Fabulous renditions: Valentina Lisitsa – Paganini-Liszt La Campanella (two Separate musical events)

Paganini-Liszt La Campanella 

ValentinaLisitsa

Uploaded on Dec 7, 2008

Live from Seoul. Encore #1. Liszt “La Campanella”
Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Al…
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La campanella

From Wikipedia, the free encyclopedia

 

	“La campanella”   Menu       0:00   Performed by Romuald Greiss on an 1850 Budynowicz piano
Problems playing this file? See media help.

“La campanella” (Italian for “The little bell”) is the nickname given to the third of Franz Liszt‘s six Grandes études de Paganini (“Grand Paganini Études”), S. 141 (1851). It is in the key of G-sharp minor. This piece is a revision of an earlier version from 1838, the Études d’exécution transcendente d’après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini‘s Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.^[1][2][3]

The étude is played at a brisk allegretto tempo and studies right hand jumping between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the thirtieth and thirty-second measures.

 

The two red notes are 35 half-steps apart, which is about 46cm apart on a piano.

However, the left hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.

The work has been arranged by other composers and pianists, most notably Ferruccio Busoni and Marc-André Hamelin.
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Published on Jan 27, 2014

Valentina Lisitsa performed Liszt La Campanella from Paganini Etude No 3 at Concert hall, Seoul Art Center, 25th November, 2013 under Masters Series which Composer Jeajoon Ryu present.(Encore after 3 hours recital.)

Valentina Lisitsa – Liszt La Campanella – from Paganini Etude No. 3

OPUSChannel

 

Historic Musical Bits: David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

Classical Vault 2

Published on Jan 14, 2015

Wolfgang Amadeus Mozart
Violin Concerto No 3 in G major, K 216

David Oistrakh, violin & conductor

Berlin Philharmonic Orchestra

Berlin, March 1971
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From Wikipedia, the free encyclopedia

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time.

Movements

The piece is in three movements:

1. Allegro
2. Adagio
3. Rondeau. Allegro

I. Allegro

The Allegro is in sonata form, opening with a G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompaniment, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.

II. Adagio

The second movement is also in ternary form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.

III. Rondeau

The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg”.^[1] After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.

Historic Musical Bits, Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82 , (recorded 1956), great compositions/performances

Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82

Classical Vault 1

Published on May 5, 2013

Robert Schumann
Waldszenen (Forest Scenes), Op 82

1 Eintritt
2 Jäger auf der Lauer
3 Einsame Blumen
4 Verrufene Stelle
5 Freundliche Landschaft
6 Herberge
7 Vogel als Prophet
8 Jagdlied
9 Abschied

Sviatoslav Richter, piano

Recorded live, 1956

• Music

  • “Waldszenen, Op. 82: III. Einsame blumen. Einfach” by Sviatoslav Richter (Google Play • eMusic • AmazonMP3 • iTunes)

• Artist

  • Sviatoslav Richter

Best classical music , Antonín Dvořák – Serenade in D minor, Op. 44 , great compositions/performances

Antonín Dvořák – Serenade in D minor, Op. 44

Wolfgang Amadé Mozart

Published on Sep 21, 2012

Nash Ensemble

Antonín Dvořák – Serenade in D minor, Op. 44
1. Moderato, alla Marcia 4’17
2. Minuetto 6’08
3. Andante con moto 8’35
4. Allegro molto 6’13

• Music

  • “Serenade in D minor Op.44: Minuetto. Tempo di Minuetto” by The Nash Ensemble (Google Play • eMusic • iTunes • AmazonMP3)

Best Classical Music Series: Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son,

Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son

alddo3

Published on Dec 18, 2014

2011 Tchaikovsky Competition – Piano Round II, Phase II

Mozart – Concerto for Piano and Orchestra No. 21 in C major, K.467

Yeol Eum Son (South Korea)
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Structure

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

The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.^[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart’s original has been lost.

The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The final rondo movement begins with the full orchestra espousing a joyous “jumping” theme. After a short cadenza, the piano joins in and further elaborates. A “call and response” style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

Recordings

This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski, Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires, Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley, Mitsuko Uchida, and Christian Zacharias.

Cultural references

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][6] This has led to an anachronistic nickname of Elvira Madigan for the concerto.^[7][8][9]

Neil Diamond’s 1972 song “Song Sung Blue” was based on a theme from the andante movement of the concerto.^[10]

An electronic arrangement of the concerto’s first movement was used as the main theme of the TV series Whiz Kids.

Wolfgang Amadeus Mozart /// Ballet Music in C, K 299b from ‘Les petits riens’

Anthony Lowery

Les Petits Riens, K. App. 10/299b.

Concerto Köln, on period instruments. Directed by Anton Steck. Composed by W.A. Mozart (1756-91).

I. Ouverture: Allegro (0:00)
II. No. 9 Andantino (3:14)
III. No. 10 Allegro (4:24)
IV. No. 11 Larghetto (4:34)
V. No. 8 — * (5:49)
VI. No. 12 Gavotte: Allegro (7:53)
VII. No. 15 Gavotte gracieuse (9:14)
VIII. No. 16 Pantomime (10:07)
IX. No. 14 –* (11:58)
X. No. 18 Gavotte (13:34)
XI. No. 5 Agité* (16:58)

Mozart / String Quintet No. 5 in D major, K. 593 , great compositions/performances

Mozart / String Quintet No. 5 in D major, K. 593

scrymgeour34

Uploaded on Jan 3, 2012

Wolfgang Amadeus Mozart (1756-1791)

String Quintet No. 5 in D major, K. 593 (1790)

00:00 – Larghetto – Allegro
10:13 – Adagio
17:36 – Menuetto (Allegretto)
22:56 – Finale (Allegro)

Violin: Arthur Grumiaux & Arpad Gérecz
Viola: Georges Janzer & Max Lesueur
Cello: Eva Czako

“The two last string quintets followed in December 1790 and April 1791, supposedly on commission from a Hungarian said to be the wholesale merchant Johann Tost of Ungarisch-Hrodisch in Moravia, himself an excellent violinist, and the bearer of the dedications of two series of quartets by Haydn of 1789 (51-56) and 1790 (57-62). Since Tost had recently become wealthy by marriage, perhaps Mozart was well paid for these two works, at least. He should have been; both bear all the earmarks of compositions intended for a connoisseur.

“The first, in D major, K. 593, begins with a Larghetto, which juxtaposes the ‘cello (Mozart has not completely forgotten the King of Prussia) and the group of higher instruments; question and answer are repeated at once on a higher step of the scale— a typical beginning for the great instrumental works of the last period (the Piano Sonata in D, K. 576, the fragments of movements for piano, K. Anh. 29 and 30, the Quartet, K. 590, etc.) and a procedure of which Beethoven took careful note, as we see in the String Quartet Op. 59, No. 2, for example. This Larghetto returns at the end of the following Allegro, and leads to a quite short, abrupt conclusion—consisting simply of the eight opening measures of the Allegro. Thus this whole Allegro itself has a somewhat groping, combinative character, with an impetuous development section in two parts, the first marchlike, the second warlike. The recapitulation achieves its effect by means of intensified polyphony. It is a very unusual movement for Mozart, being definitely introductory in character. It leads to a deeply felt Adagio, related to the slow movement of the ‘Jupiter’ Symphony, with three-part responses as in the five-part madrigals of the sixteenth century, and containing the finest polyphonic development. The Minuet is a bit Haydnish—manly, with a concluding canon as a ‘trump card’ and a ‘spiccato’ Trio. The Rondo, finally, is of the richest maturity, with its playful theme, its fugati in which ‘learnedness’ takes on wit and charm without forfeiting any of its earnestness. The beginning of the theme, originally a chromatically descending fifth, gains grace and character by means of a single stroke.” – Alfred Einstein

Painting: Self-Portrait, Anthony van Dyck

Historic musical Bits: W. Kempff plays Schubert Sonata in C minor, D.958, great compositions/performances

W. Kempff plays Schubert Sonata in C minor, D.958

FirstPublicChannel

 

Uploaded on Aug 17, 2011/39,544 views

00:00 – Allegro
08:42 – Adagio
15:39 – Menuetto
19:30 – Allegro
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Franz Schubert – Sonata in C minor, D. 958

Find much more information on Franz Schubert’s Work at the website bellow:

http://www.franzpeterschubert.com/sonata_d_958.html

The Sonata in C minor, D. 958 marks the first works of the kind since Beethoven’s death the previous year, and Schubert seems at last to have felt free to challenge the great composer on his own ground. The work was written three months before Schubert’s death and comprises 4 movements.

In the Allegro, the exposition shifts from the tonic to the relative major (E-flat major), touching midway upon its parallel minor (E-flat minor), all in accordance with Classical practice. The development section is highly chromatic, and is texturally and melodically distinct from the exposition.

The recapitulation is once again traditional, staying in the tonic and stressing subdominant tonalities (D-flat, the lowered second degree – in the first theme). The coda returns to the material of the development section, but with stable tonality.

The Adagio is written in A-flat major, and has the A–B–A–B–A form. The unorthodox, chromatic harmonic structure of this movement is generated from a short progression that appears towards the end of the A section, leading to a plagal cadence in the subdominant key (D-flat), chromatically colored with its own minor subdominant chord (G-flat minor). This leads to the haunted atmosphere of the B section, which is full of chromatic modulations and ‘frightening’ sforzandos. In the second appearance of the A and B sections, almost the entire music is shifted a semitone up. The ‘kernel’ progression returns transformed at the end of the movement, with even subtler chromatic coloration and harsher modulations, leading from A-flat minor to C major. Throughout the entire movement, brisk modulations of a rising or falling semitone predominate.

The third movement is a somber one, quite distinct from the typical atmosphere of dance movements. It is relatively conservative in its key scheme, moving to the relative major key and back to the tonic. In the B section, a sequence of hemiolas is interrupted by a dramatic interpolation in A-flat major. The second A section is a transformation of the first, interrupted every four bars by a silent bar, creating a mysterious atmosphere. The trio is in A-flat major, ternary form.

The last movement is written in 6/8 and in tarantella style, and is characterised by a relentless galloping rhythm. It employs the three-key exposition, a recurrent element in Schubert’s style. The first theme shifts from C minor to C major – another Schubertian feature, and contains many allusions to D-flat major, which eventually becomes the key of the second theme. After a series of modulations, the exposition ends in the traditional relative major, E-flat. The development section begins in C-flat with a new theme, derived from the last bars of the exposition. Later on, additional material from the exposition is developed, gradually building up towards a climax. The recapitulation is also written in three keys, this time the second theme in B-flat minor and the closing section in the traditional tonic. The coda begins with a long anticipatory passage which stresses A-flat, the submediant, and then reintroduces the first theme, gradually building up tension towards the fortissimo ending.

!. Allegro
II. Adagio
III. Menuetto: Allegro – Trio
IV. Allegro.

Listen to the Sonata in C minor, D. 958

Recommended recordings of Schubert Sonatas

Mendelssohn — Violin Concerto in e minor op 64: GREAT COMPOSITIONS/PERFORMANCES

Mendelssohn — Violin Concerto in E minor op. 64

Kanaal van viool7

***Isaac Stern: violin
***Philadelphia Orchestra – Eugene Ormandy: conductor-1958
(The second recording of this concerto by Stern and Ormandy)
1. Allegro molto appassionato
2. Andante
3. Allegretto non troppo – Allegro molto vivace

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• Mendelssohn-Piano Concerto No. 1 in g minor Op. 25, Rudolf Serkin/Philadelphia Orchestra- Eugene Ormandy: great compositions/perfornmances

Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 “Elvira Madigan”: great compositions/performances

Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 “Elvira Madigan”

Wolfgang Amadé Mozart

Derek Han, piano.
Philharmonia Orchestra, Paul Freeman.
Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 “Elvira Madigan”:

I. Allegro
II. Andante
III. Allegro vivace assai
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From Wikipedia, the free encyclopedia

The Piano Concerto No. 21 in C major, K. 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]

Structure

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

The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.^[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart’s original has been lost.

The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The final rondo movement begins with the full orchestra espousing a joyous “jumping” theme. After a short cadenza, the piano joins in and further elaborates. A “call and response” style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

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• Mozart – Piano Sonata No. 1 in C, K. 279: make music part of your life series

Dvorak – Symphony No.3 & 4, Op.10 & 13|great compositions/performances

Dvorak – Symphony No.3 & 4,

Op.10 & 13

  AljoshaKaramazov’s channel

00:00 – Symphony No.3, Op.10 – Allegro moderato
11:00 – Symphony No.3, Op.10 – Adagio molto
29:45 – Symphony No.3, Op.10 – Finale, allegro vivace

38:17 – Symphony No.4, Op.13 – Allegro
47:55 – Symphony No.4, Op.13 – Andante e molto cantabile
59:25 – Symphony No.4, Op.13 – Scherzo, allegro feroce
01:06:03 – Symphony No.4, Op.13 – Finale, allegro con brio

Slovak Philharmonic Orchestra,  Zdenek Kosler

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• F. Mendelssohn/D. Barenboim (Songs without words, Complete): make music part of your life series

Antonín Dvořák – String Quartet in E flat major, Op. 51 ‘Slawisches’ |great compositions/performances

Antonín Dvořák – String Quartet in E flat major, Op. 51 ‘Slawisches’

  Wolfgang Amadé Mozart

STAMITZ QUARTET:
– Bohuslav Matousek, violin I.
– Josef Kekula, violin II.
– Jan Peruska, viola.
– Vladimir Leixner, cello.Antonín Dvořák:  String Quartet in E flat major Op. 51, ‘Slawisches’
1. Allegro ma non troppo 11’06
2. Dumka (Elegia) 8’32
3. Romanza, andante con moto 7’31
4. Finale, allegro assai 7’24

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Beethoven | Piano Sonata No. 12 in A-flat major, Op. 26 | Daniel Barenboim: great compositions/performances

Beethoven | Piano Sonata No. 12 in A-flat major, Op. 26 | Daniel Barenboim

OndaCC

Español: Sonata para Piano nº12 en La bemol Mayor, Op. 26

* 1st Movement (Andante con Variazioni)
* 2nd Movement (Scherzo, Allegro Molto)
* 3rd Movement (Marcia funebre sulla morte d’un Eroe)
* 4th Movement (Allegro)

Work: Piano Sonata No. 12 in A-flat major, Op. 26
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim

Beethoven – Piano Sonata No. 31 in A-flat major, Op. 110, Daniel Barenboim, great compositions/performances

Piano Sonata No. 31 – Beethoven

Classical Music11

Daniel Barenboim

Piano Sonata No. 31 in A-flat major, Op. 110, by Ludwig van Beethoven was composed in 1821. It is the central piano sonata in the group of three opp. 109–111 which he wrote between 1820 and 1822, and the thirty-first of his published piano sonatas.

The sonata is in three movements. The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.

I. Moderato cantabile molto espressivo
II. Scherzo: Allegro molto
III. Adagio ma non troppo. Fuga: Allegro ma non troppo

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Mozart: Symphony ‘Jupiter’ No.41 in C major, K 551 (Jaap Ter Linden & Mozart Akademie Amsterdam): great compositions/performances

Johanes Wolfgang Amadeus Mozart: Symphony ‘Jupiter’ No.41 in C major, (K 551)

vivaldi369

Álbum: Mozart, Complete Works Vol. 1: Symphonies Complete
Interprete del álbum: Jaap Ter Linden & Mozart Akademie Amsterdam
Compositor: Johanes Chrysostomus Wolfgang Amadeus Mozart
Año: 2002
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From Wikipedia, the free encyclopedia

 

Wolfgang Amadeus Mozart’s compositions characterized music of the classical era. (Photo credit: Wikipedia)

Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788.^[1] It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon^[2] in an early arrangement for piano.

Instrumentation

The symphony is scored for flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani in C and G, and strings.

Composition and premiere

The 41st Symphony is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. The 39th was completed on 26 June and the 40th on 25 July.^[1] Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale.^[3]

Around the same time as he composed the three symphonies, Mozart was writing his piano trios in E and C major, his Sonata facile, and a violin sonatina.

It is not known whether the 41st Symphony was ever performed in the composer’s lifetime. According to Otto Erich Deutsch, around this time Mozart was preparing to hold a series of “Concerts in the Casino” in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest.^[1]

Movements

The four movements are arranged in the traditional symphonic form of the Classical era:

1. Allegro vivace, 4/4
2. Andante cantabile, 3/4 in F major
3. Menuetto: Allegretto – Trio, 3/4
4. Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

The sonata form first movement’s main theme begins with contrasting motifs: a threefold tutti outburst on the fundamental tone (respectively, by an ascending motion leading in a triplet from the dominant tone underneath to the fundamental one), followed by a more lyrical response.

 

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Dvořák Symphony No 9 “New World” Celibidache, Münchner Philharmoniker, 1991: great compositions/performances

Dvořák Symphony No 9 “New World” Celibidache, Münchner Philharmoniker, 1991

1Furtwangler

Dvořák – Symohony No. 9 in E minor op. 95 “From The New World”
Münchner Philharmoniker conducted by Sergiu Celibidache
Recorded 1991
1. Adagio – Allegro molto
2. Largo
3. Scherzo. Molto vivace
4. Allegro con fuoco

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Pyotr Tchaikovsky – String Quartet No 1 in D Major, op.11: great compositions/performances

Pyotr Tchaikovsky – String Quartet No 1 in D Major, op.11

Valentin Dmitriev

CONCERT HALL OF THE MARIINSKY THEATRE
(Sunday, 11 November 2012)

The State Borodin Quartet:

Ruben Aharonian – violin
Sergei Lomovsky – violin
Igor Naidin – viola
Vladimir Balshin – cello

Pyotr Tchaikovsky
String Quartet No 1 in D Major, op.11:

I Moderato e semplice
II Andante cantabile
III Scherzo. Allegro non tanto e con fuoco — Trio
IV Finale. Allegro giusto — Allegro vivace
********************************************************

From Wikipedia, the free encyclopedia

 

The String Quartet No. 1 in D major, Opus 11, was Pyotr Ilyich Tchaikovsky‘s first completed string quartet of three string quartets, published during his lifetime. (An earlier attempt had been abandoned after the first movement had been completed.^[1]) Composed in February 1871, it was premiered in Moscow on 16/28 March 1871 by four members of the Russian Musical Society: Ferdinand Laub and Ludvig Minkus, violins; Pryanishnikov, viola; and Wilhelm Fitzenhagen, cello.

The quartet has four movements:

1. Moderato e semplice (D major)
2. Andante cantabile (B♭ major)
3. Scherzo. Allegro non tanto e con fuoco – Trio (D minor)
4. Finale. Allegro giusto – Allegro vivace (D major)

The melancholic Andante cantabile movement, which has become famous in its own right, was based on a folk song the composer heard at his sister’s house at Kamenka ^{[3] [4]} whistled by a house painter.^{[citation needed]} When the quartet was performed at a tribute concert for Leo Tolstoy, the author was said to have been brought to tears by this movement. “…Tolstoy, sitting next to me and listening to the Andante of my First Quartet, burst into tears” ^{[5] [6]}

When the Zoellner Quartet, at her request, performed the second movement for Helen Keller, who rested her fingertips on a resonant tabletop to sense the vibrations, she, too, reacted strongly.^[7]

Since the time of the composer, the Andante cantabile movement has frequently been performed in arrangements for string orchestra. The melody from the 2nd theme of the Andante cantabile, in D-flat major, was also used as the basis for the popular song “On the Isle of May”, popularized by Connee Boswell in 1940.

 

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Ludwig van Beethoven: Symphony no. 8 in F Major, Op 93: great compositions/performances

Ludwig van Beethoven: Symphony no.8 in F Major,  Op 93

    VerachtetmirdieMeisternicht

Symphony No 8 in F Major, op 93:

1. Allegro vivace e con brio
2. Allegretto scherzando
3. Tempo de Menuetto
4. Allegro vivace

Philharmonia Orchestra
Herbert von Karajan, conductor
(London, 20.V.1955)

****************************************

From Wikipedia, the free encyclopedia

 

The Symphony No. 8 in F Major, Op. 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.

Composition and premiere

Portrait of Beethoven in 1815, a year after the premiere of his 8th Symphony.

 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 27 February 1814, at a concert in the Redoutensaal, Vienna, at which the Seventh 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]

When asked by his pupil Carl Czerny why the Eighth was less popular than the Seventh, Beethoven is said to have replied, “because the Eighth is so much better.”^[7] A critic wrote that “the applause it received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short—as the Italians say—it did not create a furor.” Beethoven was angered at this reception.^[8] George Bernard Shaw, in his capacity as a music critic, agreed with Beethoven’s assessment of the work, writing that indeed, “In all subtler respects the Eighth is better [than the Seventh].”^[9] But other critics have been divided in their judgement.

Beethoven: Sonata cello & piano op. 102 nº 2. Rostropovich – Richter: great compositions/performances

Beethoven: Sonata cello & piano op. 102 nº 2. Rostropovich – Richter

  Ricardo Arenas

Ludwig van Beethoven (1770 – 1827).
Sonata cello & piano, op. 102 nº 2, in D major (1815).
Allegro con brio
Adagio con molto sentimento d´affetto
Allegro.
Mstislav Rostropovich, cello.
Sviastoslav Richter, piano.

Wieniawski-Violin Concerto No. 2 in d minor op. 22: great compositions/performances

Wieniawski–Violin Concerto No. 2 in d minor op. 22

   Kanaal van viool7

Isaac Stern: violin-Philadelphia Orchestra–Eugene Ormandy: conductor-1957

From Wikipedia, the free encyclopedia

 

Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate. The work is in three movements:

1. Allegro moderato in D minor/F major
2. Romance: Andante non troppo in B flat major
3. Allegro con fuoco – Allegro moderato (à la Zingara) in D minor/D major

Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time. The first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.

The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.

A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement’s subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.

Wieniawski’s second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.

Instrumentation

The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.

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Antonín Dvořák – Romantische Stücke, Op. 75: make music part ofyour life series

Antonín Dvořák – Romantische Stücke, Op. 75

  Wolfgang Amadé Mozart

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Romantische Stücke, Op. 75
1. Allegro moderato 3’24
2. Allegro maestoso 2’42
3. Allegro appassionato 2’27
4. Larghetto 6’01

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Ludwig van Beethoven: Piano Sonata No. 15 in D major, op. 28, “Pastoral”- Daniel Barenboim: great compositions/performances

Ludwig van Beethoven: Piano Sonata No. 15 in D major, op. 28, “Pastoral”. Daniel Barenboim, piano

  Pakito Palote

Ludwig van Beethoven (1770-1827)
Sonata para piano Nº 15 en Re mayor, “Pastoral”
(Compuesta en 1801)
1. Allegro
2. Andante

3. Scherzo: Allegro vivace
4. Rondo: Allegro ma non troppo
Daniel Barenboim, piano
***********************************************************
From Wikipedia, the free encyclopedia
Piano Sonata No. 15 in D major, Op. 28, is a piano sonata by Ludwig van Beethoven. It was named Pastoral or Pastorale by Beethoven’s publisher at the time, A. Cranz. While not as famous as its immediate predecessor, Piano Sonata No. 14, it is generally admired for its intricate technicality as well as for its beauty. The sonata takes roughly twenty-five minutes to play with its intended repeats.

Published in 1801, the work is dedicated to the Count Joseph von Sonnenfels.

Structure

The sonata is in D major, and follows the typical four-movement form of the classical sonata.

1. Allegro, 6/8
2. Andante, 2/4
3. Scherzo: Allegro vivace, 3/4
4. Rondo: Allegro ma non troppo, 6/8

“Pastoral”

It has been debated whether the title ‘pastoral’ refers to the sense of countryside and nature (the 6th symphony pastoral sense), or to its sense of calm, simplicity and lightness. Beethoven’s publishers had a tendency to name his sonatas without consulting Beethoven himself. Beethoven wrote most of his works with greatly contrasting parts, and behaves no differently in this sonata. Though its first and last movements can well be described as “pastorale,” the inner two movements do not partake of those qualities at all.

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Duo Kontarsky: BIZET, Jeux d’enfants Op.22 – 1982 *vinyl*: great compositions/performances

Duo Kontarsky @ BIZET Jeux d’enfants Op.22 – 1982 *vinyl*

  Emilio Pessina

Georges BIZET: Jeux d’enfants Op.22, 12 pieces for piano 4 hands
0:05 / 1. L’Escarpolette (Reverie. Andantino) [2’52”]
2:57 / 2. La Toupie (Impromptu. Allegro vivo) [0’57”]
3:53 / 3. La Poupée (Berceuse. Andantino semplice) [2’49”]
6:42 / 4. Les Chevaux de Bois (Scherzo. Allegro vivo) [1’18”]
8:01 / 5. Le Volant (Fantaisie. Andantino molto) [1’14”]
9:15 / 6. Trompette et Tambour (Marche. Allegretto) [2’07”]
11:22 / 7. Les Bulles de Savon (Rondino. Allegretto) [1’22”]
12:44 / 8. Les Quatre Coins (Esquisse. Allegro vivo) [2’07”]
14:52 / 9. Colin-Maillard (Nocturno. Andante non troppo) [1’58”]
16:50 / 10. Saute-Mouton (Caprice. Allegro molto) [1’21”]
18:10 / 11. Petit Mari, petite Femme! (Duo. Andantino) [3’00”]
21:10 / 12. Le Bal (Galop. Presto) [1’39”]
Alfons & Aloys Kontarsky, piano (rec. 1982 – vinyl (p)1983 DGG)
_______________________________________
Alfons & Aloys KONTARSKY – piano duet *vinyl*
http://www.youtube.com/playlist?list=…
_______________________________________
(c) COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

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Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky: great compositions/performances

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky

  SymphonyOfAThousand

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky
Composed in 1875

I. Introduzione e Allegro. Moderato assai (Tempo di marcia funebre) – Allegro brillante (0:00)
II. Alla tedesca. Allegro moderato e semplice – Trio (15:30)
III. Andante. Andante elegiaco (26:38)
IV. Scherzo. Allegro vivo – Trio (36:32)
V. Finale. Allegro con fuoco (Tempo di polacca) (42:42)

Royal Philharmonic Orchestra
Yuri Temirkanov, cond.
Recorded in 1991
http://www.amazon.com/6-Symphonies-P-…

***Image: Tchaikovsky (published 1906), courtesy Wikipedia

“The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.”

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JOHANNES BRAHMS.- Serenade Nº2 A-Dur Op 16: make music part of oyur life series

JOHANNES BRAHMS.- Serenade Nº2 A-Dur Op 16

  Carlos Garcia

JOHANNES BRAHMS.-

Serenade Nº2 A-Dur Op 16

1. Allegro moderato (la mayor)
2. Scherzo. Vivace (do mayor) — Trio (fa mayor)
3. Adagio non troppo (la menor)
4. Quasi menuetto (re mayor) — Trio (si sostenido menor)
5. Rondo. Allegro (la mayor)

Orquesta de cámara Scottish
Director. Charles Mackerras

Serenade (Brahms)

The two serenades, opp. 11 and 16 represent two of the first attempts to Johannes Brahms orchestral writing. Both date from the 1850s, specifically the period when he worked at the court of Detmold. According to his biographers that period was quiet and restful, and yet at the same time composing diabolical first piano concerto, composed some choral pieces and the sextet for strings, op. 18.
Serenade No. 2 in A major, op. 16.

The second serenade was written between 1857 and 1860, and is dedicated to Clara Schumann. It is very striking orchestration: not timpani, trumpets, and violins. In this sense it is often associated with opera Uthal Etienne Mehul.
In 1875 Brahms revised the score for a new edition, usually used today. Some authors have suggested that the peculiar orchestration resulted from this review. Others deny it.
Serenade has five movements and lasts about thirty minutes.

Felix Mendelssohn: Symphony No.3 – Blomstedt/RCO(2008Live): Great compositions/performances

Mendelssohn: Symphony No.3 – Blomstedt/RCO(2008Live)

  Magisch meisje Orkest

Felix Mendelssohn (1809-1847)
Symphony No.3 in A minor, op.56 “Schottische“
Herbert Blomstedt
Royal Concertgebouw Orchestra
Concertgebouw, Amsterdam, 17 10/2008
*************************************************

From Wikipedia, the free encyclopedia

The Symphony No. 3 in A minor, Op. 56, known as the Scottish, is a symphony by Felix Mendelssohn, composed between 1829 and 1842.

Form

It is in four movements, marked as follows:

1.  Andante con moto — Allegro un poco agitato
2.  Vivace non troppo (in F major)
3.  Adagio (in A major)
4.  Allegro vivacissimo — Allegro maestoso assai (A minor → A major)

The emotional scope of the work is wide, consisting of a grand first movement, a joyous and fairly brief second movement, a slow movement maintaining an apparent struggle between love and fate, and a finale that takes its components from Scottish folk dance. The lively second movement is melodically and rhythmically in the style of Scottish folk music, although no direct quotations have been identified. A peculiarity lies in the coda of the finale, where Mendelssohn introduces a complete new German majestic theme to close the work in a completely different manner from the rest of the finale.

History

Mendelssohn claimed to have been inspired to write the symphony during his first visit to Britain in 1829.^[1][2][3] After a series of successful performances in London, Mendelssohn embarked on a walking tour of Scotland with companion Karl Klingemann.^[3] On 30 July, Mendelssohn visited the ruins of a chapel at Holyrood Palace in Edinburgh, where he had his initial idea for the piece.^[1][2] He described the experience in a letter, in which he included a draft of the symphony’s opening theme.^[3] Mendelssohn and his companion later visited Staffa, which inspired the composer to write the Hebrides, a task which occupied him until its completion in 1830.^[3]

After completing the Hebrides, Mendelssohn continued to work on his initial sketches of what would become Symphony No. 3 while touring Italy.^[3] However, he struggled to make progress, and after 1831 set the piece aside.^[3]

Mendelssohn returned to the symphony in 1841 and completed it in Berlin on 20 January 1842.^[2][4] Although it was the fifth and final of Mendelssohn’s symphonies to be completed, it was the third to be published, and has subsequently been known as Symphony No. 3.^[3]

Premiere

The premiere took place on 3 March 1842 in Leipzig.
*******************************************************************

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Dmitri Shostakovich: Piano Concerto No.2 in F major – D. Shostakovich, A. Cluytens: make music part of your life series

Dmitri Shostakovich: Piano Concerto No.2 in F major – D. Shostakovich, A. Cluytens

  ARv1

Faces of Classical Music
http://facesofclassicalmusic.blogspot…

Dmitri Shostakovich (1906-1975)

Piano Concerto No.2 in F major, Op.102 (1957)

i. Allegro
ii. Andante
iii. Allegro

Dmitri Shostakovich, piano

Orchestre National de la Radiodiffusion Française
André Cluytens

Recorded in 1958 (Mono)

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Great compositions/performances: Ivry Gitlis: PAGANINI Violin Concerto No.2 – Stuttgart RSO, S.Skrowaczewski, live 1972

Ivry Gitlis: PAGANINI Violin Concerto No.2 – Stuttgart RSO, S.Skrowaczewski, live 1972

  Emilio Pessina

Niccolò PAGANINI: Violin Concerto No.2 in B minor Op.7 “La Campanella“
0:10 / I. Allegro maestoso (11:43 Cadenza: Ivry Gitlis) [13’27”]
13:37 / II. Adagio [6’25”]
20:03 / III. Rondo à la clochette [6’56”]
(26:54 applause)
Ivry Gitlis, violin
Stuttgart Radio Symphonieorkester
Stanislaw Skrowaczewski, conductor
(rec: live, Stuttgart, 13 June 1972)
_______________________________________
GITLIS PLAYS PAGANINI CONCERTO #2:
1966 Philips / S.Wislocki: http://youtu.be/HED1maX-Sns
1966 video / III. / S.Wislocki: http://youtu.be/UAXQk5KcfKE
1972 live / S.Skrowaczewski: http://youtu.be/MorEnNXWYsQ
_______________________________________

From Wikipedia, the free encyclopedia

 

Ivry Gitlis
Ivry Gitlis at home (Paris, 2010)
Background information
Birth name	Ivry (Yitzhak-Meir) Gitlis
Born	25 August 1922 (age 92) Haifa, Palestine Mandate, now Israel
Genres	Classical
Occupations	violinist, pedagogue, writer, actor
Instruments	Violin
Years active	1949 to present
Notable instruments
the “Giovanni Battista Rogeri“, 1699 the “Chant du Cygne” Stradivarius, 1737 the “Ysaye” Guarnerius, 1740 the “Sancy” Stradivarius, 1713

Ivry Gitlis (Hebrew: עברי גיטליס‎; born Haifa, Israel 25 August,^[1] 1922) is an Israeli violinist and UNESCO Goodwill Ambassador. He has performed with the world’s top orchestras, including the New York Philharmonic, Berlin Philharmonic, Vienna Philharmonic, Philadelphia Orchestra, and Israel Philharmonic Orchestra.

Schubert – Symphony no. 8 in B minor D 759 “Unfinished” (KARAJAN – Philarmonia Orchestra): great compositions/performances

Schubert – Symphony no. 8 in B minor D 759 “Unfinished” (KARAJAN – Philarmonia Orchestra)

   Massimo Montanari

Franz SCHUBERT:   Symphony no. 8 in B minor D 759 “Unfinished”

I. Allegro moderato
II. Andante con moto

Philarmonia Orchestra with  Herbert Von KARAJAN, Conductor

(Recorded: 1955)

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Franz Schubert . Rosamunde, la princesse de Chypre: make music part of your life series

Franz Schubert . Rosamunde, la princesse de Chypre

   Hadjout Marengo

Franz Schubert . Rosamunde ,la princesse de Chypre. Complète.
1. The Magic Harp.
2.Entr´act music nr.1
3.Ballet Music
4. entr´act music nr.2
Orchestre Philarmonia Slovanika dirigé par Alberto Lizzio
Rosamunde, D 797, est une musique de scène en une ouverture et dix parties (dont quatre chantées) composée par Franz Schubert en 1823 pour la pièce Rosamunde, princesse de Chypre de Helmina von Chézy. La pièce est tombée dans l’oubli mais la musique, en particulier celle de l’ouverture et du troisième entracte, reste une des plus populaires du compositeur et est régulièrement présente au répertoire des grands orchestres.Deux ouvertures sont associées à Rosamunde. Celle actuellement jouée est celle de Die Zauberharfe (« la Harpe enchantée », D 644), la seconde était initialement destinée par Schubert à son opéra Alfonso und Estrella (D 732).Le corps de l’œuvre est écrit pour soprano, chœur et orchestre et comporte dix parties :
Entracte n° 1 : Allegro molto moderato en si mineur
Musique de ballet n° 1 : Allegro moderato en si mineur, Andante un poco assai en sol majeur
Entracte n° 2 : Andante en ré majeur
Romance : « Der Vollmond strahlt auf Bergeshöh’n » : Andante con moto en fa mineur
Chœur des esprits : « In der Tiefe wohnt das Licht » : Adagio en ré majeur
Entracte n° 3 : Andantino en si bémol majeur
Mélodies des bergers : Andante, sextuor pour clarinettes, bassons et cors
Chœur des bergers : « Hier auf den Fluren » : Allegretto
Chœur des chasseurs : « Wie lebt sich’s so fröhlich im Grünen » : Allegro moderato
Musique de ballet n° 2 : Andantino en sol majeur
L’œuvre fut créée en 1823 au Theater an der Wien.Certains pensent que l’entracte n° 1 pourrait être le finale manquant de la Symphonie inachevée (Mackerras enregistra la symphonie en 1990 avec ce finale hypothétique).
Le thème du troisième entracte de Rosamunde a été réutilisé par Schubert dans le Quatuor à cordes n° 13 et dans l’ Impromptu D 935, où il sert de thème à six variations pour piano.L’ouverture fut utilisée par Samuel Goldwyn dans son film Hans Christian Andersen (1952) pour une scène de ballet exécutée par Zizi Jeanmaire.Certains passages se retrouvent dans le chant de Noël Mille cherubini in coro interprété par Luciano Pavarotti au cours de son concert de Noël en 1980.

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Edward Elgar – Allegro for strings, Op.47 & Serenade for strings, Op.20: make music part of your life series

Edward Elgar – Allegro for strings, Op.47 & Serenade for strings, Op.20

  Classical Music

1. Introduction and Allegro for string quartet & string orchestra in G major, Op. 47

Serenade for strings in E Minor, Op.20:
2. Allegro piacevole
3. Larghetto
4. Allegretto

The Royal Philharmonic Orchestra
Conductor, Barry Wordsworth.

Sir Edward Elgar’s Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players’ virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes.
The work is dedicated to Samuel Sanford, who had been instrumental in having Elgar awarded an honorary doctorate of music at Yale University on 28 June 1905, where the Pomp and Circumstance March No. 1 was played for the first time at such a conferral ceremony.

Serenade for Strings in E minor, Op. 20, is a piece for string orchestra in three short movements, by Edward Elgar.
It was written in March 1892 and first performed in private in that year, by the Worcester Ladies’ Orchestral Class, with the composer conducting. It received its first public performance in Antwerp, Belgium on 21 July 1896.
Dedicated to the philosopher W. H. Whinfield, it is approximately 12 minutes in duration.
Although not formally published until 1892, the Serenade is believed to be a reworking of a suite Elgar had written some years earlier, before he had firmly set his sights on a career as a composer. Apart from the two suites called The Wand of Youth, it is therefore probably the earliest of his compositions to survive into the standard repertoire. Certainly, it has a youthful charm while at the same time displaying indications of the skills Elgar developed as he progressed towards musical maturity. It is reportedly the first of his compositions with which he professed himself satisfied.
The central Larghetto is generally accepted as containing the work’s finest and most mature writing. The work remains among the most frequently performed of all his music.

Related articles

• Edward Elgar – Allegro for strings, Op.47 & Serenade for strings, Op.20
• P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev) Erudite Music Channel: make music part of your life series
• P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev): make music part of your life series
• Elgar’s Symphony #2.

Robert Schumann: Introduction & Allegro in D minor Op. 134: make music part of your life series

Robert Schumann: Introduction & Allegro in D minor Op. 134

  operazaile
Robert Schumann (1810-1856)

Introduction and Concert-Allegro in D minor for piano and orchestra,
Op. 134 (1853)

Tzimon Barto, piano
NDR Sinfonieorchester
Christoph Eschenbach
2009.

Alessandro Marcello, Concerto in D minor for Oboe, Strings Orchestra and Continuo: make music part of your life series

Alessandro Marcello, Concerto in D minor for Oboe, Strings Orchestra and Continuo

  Czarmuzyki Ewa Chamiec
*********************************************************************
Alessandro Marcello -Concerto in D minor for Oboe, Strings Orchestra and Continuo. Jak ten Koncert grają Czesi w Wenecji?
– Allegro moderato
– Adagio
– Allegro/
Dyryguje Josef Vlach.
—————-
Nagrania oryginalne, CD (zbiory pryw.).

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev) Erudite Music Channel: make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

   Erudite Music Channel
P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991

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• Tchaikovsky – Symphony No. 2 in C minor, Op. 17 (“Little Russian”)
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Sergei Rachmaninoff -Symphonic Dances, Op. 45: great compositions/performances

Sergei Rachmaninoff –Symphonic Dances, Op. 45

  Wolfgang Amadé Mozart

V. Polyansky – Russian State SO

Sergei Rachmaninoff -Symphonic Dances, Op. 45
I. Non allegro
II. Andante con moto (Tempo di valse)
III. Lento assai – Allegro vivace – Lento assai – Come prima – Allegro vivace

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

Schumann – Symphony No 2 in C major, Op 61 – Harding: make music part of your life series

Schumann – Symphony No 2 in C major, Op 61 – Harding

  Opus 13

Robert Schumann
Symphony No 2 in C major, Op 61

1 Sostenuto assai – Allegro, ma non troppo
2 Scherzo. Allegro vivace
3 Adagio espressivo
4 Allegro molto vivace

Mahler Chamber Orchestra
Daniel Harding, conductor

London, Proms 2013

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• make music part of your life series: Robert Schumann Symphonic Studies (Etudes Symphoniques) op.13 (complete) Mehmet Okonsar,piano

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev): make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

  Erudite Music Channel

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991

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• Tchaikovsky – Symphony No. 2 in C minor, Op. 17 (“Little Russian”)
• Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor): make music part of your life series

Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi: make music part of your life series

3. Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi

   hezixiao

Antonio Vivaldi The Four Seasons Autumn (concerto for violin in F major) Op.8/3. Concucted and violin solo by Fabio Biondi.
Movements:

1. Allegro
2. Adagio molto
3. Allegro

   ****************************************

From Wikipedia, the free encyclopedia

The Four Seasons (Vivaldi)

The fact that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. by Groves dictionary). (Photo credit: Wikipedia)

The Four Seasons (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi. Composed in 1725, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces in the classical music repertoire. The texture of each concerto is varied, each resembling its respective season. For example, “Winter” is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas “Summer” evokes a thunderstorm in its final movement, which is why the movement is often called “Storm” (as noted in the list of derivative works).

The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi’s Op. 8, entitled Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention). Vivaldi dedicated their publication to a Bohemian patron, Count Václav Morzin (of Vrchlabí 1676–1737), and in so mentioned the count’s longstanding regard for these four, in particular (which had apparently been performed with the nobleman’s orchestra, in Prague’s Morzin Palace)—although his dedication may have been closely related to the completion of an Augustinian monastery that year,^[1] where Vivaldi, a priest himself, refers to Morzin, the church’s dedicator, as “Chamberlain and Counsellor to His Majesty, the Catholic Emperor”—while (as Maestro di Musica in Italy) Vivaldi presents them anew, with sonnets or enhancements for clear interpretation.^[2] The first four concertos are designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones (and these movements likewise vary in tempo amid the seasons as a whole). At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra)^{[citation needed]}. Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form of the concerto^{[citation needed]}.

List of concertos and movements

• Concerto No. 1 in E major, Op. 8, RV 269, “La primavera” (Spring)
  1. Allegro
  2. Largo e pianissimo sempre
  3. Allegro pastorale
• Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer)
  1. Allegro non molto
  2. Adagio e piano – Presto e forte
  3. Presto
• Concerto No. 3 in F major, Op. 8, RV 293, “L’autunno” (Autumn)
  1. Allegro
  2. Adagio molto
  3. Allegro
• Concerto No. 4 in F minor, Op. 8, RV 297, “L’inverno” (Winter)
  1. Allegro non molto
  2. Largo
  3. Allegro

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• Great Compositions/Performances: Antonio Vivaldi – The Four Seasons Salvatore Accardo, conducting

Liszt – Piano Concerto No. 1 in Eb, S.124 (Richter): great compositions/performances

Franz Liszt: Piano Concerto #1 in Eb S.124(Richter)

  SuperOllywood

Performed by: Sviatoslav Richter
Better quality, all in one video and in widescreen!
00:04 – 1st Movement – Allegro Maestoso
05:14 – 2nd Movement – Quasi Adagio
10:14 – 3rd Movement – Allegretto Vivace
14:12 – 4th Movement – Allegro Marziale Animato

• Purchase

  • Piano Concerto No. 1, in E-Flat: Allegretto vivace: Allegro animato (Google Play • AmazonMP3 • iTunes • eMusic)

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• Antonio Meneses: Mendelssohn Cello Sonata 2
• Schubert Sonatas.

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

Mendelssohn / String Symphony No. 2 in D major

  scrymgeour34

String Symphony No. 2 in D major (1821) Movements:

00:00 – Allegro
04:04 – Andante
08:13 – Allegro vivace

(Performed by the Northern Chamber Orchestra under the direction of Nicholas Ward.)

“Mendelssohn wrote his twelve String Symphonies between 1821 and 1823. The first seven were all composed in 1821, with the eighth a year later, dated 27th November 1822, and the ninth, tenth, eleventh, and twelfth, completed in March, May, July and September 1823 respectively. A thirteenth symphony, started in December that year, was replaced by a fully orchestrated work, to become his Symphony No. 1 in C major, Op. 11. The string symphonies were written when Mendelssohn was a pupil of Zelter and reflect the inclinations of the teacher and Mendelssohn’s own clear debt to earlier classical models, with an increasing interest in the contrapuntal practices of Bach and Handel. This last is evident in the minor key Andante of the String Symphony No. 2 in D major, with its exploration of contrasting string textures, with a more classical use of imitative counterpoint in the final Allegro vivace.” – Keith Anderson

Drawing: Boy Copying the Head of a Roman Emperor, Michael Sweerts

 

 

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

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

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

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

Wolfgang Amadeus Mozart – Piano Concerto No. 8 in C major, KV 246

  Wolfgang Amadé Mozart

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

• Purchase

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

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

***from    KuhlauDilfeng2

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

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

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

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

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

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

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

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

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

***From Wikipedia, the free encyclopedia:

List of compositions by Franz Schubert by genre

***Related articles

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• Schubert – Symphony no. 5 in B flat major IV. Allegro vivace, Macau Youth SO & Veiga Jardim

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

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

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

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

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

From Carlos Garcia

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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• Arthur Rubinstein plays Frédéric Chopin Piano Concerto N.º 2 Op. 21 in F minor with London Symphony Orchestra conducted by André Previn
• Great Compositions/Performances: Liszt 3 Concert Etudes No 3 Un Sospiro Arrau Rec 1974
• Claudio Arrau
• Vladimir Horowitz 1950 / Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”: unique musical moments

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

FROM:

    scrymgeour34

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

Franz Schubert (1797-1828)

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

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

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

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

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

Erno Dohnanyi (1877-1960):
Serenade Trio for Strings in C Major, Op.10 (1902 – Hungary)
1. Marcia (Allegro)
2. Romanza (Adagio non troppo, quasi andante) 1:48
3. Scherzo (Vivace) 5:07
4. Tema con variazio, (Andante con moto) 8:48
5. Rondo (Finale) (Allegro vivace) 13:54

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

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

From:

    incontrario motu

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

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

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

Vadim Rudenko
Nikolai Luganski
Live recording, Moscow

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

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

Frederick Chopin – Krakowiak Op.14

Grande rondò da concerto.

FROM:

Canale di TempodiClassica
Tonalità: Fa Maggiore.
Data: 1827-28.
Dedica: À Madame la Princesse Anna Czartoryska.
Organico: Pianoforte, 2 Flauti, 2 Oboi, 2 Clarinetti, 2 Fagotti, 2 Corni, 2 Trombe, Timpano, Archi.

Introduzione:
Andantino quasi Allegretto 0:00
Allegro molto 1:42

Rondò:
Allegro non troppo 2:12
Poco più lento 11:29
Poco meno mosso 13:38

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