Historic Musical Bits: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Édouard Lalo (Photo credit: Wikipedia)

Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Published on Oct 24, 2012

Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo

• Music

  • “Symphonie espagnole, Op. 21: III. Intermezzo. Allegretto Non Troppo” by Isaac Stern;The Philadelphia Orchestra;Eugene Ormandy (Google Play • iTunes • AmazonMP3)

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From Wikipedia, the free encyclopedia

The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.

History

The work was written in 1874 for violinist Pablo de Sarasate, and premiered in Paris in February 1875.

Although called a “Spanish Symphony” (see also Sinfonia concertante), it is considered a violin concerto by musicians today. The piece has Spanish motifs throughout, and launched a period when Spanish-themed music came into vogue. (Georges Bizet‘s opera Carmen premiered a month after the Symphonie espagnole.)

The Symphonie espagnole is one of Lalo’s two most often played works, the other being his Cello Concerto. His “official” Violin Concerto in F, and his Symphony in G minor, written thirteen years later, are neither performed nor recorded as often.^{[citation needed]}

Structure

1. Allegro non troppo
2. Scherzando: Allegro molto
3. Intermezzo: Allegro non troppo
4. Andante
5. Rondo: Allegro

A typical performance runs just over one-half hour. One of the shorter recordings, conductor Eugene Ormandy’s 1967 recording with the Philadelphia Orchestra, featuring violinist Isaac Stern, runs 32 minutes and 43 seconds.^[1]

Influence on Tchaikovsky

The Symphonie espagnole had some influence on the genesis of Tchaikovsky‘s Violin Concerto in D major. In March 1878, Tchaikovsky was staying at Nadezhda von Meck‘s estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and possibly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. These included the Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on a piano sonata and started on the concerto on 17 March.^[2] With Kotek’s technical help, the concerto was finished by 11 April.

References

 

• “Lalo: Symphonie Espagnole”. CD Universe. Retrieved 26 January 2014.
• Detroit Symphony Orchestra

 

 

Historic Musical bits, 12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45, Serkin/Casals, great compositions/performances

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45

Various Artists – Topic

Published on September 25, 2014

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabaeus for Cello and Piano, WoO 45

Rudolf Serkin / 魯道夫塞爾金
Pablo Casals / 卡薩爾斯

℗ Originally released 1953 SONY BMG MUSIC ENTERTAINMENT

Released on: 1993-11-08

Associated Performer, Piano: Rudolf Serkin / 魯道夫塞爾金
Associated Performer, Cello: Pablo Casals / 卡薩爾斯
Producer: Producer not documented on available sources
Composer: Ludwig Van Beethoven (1770-1827) / Ludwig Van Beethoven

Auto-generated by YouTube.

• Music

  • “12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabaeus for Cello and Piano, WoO 45″ by Rudolf Serkin;Pablo Casals (AmazonMP3)

Tchaikovsky – Suite No. 4 in G major “Mozartiana”, Op. 61 (FULL)

Classical Music

Published on Apr 29, 2014

The Orchestral Suite No. 4, Op. 61, more commonly known as Mozartiana, is an orchestral suite by Pyotr Ilyich Tchaikovsky, written in 1887 as a tribute to Wolfgang Amadeus Mozart on the 100th anniversary of that composer’s opera Don Giovanni. Because this suite consists of four orchestrations of piano pieces by (or in one case, based on) Mozart, Tchaikovsky did not number this suite with his previous three suites for orchestra. Instead, he considered it a separate work entitled Mozartiana. Nevertheless, it is usually counted as No. 4 of his orchestral suites.

Tchaikovsky conducted the premiere himself, in Moscow in November 1887. It was the only one of his suites he conducted, and only the second at whose premiere he was present.

Pyotr Iliyich Tchaikovsky (May 7, 1840 — November 6, 1893) was a Russian composer of the Romantic era. His wide-ranging output includes symphonies, operas, ballets, instrumental, chamber music and songs. He wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, his last three numbered symphonies, and the opera Eugene Onegin.

Born into a middle-class family, Tchaikovsky was educated for a career as a civil servant, despite his obvious musical precocity. He pursued a musical career against the wishes of his family, entering the Saint Petersburg Conservatory in 1862 and graduating in 1865. This formal, Western-oriented training set him apart from the contemporary nationalistic movement embodied by the influential group of young Russian composers known as The Five, with whom Tchaikovsky’s professional relationship was mixed.
Free video background: http://www.free-video-footage.com

 

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114 , great compositions

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114

whomakemefeel

Uploaded on May 11, 2009

Johann Sebastian Bach (1685 † 1750)

Work: Minuet No.1 in G major (Anna Magdalena Notebook II/1), BWV Anh.114 Anna Magdalena Bach Clavier-Büchlein

Rimsky-Korsakov – Russian Easter Festival Overture, Op. 36 (1888), played on period instruments

musicanth

Uploaded on May 26, 2011/11,937 views

Russian Easter Festival Overture, Op. 36 (1888)

A concert overture by Russian composer Nikolai Rimsky-Korsakov (1844-1908), based on themes from Russian Orthodox liturgical chant. In particular, Rimsky-Korsakov uses chant melodies from the “Obikhod” collection, referencing a number of biblical passages including Psalm 68 and Mark 16. The intention in this overture is not devotional – indeed, Rimsky-Korsakov was an atheist – but he attempted to capture “the legendary and heathen aspect of the holiday, and the transition from the solemnity and mystery of the evening of Passion Saturday to the unbridled pagan-religious celebrations of Easter Sunday morning” (quoted from the composer’s autobiography). The piece is also notable for its use of the unusual 5/2 and 3/1 time signatures.

This recording was made by conductor Jos van Immerseel and the Anima Eterna Orchestra, which plays on period instruments.

 

 

 

 

Angela Gheorghiu – Je dis que rien ne me epouvante – Carmen Bizet, great compositions/performances

Bizet: Angela GHEORGHIU – Je dis que rien ne me epouvante – Carmen

Alice Bathory

Uploaded on Aug 3, 2007

Angela Gheorghiu sings Micaela’s aria “Je dis que rien ne me epouvante”, in Bizet’s opera ‘Carmen’, Conducted by James Levine.
(MET, 1997)

Je dis que rien ne m'épouvante, Micaëla's aria from Carmen

C'est des contrebandiers le refuge ordinaire.   It is the smugglers ordinary 
                            refuge.
Il est ici; je le verrai!           He is here, I will see him!
Et le devoir que m'imposa sa mère       And the task that his mother 
                            imposed
Sans trembler je l'accomplirai          Without  trembling, I will 
                            accomplish it.

Je dis que rien ne m'épouvante,     I say that nothing can frighten me.
Je dis, hélas! que je réponds de moi;   I say, alas, that I respond to myself;
Mais j'ai beau faire la vaillante...    But I play the part of the courgeous
                        one in vain...
Au fond du coeur je meurs d'effroi! From the bottom of my heart, I die of 
                        fear!
Seule en ce lieu sauvage        Alone in this savage place
Toute seule j'ai peur,          All alone I am afraid,
Mais j'ai tort d'avoir peur.        But I am wrong to have fear.
Vous me donnerez du courage;        You will give me courage;
Vous me protégerez, Seigneur!       You will protect me, Lord!

Je vais voir de près cette femme,   I am going to see face to face this
                        woman,
Dont les artifices maudits      Whose cursed guile
Ont fini par faire un infâme        Has ended up to make a vile person
De celui que j'aimais jadis!        Of him that I love once!
Elle est dangereuse...elle est belle!   She is dangerous, she is beautiful!
Mais je ne veux pas avoir peur!     But I do not want to be afraid!
Non, non, je ne veux pas avoir peur!    No, no, I do not want to be afraid!
Je parlerai haut devant elle...ah!  I will speak up before her...ah!
Seigneur, vous me protégerez.       Lord, you will protect me.
Protégez-moi!  Ô Seigneur!      Protect me!  O Lord!
Donnez-moi du courage!          Give me courage!

Word by word translation by Terri Eickel

J. S. Bach-Swingle Singers – Transcription of 1st Movement from Brandenburg Concerto n. 3 BWV 1048, great compositions/performances

J. S. Bach-Swingle Singers – Transcription of 1st Movement from Brandenburg Concerto n. 3 BWV 1048

Marcello Gandolfi

Swingle Singers “a cappella”
Brandeburg Concerto n. 3 BWV 1048 in G Major

For the original see: http://www.youtube.com/watch?v=20tau1…

Johann Swingle Bach Playlist: http://www.youtube.com/watch?v=20tau1…

J.S. Bach: MAGNIFICAT – D-Dur BWV 243 (1723,1730) Monteverdi Chor: great compositions/performances

J.S. Bach: MAGNIFICAT [complete version]

Monteverdi Chor

Johann Sebastian Bach (1685 – 1750):
MAGNIFICAT – D-Dur BWV 243 (1723,1730)
– historically informed performance on period instruments

Anna Nesyba – Soprano I
Monteverdichor Würzburg
Monteverdi Ensemble
Matthias Beckert (cond.)

26.10.2014, Neubaukirche, Würzburg, Germany

Yo-Yo Ma plays Schubert: Arpeggione Sonata D821 for Cello & Piano -Emanuel Ax, piano: great compositions/performances

Schubert: Arpeggione Sonata D821 for Cello & Piano

    tnsnamesoralong

Franz Schubert (1797-1828)
Schubert: Arpeggione Sonata D821 for Cello & Piano (1/3)

Yo-Yo Ma (Violincello)
Emanuel Ax (Piano)
IMHO, the best performance

***1st movement’s exposition:
00:00 First theme
01:10 Second theme
Repeat-Exposition:
02:47 First theme
03:59 Second theme
Development:
05:38 Pre-core
05:50 Core
07:01 Standing on the Dominant
Recapitulation:
07:43 First theme
08:58 Second theme
10:09 Coda

11:03 2nd movement

15:24 3rd movement

Thanks to jeffreyFUU for additional information

Dedicated to: http://klasszikusok.blog.hu/2010/08/2…
*************************************************************

Franz Schubert:  Arpeggione Sonata

From Wikipedia, the free encyclopedia

 

The Sonata in A minor for Arpeggione and Piano, D. 821, was written by Franz Schubert in Vienna in November 1824. The sonata is the only substantial composition for the arpeggione (which was essentially a bowed guitar) which remains extant today. It belongs to the same period as the Death and the Maiden Quartet, when Schubert was suffering from the advanced stages of syphilis and lapsing into increasingly frequent episodes of depression.

History

The piece was probably commissioned by Schubert’s friend Vincenz Schuster, who was a virtuoso of the arpeggione, an instrument which had been invented only the previous year. By the time the sonata was published posthumously in 1871, the enthusiasm for the novelty of the arpeggione had long since vanished, together with the instrument itself.^[1]

Today, the piece is heard almost exclusively in transcriptions for cello and piano or viola and piano that were arranged after the posthumous publication, although versions that substitute other instruments, including the double bass, the flute, the euphonium and the clarinet, or the guitar for the piano part are also performed. [1] Transcribers have attempted to address the problems posed by the smaller playing range of these alternative instruments, in comparison with the arpeggione, as well as the attendant modifications in articulation (4 versus 6 strings).

The work has been recorded in the original version by the following musicians:

• Klaus Storck and Alfons Kontarsky (1974, LP No 2533 174 on the Archiv Produktion label). Klaus Storck played an arpeggione attributed to Anton Mitteis, a student of the instrument’s inventor, Johann Georg Stauffer; Alfons Kontarsky played a Brodmann fortepiano built in Vienna ca. 1810.
• Alfred Lessing and Jozef De Beenhouwer (2000–2001, Ars Produktion FCD 368 392). Played on a copy by Henning Aschauer of an early 19th-century instrument built either by J. G. Staufer or by Anton Mitteis, at present in the Musical Instrument Collection of the Prussian Cultural Heritage Foundation and on the 1824 Conrad Graf pianoforte from the Beethoven House in Bonn.
• Gerhart Darmstadt and Egino Klepper (2005, Cavalli Records CCD 242)
• Nicolas Deletaille and Paul Badura-Skoda (2006–2007, Fuga Libera FUG529). This recording was made in Firenze (Accademia Bartolomeo Cristofori) on a Benjamen La Brigue arpeggione (2001) and the fortepiano is a Conrad Graf (C. 1820)
• Nicolas Deletaille and Alain Roudier

Movements

The work consists of three movements. A typical performance takes just over 20 minutes.

1. Allegro moderato
2. Adagio in E major
3. Allegretto in A major

Noted arrangements

• Gaspar Cassadó – Arr. for Cello
• Göran Söllscher – Arr. for Violin and Guitar

Relates Posts: HERE .. HERE .. HERE

Romeo And Juliet: Queen Mab Scherzo: make music part of your life series

Romeo And Juliet: Queen Mab Scherzo

  Sauter-Finegan Orchestra – Topic

Romeo And Juliet: Queen Mab Scherzo
Charles Munch
The Paris Conservatory Orchestra
(℗ 2011 Essential Media Group LLC)

Released on: 2011-02-01
***Composer: Hector Berlioz
***Orchestra: The Paris Conservatory Orchestra

 

Bach Harpsichord Concerto D minor BWV 1052 Pierre Hantaï, Le Concert des Nations Jordi Savall: great compositions/performances

Bach Harpsichord Concerto D minor BWV 1052 Pierre Hantaï, Le Concert des Nations Jordi Savall

La Casa di Davide

Johann Sebastian Bach Keyboard Concerto BWV 1052 in D minor
Pierre Hantaï, harpsichord
Le Concert des Nations conducted by Jordi Savall
Allegro 0:00
Adagio 7:40
Allegro 13:30

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051: make music part of your life series

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051- Complete

davidhertzberg

From the LP shown above, issued on the Philips label in 1965.

Allegro (0:06)
Adagio ma non tanto (7:00)
Allegro (13:06)

The Brandenburg Concertos are a group of six concerts by Johann Sebastian Bach (BWV 1046-1051). They are dedicated to the Margrave Christian Ludwig of Brandenburg-Schwedt (1677–1734), the stream had met in winter 1718/1719 in Berlin. In September 1721 he sent him the score with an extensive dedication. The title Brandenburg Concertos was coined by Philipp Spitta incurred in its 1873–1879 Bach Biography and has now been generally adopted. Bach’s original title is “Six Concerts Avec plusieurs instruments”. The six concerts have a high stylistic and structural diversity. In its mixture of different historical and forward-looking elements to form a personal, yet universal form of expression.

Georg Friedrich Händel: Feuerwerksmusik, German Handel Soloists, cond. Holger Speck: great compositions/performances

Georg Friedrich Händel: Feuerwerksmusik (Fireworks music)

Ralph Joachim

Suite für Orchester in D-Dur, HWV 351
1.) Ouverture Adagio, Allegro
2.) Bourrée
3.) La Paix Largo alla Siciliana
4.) La Réjouissance Allegro
5.) Menuett I und Menuett II
Ausführende:
Deutsche Händelsolisten, Ltg. Holger Speck

Zu Händels “Feuerwerksmusik”:
Die “Music for the Royal Fireworks” (HWV 351) ist ein 1748 von Georg Friedrich Händel komponiertes Werk. Das Werk wurde am 27. April 1749 bei einem Feuerwerk uraufgeführt. Es ist eine Gelegenheitsmusik von gigantischem Ausmaß

Wie auch die Wassermusik ist die Feuerwerksmusik durch Zufälle in der Politik entstanden. Der britische König Georg II. wollte wegen des im Oktober 1748 geschlossenen Aachener Friedens zur Beendigung des Österreichischen Erbfolgekriegs eine riesige Feier mit großem Feuerwerk und Musik. Er beauftragte Händel damit, eine „Feuer-Musik” für den festlichen Anlass zu schreiben. Das gab dem Stück den englischen Originaltitel Music for the Royal Fireworks.

Die Feier sollte im Londoner Green Park stattfinden, daher ging Händel von einem großen Freiluft-Orchester mit einer typischen Bläser-Streicher-Besetzung aus. König Georg jedoch wollte ein Orchester ausschließlich mit Bläsern und Pauken. Händel aber wollte auch Streicher dazu haben.

Aus den Briefen des Grafen von Montague vom April 1749 geht hervor, dass sich Händel erst ganz spät dem Willen des Königs gebeugt hatte.

>>>>>>Google Translate LINK

this text from original (German) to English: No enigma here! Thanks Google translate!

Suite for orchestra in D major, HWV 351

1.) Ouverture Adagio, Allegro
2.) Bourrée
3.) Largo alla Siciliana La Paix
4.) La Réjouissance Allegro
5.) Minuet I and Minuet II
***Performed by:
****German Handel Soloists, cond. Holger Speck

Handel’s “Fireworks Music“:
The “Music for the Royal Fireworks” (HWV 351) is a work composed in 1748 by George Frideric Handel works. The work was premiered at a fire station on April 27, 1749. It is an opportunity music of gigantic proportions

Like the Water Music is the fireworks music created by coincidences in politics. The British King George II. Was a huge celebration with a large fireworks and music because of the closed in October 1748 Aachen peace to end the War of the Austrian Succession. He commissioned Handel order to write a “fire music” for the festive occasion. This gave the piece the original English Title Music for the Royal Fireworks.

The celebration was to take place in London’s Green Park, therefore, Handel went from a large outdoor orchestra with a typical brass–string cast from. King George but wanted an orchestra exclusively with brass and timpani. Handel but also wanted to have strings.

From the letters of the Earl of Montague from April 1749 shows that Handel had until quite late bent to the will of the king.

 

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Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476): make music part of your life series

Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476)

vivaldi369

Published on Sep 14, 2012

Álbum: Boccherini: Cello Concertos Complete
Interprete del álbum: Enrico Bronzi & Accademia I Filarmonici Di Verona
Compositor: Luigi Rodolfo Boccherini
Año: 2005
Genero: Clásico Italiano
Movimientos: Allegro-Adagio-Allegro

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

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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

Related articles

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

Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido’ No.1, Op.13, (RV54): make music part of your life series

Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido‘ No.1, Op.13, (RV54)

FROM:
  vivaldi369
Álbum: Antonio Vivaldi: Sonatas for Flute, Op.13 “IL Pastor Fido”
Interpretes del álbum: Bela Drahos, Pal Kelemen & Zsuzsa Pertis
Compositor: Antonio Lucio Vivaldi
Año: 1991
Genero: Barroco Italiano
Movimientos: Moderato-Allegro-Affectuoso-Allegro-Giga

Related articles

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

make music part ofyour life series: A. Corelli – Sonate da Camera Op.2 – No.12 in G Major

[youtube.com/watch?v=devcBJhtWoY]

A. Corelli – Sonate da Camera Op.2 – No.12 in G Major

 

 

 

make music part of your life series: Antonio Vivaldi “L`amoroso” I Musici

[youtube.com/watch?v=9TbX59CAo64]

Concerto in E Major, RV 271 (PV 246)
“L´amoroso” by Antonio Vivaldi
Felix Ayo, violin
I Musici

Buy “Violin Concerto in E, ‘L’amoroso, RV271: II. Cantabile” on

Google Play, eMusic, AmazonMP3, iTunes

• Artist
  Philharmonia Orchestra

Related articles

• A Vivaldi Winter
• Introducing Shutterstock Music
• Antonio Vivaldi Composition History
• Great Compositions/Performances: Antonio Vivaldi – The Four Seasons Salvatore Accardo, conducting

Make Music Part of Your Life: Vivaldi Concerto con molti istromenti in C major, RV558

[youtube.com/watch?v=ehv35TdZV-Q]

Vivaldi Concerto con molti istromenti in C major, RV558

Antonio Lucio Vivaldi (1678 † 1741)

Work: Concerto for 2 violins in troba marina, 2 recorders, 2 chalumeaux, 2 theorbos, 2 mandolins, violoncello, strings and basso continuo in C major, RV558

1.Movement: Allegro molto
2.Movement: Andante molto
3.Movement: Allegro

Performer:
Violins: Fabio Biondi, Lorenzo Colitto, Raffaello Negri, Carla Marotta
Violins in troba marina: Fabio Biondi, Lorenzo Colitto, Renata Spotti, Luca Giardini
Viola all’inglese: Fabio Biondi, Ernesto Braucher
Cellos: Maurizio Naddeo, Antonio Fantinuoli
Mandolines: Giovanni Scaramuzzino, Sonia Maurer
Recorders: Petr Zejfart, Maurice Steger
Oboes: Stefano Vezzani, Simone Toni, Claudio Pinardi
Bassoon: Francois de Rudder
Chalumeaux: Gili Rinot, Carles Riera
Theorbos: Giangiacomo Pinardi, Ugo Nastrucci
Harpsichords: Sergio Ciomei, Paola Erdas

Fabio Biondi, violin & direction
Europa Galante

Related articles

• Great Compositions/Performances: Antonio Vivaldi – The Four Seasons Salvatore Accardo, conducting
• Philharmonia Baroque’s Vivaldi Extravaganza
• Patrycja Piekutowska: Józef Wieniawski Violin Sonata

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

Antonio Vivaldi – The Four Seasons

Published on Apr 23, 2012

Antonio Vivaldi The Four Seasons Full HD (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi Full Concert. Composed in 1723, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces of Baroque music. 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 dubbed “Storm.”
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). The first four concertos were designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones. 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). Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form.
Die Vier Jahreszeite, Les Quatre Saisons compléter completare all movements
English Chamber Orchestra
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-1 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-2 – Largo – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-3 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-1 – Allegro Non Molto – Allegro – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-2 – Adagio – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-3 – Presto – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-1 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-2 – Molto Adagio – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-3 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-1 – Allegro Non Molto – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-2 – Largo – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-3 – Allegro – Winter
Le quattro stagioni The Four Seasons (Vivaldi) Die Vier Jahreszeiten Las Cuatro Estaciones Classical Music compléter ganze Konzert von Vivaldi Full Concert Complete Music all movements greatest hits

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  Salvatore Accardo

 

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Great Comopositions/Performances: Alessandro Marcello Concerto en re minore (D minor), SF 935 – Op.1. Maurice André

Alessandro Marcello 

Concerto en re minore (D minor), SF 935 – Op.1.

I. Andante 
II. Adagio
III. Presto
Maurice André,  1993

 

Cover of Alessandro Marcello

From Wikipedia, the free encyclopedia  

 

Alessandro Ignazio Marcello (1st February 1673^[1] in Venice – 19 June 1747 in Venice) was an Italian nobleman, poet, philosopher, mathematician and musician.

 

Biography

 

A contemporary of Tomaso Albinoni, Marcello was the son of a senator in Venice. As such, he enjoyed a comfortable life that gave him the scope to pursue his interest in music. He held concerts in his hometown and also composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello, being a slightly older contemporary of Antonio Vivaldi, often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747.

 

Alessandro’s brother was Benedetto Marcello, also a composer, who illegally married his singing student Rosanna Scalfi in 1728. After his death she was unable to inherit his estate, and in 1742 she filed suit against Alessandro Marcello, seeking financial support.^[2]

 

Works

 

Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are “unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style,” according to Grove, “placing them as a last outpost of the classic Venetian Baroque concerto.”

 

A concerto op 1. Marcello wrote in D minor for oboe, strings and basso continuo is perhaps his best-known work. Its worth was affirmed by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published of the famous Oboe Concerto in D minor. The edition in C minor is credited to Benedetto Marcello.

 

 

Great Composers/Compositions: Vivaldi Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

Antonio Lucio Vivaldi (1678 † 1741)
Concerts for the Prince of Poland
Work: Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

01. Allegro
02. Largo e cantabile
03. Allegro

Andrew Manze, violin & director
Academy of Ancient Music

From Wikipedia, the free encyclopedia  

“Vivaldi” redirects here. For other uses, see Vivaldi (disambiguation).

Antonio Vivaldi in 1725

Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, andvirtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi’s arrival and Vivaldi himself died less than a year later.

Though Vivaldi’s music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers, second only to Johann Sebastian Bach.^[1]

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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
8.572662
http://www.classicsonline.com/catalog…
http://www.naxoslicensing.com/

 

Vivaldi, Giustino (Anastasio) – RV.717 “Vedro con mio diletto” (extrait)

Extrait du concert “Airs d’Opéra de Vilvaldi et Haendel” donné en février 2006 à la Chapelle de la Trinité à Lyon, dans le cadre du Festival de Musique Baroque, dir° Eric Desnoues.
Vivaldi, Giustino (Anastasio) – RV.717 “Vedro con mio diletto” (extrait)
Contre-ténor : Philippe Jaroussky 
Ensemble Matheus, direction Jean-Christophe Spinosi
Réalisation : Benjamin Bleton alias Karl More
© Karl More Productions – Festival de Musique Baroque de Lyon 2006

 

A. Marcello – Oboe Concerto in d minor (Marcel Ponseele, baroque oboe / Il Gardellino)

Alessandro Marcello (1684~1750)

Concerto per Oboe, Archi e Basso Continuo in re minore, SF 935 – Op.1 
(First published in 1717)

I. Andante e spiccato – 00:00
II. Adagio – 03:32
III. Presto – 07:09

Marcel Ponseele (Baroque Oboe)
Ensemble Il Gardellino 
Marcel Ponseele (conductor)

A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747. Alessandro’s brother was Benedetto Marcello (1686~1739), also a composer.

Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are “unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style,” according to Grove, “placing them as a last outpost of the classic Venetian Baroque concerto.”

A concerto Marcello wrote in d minor for oboe, strings and basso continuo is perhaps his best-known work. Its worth was attested to by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published of the famous Oboe Concerto in d minor. The edition in c minor is credited to Benedetto Marcello.

 

Four Seasons ~ Vivaldi

For those who want to listen to specific movements

Spring 0:00

Summer 10:31

Autumn 20:59

Winter 32:48 
I know it’s kind of pointless to post this but I like this video and this is kind of like a bookmark for me to know where each movement is.

Visit for more classical music 

A. Vivaldi : Concerto RV 90 Il Gardellino. Il delirio fantastico

Enregistrement live, mars 2011 au Temple du Change à Lyon. 

Concerto da camera, version pour flûte, hautbois, violon, basson & basse continue “Il Gardellino” (‘le chardonneret’). 

[Allegro] – Largo – Allegro

Il delirio fantastico
Virginie Botty, flûte à bec
Reynier Guerrero, violon
Jon Olaberria, hautbois
Florian Gazagne, basson
Jean-Baptiste Valfré, violoncelle

Vincent Bernhardt, clavecin & direction

 

A. VIVALDI, Concerto for 2 Violins, Strings and B.C. in G minor RV 155, La Magnifica Comunità

Antonio Vivaldi

Concerto for 2 Violins, Strings and B.C. in G minor RV 155:
I. Adagio 0:01 
II. Allegro 2:18 
III. Largo 6:03
IV. Allegro 9:40

La Magnifica Comunità 
Enrico Casazza [director]
Edition by Pablo Queipo de Llano

 

Vivaldi : Concerto ripieno in sol maggiore RV 151 ”Alla Rustica”

Antonio Vivaldi (1678-1741) : Concerto in Sol maggiore RV 151 ”Alla Rustica” per archi e continuo
1) Presto 2) Adagio 3) Allegro
I Solisti Veneti, Claudio Scimone

 

A. Vivaldi: Op. 3 n. 8 – Concerto for 2 violins, strings & b.c. in A minor (RV 522)

ANTONIO VIVALDI

L’ESTRO ARMONICO: OP. 3 N. 8 – LIBRO II 
(Amsterdam, Roger, 1711) for Ferdinand III, Prince of Tuscany

Concerto for two violins, strings and basso continuo in A minor (RV 522)

I. Allegro – 0:07
II. Larghetto – 3:38
III. Allegro – 7:21

Elizabeth Wilcock (solo violin I)
Micaela Comberti (solo violin II)
Jaap Ter Linden (violoncello)
Simon Standage, Miles Golding (violin I & II)
Trevor Jones, Jan Schlapp (viola)
Amanda MacNamara (double bass)
Trevor Pinnock (harpsichord)

The English Concert / Trevor Pinnock (conductor)

 

A. Vivaldi: RV 335 / The Cuckoo [Il Cucù] – Concerto for violin, strings & basso continuo, in A major

ANTONIO VIVALDI

THE CUCKOO [Il Cucù]
Concerto for violin, strings and basso continuo in A major (RV 335)

I. Allegro – 0:05
II. Largo [1st version: also attributed to Johann Helmic Roman] –3:56
III. Allegro – 6:44

Giuliano Carmignola (violin)

I Sonatori de la Gioiosa Marca / Giuliano Carmignola (conductor)
http://www.sonatori.net/

2000
Erato ERA 80225 – DDD
http://www.warnerclassicsandjazz.com/

 

Vivaldi – Trio Sonata “La Follia” in D Minor RV63

ANTONIO VIVALDI (1678-1741)

Trio sonata for two violins and basso continuo (Variations on “La Follia“) Op. 1 No. 12 RV63

Performed by Hesperion XXI
Conducted by Jordi Savall

*”La Folia” is one of the oldest European musical themes. This chord progression has been put to music many times by composers such as Arcangelo Corelli, C.P.E. Bach, Antonio Vivaldi, Allesandro Scarlatti, and Marin Marais.

http://www.folias.nl/html1.html

P.S: I know I already posted this piece being performed by the Purcell Quartet, but the Hesperion XXI version is very exciting to listen to and takes a different perspective on this pice although being perhaps more “liberal” in it’s interpretation.

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• Artist
  Hespèrion XXI, Jordi Savall

 

A. Vivaldi: Op. 1 n. 11 – Trio sonata for 2 violins & b.c. in B minor (RV 79)

ANTONIO VIVALDI

SUONATE DA CAMERA A TRE; DUE VIOLINI E VIOLONE O CEMBALO:
Op. 1 n. 11 (Venice, Sala, 1703) – for Annibale Gambara

Sonata for two violin and basso continuo in B minor (RV 79)

I. Preludio – 0:05
II. Corrente – 4:56
III. Giga – 7:13
IV. Gavotta – 8:54

Enrico Gatti (violin I)
Rossella Croce (violin II)
Judith-Maria Becker (violoncello)
Monica Pustilnik (archlute)
Guido Morini (organ & harpsichord)

Ensemble Aurora / Enrico Gatti (conductor)
http://www.auroraensemble.com/

2007
Glossa GCD 921203 – DDD
http://www.glossamusic.com/

Francesca Presutti – La gloria del mio sangue (Giustino)

Antonio Vivaldi – Giustino RV 717 (Roma, 1724)

Francesca Presutti: Amanzio

Alessandro Stradella Consort
Estevan Velardi