler, Beethoven can be seen working on the Missa solemnis in D major.

The Missa solemnis in D major, Op. 123 was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. PetersburgRussia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered to be one of the composer’s supreme achievements. Together with Bach’s Mass in B minor, it is the most significantMass setting of the common practice period.

Despite critical recognition as one of Beethoven’s great works from the height of his composing career,Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his Ninth Symphony, it is Beethoven’s second setting of the Mass, after his Mass in C, Op. 86.

The Mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoonscontrabassoon; 4horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombonetimpani;organ continuo; strings (violins I and II, violascellos, and basses); sopranoaltotenor, and bass soloists; and mixed choir.

Like most Masses, Beethoven’s Missa solemnis is in five movements:

  • Kyrie: Perhaps the most traditional of the Mass movements, the Kyrie is in a traditional ABA’ structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
  • Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work’s two massive fugues, on the text “In gloria Dei patris. Amen”, leading into a recapitulation of the initial Gloria text and music.
  • Credo: One of the most remarkable movements to come from Beethoven’s pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the “et incarnatus” yield to ever more expressive heights through the “crucifixus”, and into a remarkable, a cappella setting of the “et resurrexit”that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on “et vitam venturi” that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
    The form of the Credo is divided into four parts: (I) allegro ma non troppo through “descendit de coelis” in B-flat; (II) “Incarnatus est” through”Resurrexit” in D; (III) “Et ascendit” through the Credo recapitulation in F; (IV) Fugue and Coda “et vitam venturi saeculi, amen” in B-flat.
  • Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa’s most transcendently beautiful music, in a remarkably long extension of the text.
  • Agnus Dei: A setting of the plea “miserere nobis” (“have mercy on us”) that begins with the men’s voices alone in B minor yields, eventually, to a bright D-major prayer “dona nobis pacem” (“grant us peace”) in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn‘s Missa in tempore belli), but after repeated pleas of “miserere!”,eventually recovers and brings itself to a stately conclusion.


C. Saint – Saens Morceau de concert op. 94 | Peter Müseler, Horn

Conducted by Juri Lebedev | Summer Concert 2007 at Belvedere School of Music Weimar/Germany | Musikgymnasium Schloß Belvedere


Mozart – 3 German Dances, K. 605

Wolfgang Amadeus Mozart‘s Three German Dances (Teutsche), K. 605, are a set of three dance pieces composed by Mozart in 1791. Most of Mozart’s German Dances were written whilst he held the position of Kammermusicus (Imperial Chamber Composer) in Vienna. Mozart had been appointed to this position on the 1st December 1787 by Emperor Joseph II. The position was offered following the death of the former Kammermusicus, Christoph Willibald Gluck on 15 November 1787. In the position Mozart earned 800 Florins a year. One of the main obligations of his position was to write music for the court dances and balls that were held in the Redoutensaal (Public Ballrooms) of the Imperial Palace in Vienna. Mozart was an enthusiastic dancer, and produced many dance works, including ten sets of German dances. The first set was written in February 1787, before Mozart’s appointment to Kammermusicus. The other sets, excluding K. 611, were written between December 1787 and 1791, during which Mozart also wrote well known pieces such as Symphonies 40 and 41, and his opera Così fan tutte. These were mostly written in sets of six, with one set of four and one of twelve. Mozart composed this set of three Teutsche (German Dances) in the early months of 1791. The three dances of K. 605 are usually listed with the six dances of K. 600 and the four of K. 602 as Dreizehn deutsche Tänze (Thirteen German Dances). The pieces first appear on 12 February 1791 on Mozart’s List of all my Works, and are the penultimate set of German Dances that Mozart would compose before his death on 5 December 1791. The dances are scored for piccolo, two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, violins I and II, violoncellos, and double basses. The third dance uniquely adds two posthorns and five sleigh bells tuned to C, E, F, G, and A (in ascending order). As the name “Three German Dances” suggests, this set of dances includes three individual dances. Each dance changes in instrumentation; only the violins play in all three dances. Each dance varies in character because of this, and each includes various features:
-Dance 1: The first dance begins with a series of repeating phrases that have a rich texture and are emphasised by the violins. Small, light fanfares can be heard throughout the piece being played by the trumpets. At the end of the dance the main theme from the beginning of the dance is repeated in a characterful ending.
-Dance 2: The main tune is once again played by the violins at the beginning, and this main tune is repeated, as is the next phrase. However, this repeat is played at a lower dynamic. The main tune then passes on to a characterful woodwind section. This is followed by an almost waltz-like phrase which has a clear, steady beat that could have easily been danced to.
-Dance 3 Schlittenfahrt: This dance may have been written independently of the others, as it is very different in style. Schlittenfahrt means “Sleigh Ride“; the use of sleigh bells in the piece clearly emphasises this. Before the sleigh bells enter, there is a series of repeating phrases that pass between the trumpets, woodwind and violins. The topography of the dynamics of the tuned sleigh bells make the piece seem like a sleigh ride, as the dynamics rise and fall like a sleigh would over snow. This is followed by a beautiful but simple trumpet solo that gives a very peaceful and clear atmosphere to the piece, like a winter’s day. The original repeating phrases then return, but end with a majestic fanfare from the trumpets that passes to the other instruments, then returns to the sleigh bells and trumpet solo again. The piece ends with a diminuendo of the trumpet solo.
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/
NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome.


Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967

Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967
Leonard Bernstein & New York Philharmonic Orchestra – Mozart Schlittenfahrt (Sleigh Ride) 1967 

Die Schlittenfahrt (Sleigh Ride) is the popular name given to the third of the Three German Dances K. 605 composed by Wolfgang Amadeus Mozart


Hopeful for a Gracious Future: Mozart – Missa Brevis in D minor KV 65 ( final competition )

Koriyama Fifth Junior High School ( The Vocal Ensemble Competition Japan 2013 )
Mozart Missa Brevis in d KV 65 
Kyrie・Gloria・Credo・Sanctus・Benedictus・Ag­nus Dei


FAbulous Composers/Compositions: W. A. Mozart – KV 192 (186f) – Missa brevis in F major

The mass is divided into 6 sections:
- Kyrie (0:00)
- Gloria (3:13)
- Credo (8:03)
- Sanctus (14:35)
- Benedictus (15:45)
- Agnus Dei (17:42)

Composed in Salzburg and date June 14, 1774.


Performers: Dorothea Röschmann, soprano; Elisabeth von Magnus, alto; Herbert Lippert, tenor; Gilles Cachemaille, bass; Arnold Schoenberg Chor; Concentus Musicus, conducted by Nikolaus Harnoncourt.


FABULOUS COMPOSERS/COMPOSITIOINS: Johann Nepomuk Hummel: Piano Concerto No. 3 in B minor, Op 89

Johann Nepomuk Hummel (1778-1837)

Piano Concerto No. 3 in B minor, Op. 89

I. Allegro moderato
II. Larghetto 16:55
III. Finale: Vivace 24:48

Stephen Hough, piano
English Chamber Orchestra
Bryden Thomson, conductor

Johann Nepomuk Hummel (November 14, 1778 — October 17, 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era.

Hummel was born in Pressburg, Kingdom of Hungary, then a part of the Austrian Habsburg Monarchy (now Bratislava in Slovakia). His father, Johannes Hummel, was the director of the Imperial School of Military Music in Vienna and the conductor there of Emanuel Schikaneder’s theatre orchestra at the Theater auf der Wieden; his mother, Margarethe Sommer Hummel, was the widow of the wigmaker Josef Ludwig. He was named after St John of Nepomuk. Wolfgang Amadeus Mozart offered the boy music lessons at the age of eight after being impressed with his ability. Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine at one of Mozart’s concerts. Continue reading

Mozart – Symphony No. 29 in A, K. 201

The Symphony No. 29 in A major, K. 201/186a, was completed by Wolfgang Amadeus Mozart on 6 April 1774. It is, along with Symphony No. 25, one of his better known early symphonies. Stanley Sadie characterizes it as “a landmark … personal in tone, indeed perhaps more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner.” The symphony is scored for 2 oboes, 2 horns and strings, as was typical of early-period Mozart symphonies.
There are four movements:
1. Allegro moderato, 2/2
2. Andante, 2/4
3. Menuetto: Allegretto — Trio, 3/4
4. Allegro con spirito, 6/8
The first movement is in sonata form, with a graceful principal theme characterized by an octave drop and ambitious horn passages. The second movement is scored for muted strings with limited use of the winds, and is also in sonata form. The third movement, a minuet, is characterized by nervous dotted rhythms and staccato phrases; the trio provides a more graceful contrast. The energetic last movement, another sonata-form movement in 6/8 time, connects back to the first movement with its octave drop in the main theme. 
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/


Mozart – Piano Concerto No. 9 in E flat, K. 271(Jeunehomme)

The Piano Concerto No. 9 “Jeunehomme” in E flat major, K. 271, by Wolfgang Amadeus Mozart was written in Salzburg in 1777, when Mozart was 21 years old.
The work has long been known as the “Jeunehomme” Concerto. It was said that Mozart wrote the piece for a French pianist “Jeunehomme” when she visited Salzburg. But scholars couldn’t identify the woman for whom he actually wrote it. Recently, the musicologist Michael Lorenz has argued that the woman was actually Victoire Jenamy (1749-1812), a daughter of Jean-Georges Noverre, a famous dancer who was one of Mozart’s best friends. The work is scored for solo piano, two oboes, two horns, and strings.
It consists of three movements:
1. Allegro, in E-flat major and common (C) time 10:30
2. Andantino, in C minor and 3/4 time 12:00
3. Rondo (Presto), in E flat major and cut time 10:00
The first movement opens, unusually for the time, with interventions by the soloist, anticipating Beethoven’s Fourth and Fifth Concertos. As Girdlestone (1964) notes, its departures from convention do not end with this early solo entrance, but continue in the style of dialogue between piano and orchestra in the rest of the movement. Mozart wrote two cadenzas for this movement.
The second movement is written in the relative minor key. In only five of Mozart’s piano concertos is the second movement in a minor key (K. 41, K. 271, K. 456, K. 482, and K. 488. K. 41 is an arrangement). Mozart wrote two cadenzas for this movement.
The third movement which opens with the solo piano is in a rondo form on a large scale. It is interrupted, surprisingly, by a slow minuet section (a procedure Mozart would repeat with his 22nd concerto, 1785, also in the key of E-flat). The work ends in the original tempo. The work is highly regarded by critics. Charles Rosen has called it “perhaps the first unequivocal masterpiece [of the] classical style.” Alfred Brendel has called it “one of the greatest wonders of the world.” Alfred Einstein dubbed it “Mozart’s Eroica.” 
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/

Glenn Gould 1932 1982 Mozart Sonata


Fabulous Compositions/ Composers: L. Bernstein – Mendelssohn Symphony No.5 in Dmajor/D minor “Reformation” Op.107

Mendelssohn Symphony No.5 in D major/D minor “Reformation” Op.107 Complete

1. Andante — Allegro con fuoco
2. Allegro vivace
3. Andante
4. Andante con moto — Allegro maestoso

NY Philharmonic Orchestra
Leonard Bernstein Conductor

Johanes Wolfgang Amadeus Mozart: Symphony No.20 in D major, (K 133)

Álbum: Mozart, Complete Works Vol. 1: Symphonies Complete
Interprete del álbum: Jaap Ter Linden & Mozart Akademie Amsterdam
Compositor: Johanes Chrysostomus Wolfgang Amadeus Mozart


Fabulous Musical Compositions/Fabulous Performances: Variations on ‘La ci darem la mano’ Mozart’s Don Giovanni Op 2 in Bb – Chopin

Variations on ‘La ci darem la mano’ Mozart‘s Don Giovanni Op 2 in Bb 
Piano: Idil Biret
The Chamber Orchestra of Philadelphia
The Frederic Chopin Complete Works
Follow Our Twitter:@FrederykChopin

Introduction 0:00
Theme 5:19 - Allegretto
Variation I 6:52 - Brillante
Variaton II 7:52 - Veloce, ma accuratamente
Variation III 8:52 - Sempre sostenuto
Variation IV 10:19 - Con bravura
Variation V 11:25 - Adagio- alla polacca


Mozart – Overture The Abduction from the Seraglio (K.384) – Wiener Symphoniker – Fabio Luisi

Mozart – The Abduction From The Seraglio Overture
Die Entführung aus dem Serail
Wiener Symphoniker Japan Tour 2006
Conductor : Fabio Luisi


Great Performances: David Oistrakh – Mozart – Violin Sonata No 32 in B flat major, K 454

Wolfgang Amadeus Mozart
Violin Sonata No 32 in B flat major, K 454

1 Largo – Allegro
2 Andante
3 Allegretto

David Oistrakh, violin
Paul Badura-Skoda, piano


Mozart – Piano Sonata No. 16 in C, K. 545 (Facile)

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:
1. Allegro
2. Andante
3. Rondo
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…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/


Valentina Lisitsa plays Adinsell’s Warsaw Concerto

Keith Lockhart conducts Valentina Lisitsa (piano) and the BBC Concert Orchestra in the Film Music Prom.
This concert was broadcast live on BBC Radio 3 on Saturday 31st August 2013. Recorded for TV broadcast on BBC Four.
Also compare http://y2u.be/AoLvhHjacMw where Valentina shows how she first began to learn this piece. Very interesting.


Wolfgang Amadeus Mozart: Concerto for Flute, Harp, and Orchestra in C major, K. 299

Mozart – Flute and Harp Concerto in C, K. 299
The Concerto for Flute, Harp, and Orchestra in C major, K. 299 is a piece by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote, as well as the only piece of music that Mozart wrote that contains the harp. The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instruments. The concerto was written in April 1778 by Mozart during his sojourn to Paris for the Court of Guînes. It was commissioned (although never paid for) from Mozart, by the flautist Duke of Guînes, Adrien-Louis de Bonnières, and his harpist daughter who was taking composition lessons from the composer. The soloists in the piece will sometimes play with the orchestra, and at other times perform as a duo while the orchestra is resting. The flute and harp alternate having the melody and accompanying lines. In some passages, they also create counterpoint with just each other. Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast–slow–fast:
I. Allegro
The orchestra states both themes. The first is immediately present, and the second is introduced by the horn. Both themes fall under the conventional sonata form. The soli then re-work the already present themes.
I. Andantino
The short phrases in this movement are introduced by the strings, and become lyrically extended. This further develops into variations on the theme. The cadenza in this movement leads to a coda, where the orchestra and soli focus on the lyrical theme.
III. Rondeau — Allegro
The harmonic form is: A–B–C–D–C–B–{cadenza}–A(coda). Some music theorists feel that this is actually more of an arch than a typical rondo form, because music from the A section is still audible in the C and D sections.
FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/

Antonín Dvořák – Water Goblin, Op. 107

Janácek Philharmonic Orchestra, Theodore Kuchar