Schubert – Overture in E minor, D. 648 , Prague Sinfonia, conducted by Christian Benda

Schubert – Overture in E minor, D. 648

ncmtman

Schubert wrote his Overture in E minor in 1819. It was performed in Vienna two years later, but then disappeared from public view until the publication of Schubert’s collected works in 1886. Some Schubertians regard it as a landmark work of unusual power, breaking ground that he would build on in his last two symphonies. Schubert biographer John Reed appears to disagree when he writes that it “lacks any touch of Schubertian charm. The themes are short and symphonic, rather than lyrical.” But the two opinions are reconcilable. The Overture is, in a sense, Schubert doing Beethoven: The short motifs building into longer sequences and the mounting tension and explosive climaxes all show Beethoven’s influence on the 22-year-old Schubert. At the same time, the actual construction of those sequences, with the same motif repeated at progressively higher or lower pitches, harks back to Baroque music. Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.This performance by the Prague Sinfonia, conducted by Christian Benda

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Happy Birthday Mozart: Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music

Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music )

Classical Tunes

Published on Mar 1, 2014/ 112,966 views

Piano Concerto No.9 K 271
1 I Allegro 0:02
2 II Andantino 10:04
3 III Rondo 21:12

Piano Concerto No.17 K 453
4 I Allegro 32:48
5 II Andante 44:42
6 III Allegretto 54:49

Piano Concerto No.20 K 466
7 I Allegro 1:02:50
8 II Romance 1:16:40
9 III Rondo 1:27:28

Piano Concerto No. 21 K 467
10 I Allegro maestoso 1:34:51
11 II Andante 1:49:20
12 III Allegro vivace 1:56:58

Wolfgang Amadeus Mozart wrote 27 concertos for piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held a special place for him; indeed, Mozart’s father apparently interrupted him composing a “harpsichord concerto” at age 4.
For a long time relatively neglected, they have come to be seen as containing some of his greatest achievements. Tovey championed them in his Essay on the Classical Concerto in 1903, and later came the famous books by Cuthbert Girdlestone and Arthur Hutchings in 1940 (originally published in French) and 1948, respectively. Hans Tischler published a structural and thematic analysis of the concertos in 1966, followed by the works by Charles Rosen, and Leeson and Robert Levin.[1] In recent years, two of the concertos have also been covered in the Cambridge Music Handbook series. The first complete edition was not until that of Richault from around 1850; and since then the scores and autographs have become widely available through the publications of, among others, Norton, Eulenberg and Dover.

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Saint of the Day for Thursday, January 15th, 2015: St. Paul the Hermit

Also known as Paul the First Hermit and Paul of Thebes, an Egyptian hermit and friend of St. Jerome. Born in Lower The baid, Egypt, he was left an orphan at about the age of fifteen and hid during … continue reading

Preti, Mattia – St. Paul the Hermit – c. 1656-1660 (Photo credit: Wikipedia)

More Saints of the Day

St. Paul the Hermit St. Arnold Jansen St. Beauch (Bagug) St. Blaithmaic St. Bonitus St. Ceolwulf of Northumbria St. Emebert St. Ephysius St. Eugyppius Bl. Frances de Capillas St. Francisco Fernandez de Capillas St. Francis Ferdinand de Capillas St. Ita

St. John Calabytes St. Liewellyn & Gwrnerth St. Lleudadd St. Macarius the Great St. Malard St. Maura & Britta St. Maximus of Nola St. Nina Bl. Peter of Castelnau St. Sawl St. Secundina St. Tarsicia St. Teath

Dumitru Farcas, Dumitru Dobrican, Ioan Berci Live (taragot) (visit: http://www.11thmuse.com/taragot.html)

Dumitru Farcas, Dumitru Dobrican, Ioan Berci Live (taragot)

RamonaZoe

Published on Jan 26, 2013/78,413 views

Dumitru Farcas, Dumitru Dobrican, Ioan Berci Live (taragot)

From Wikipedia, the free encyclopedia

  (Redirected from Taragot)

Tárogató

Other names	Töröksíp, Taragot
Classification	Wind Woodwind Aerophone
Playing range
Written Range: B♭3 to C6 (scientific pitch notation)Note: Romanian-made instruments may have difficulty reaching the upper range.[citation needed]
Related instruments
Shawm Clarinet Saxophone

 

English: Tárogató player (ancient double-reeded tárogató) with drummer Magyar: Kuruc-kori tárogatós és dobos (Photo credit: Wikipedia)

The tárogató (töröksíp, Turkish pipe; plural tárogatók or, anglicized, tárogatós; Romanian: taragot or torogoata) refers to two different woodwind instruments commonly used in both Hungarian and Romanian folk music. The modern tárogató was intended to be a recreation of the original tárogató, but the two instruments are thought to have little in common.^[1]

History

Early use

Mention of the tárogató in Hungarian writings dates back at least as

English: Soldier playing tárogató on horseback (ancient double-reeded tárogató) Magyar: Lóháton tárogatózó katona (Photo credit: Wikipedia)

long ago as the 15th century. It is not clear whether it was first brought into Europe by the Hungarians when they first emigrated from the east in the 9th century. It is certain, however, that instruments of this type, descended from the Middle Eastern zurna, were introduced into Eastern Europe by the Turks in the Middle Ages, as evidenced by the term töröksip—”Turkish pipe”—which was used as a synonym for tárogató.^[1] It is possible that instruments from both traditions were combined into one entity. The tárogató

English: Stamp of Moldova (Photo credit: Wikipedia)

has a Turkish origin, and it appeared in Hungary during the Turkish wars.^[2] Up to about the 18th century, the tárogató was a type of shawm, with a double reed, conical bore, and no keys.

Being a very loud and raucous instrument, the tárogató was used as a signaling instrument in battle (like the bugle or the bagpipe). However, depending on the type of reed used, it can also give off a very subtle, and yet, deep, mellow sound when played at a relaxed, steady pace. ^[1]

Because the tárogató was an iconic instrument of the Rákóczi’s War for Independence (1703–1711), its use was suppressed in the 18th century by the Habsburg monarchy.^[1][2] The instrument was eventually abandoned, being considered too loud for a concert hall.^[2]

Modern usage

Dumitru Dobrican, a taragot folk musician from Dăntăuşii din Groşi, Romania.

In the 1890s a modern version was invented by Vencel József Schunda, a Budapest instrument maker.^[2] It uses a single reed, like a clarinet or saxophone, and has a conical bore, similar to the saxophone. The instrument is made of wood, usually black grenadilla wood like a clarinet. The most common size, the soprano tárogató in B♭, is about 29 inches (74 cm) in length and has a mournful sound similar to a cross between an English horn and a soprano saxophone. Other sizes exist; one maker, János Stowasser, advertised a family of seven sizes of which the largest was a contrabass tárogató in E♭.^[1] The new tárogató bears very little resemblance with the historical tárogató and the two instruments should not be confused.^[1][3] It has been suggested that the name schundaphone would have been more accurate, but tárogató was used because of the nationalistic image that the original instrument had.^[4]

This instrument was a symbol of Hungarian aristocracy, and the favorite woodwind instrument of Governor Miklós Horthy.^[4]

Manufacturing in Hungary ceased after World War II, though tárogatós continued to be made in Romania and other countries. In the 1990s several Hungarian makers started producing the instrument again.

A modern tárogató may occasionally be heard in Act 3 of Tristan und Isolde by Richard Wagner where it has become traditional in some opera houses (e.g. the Royal Opera House, London) to use it instead of the off-stage cor anglais for the last passage (bars 999-1149) of the Shepherd’s air, but Wagner did not specify this, merely suggesting in the score “a specially built simple natural instrument”.

In the 1920s, Luţă Ioviţă, who played the instrument in the army during World War I, brought it to Banat (Romania), where it became very popular under the name taragot.^[5]

Dumitru Fărcaş, who was born in Maramureş, made the instrument known all over the world and is considered to be the most famous tárogató player.^[2][5]

German saxophonist Peter Brötzmann has also extensively used the tárogató in free jazz and free improvisation.

Joe Lovano has also displayed interest in the instrument featuring it extensively in his episode of “Jazz the Solo Sessions” which featured him and his playing.

See also

• Music of Hungary
• Music of Romania
• http://www.11thmuse.com/taragot.html

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• Celebrate ‘A Baroque Christmas’ with Santa Fe concert

 

Händel Messiah – Hallelujah Chorus: make music part of your life series

Händel Messiah – Hallelujah Chorus

Luis Peres

Georg Friedrich Händel – Oratorio – Messiah, HWV 56
Part 2, No. 44 Chorus
Hallelujah Chorus
Performed by The English Concert & Choir

Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah!
The Kingdom of this world is become the Kingdom of our Lord and of his Christ, and he shall reign for ever and ever, Hallelujah!
King of Kings, and Lord of Lords, and he shall reign for ever and ever, Hallelujah!
(Revelation 19:6; 11:15; 19:16)
Directed from the harpsichord by Trevor Pinnock
Remember: to watch in stereo quality, just add &fmt=18 to the link.

Purcell – Ode to St. Cecilia (Z.328): I-II: make music part of your life series

Purcell – Ode to St. Cecilia (Z.328): I-II

SimplyBaroque

Uploaded on Jan 29, 2011

I. Symphony
II. Hail, bright Cecilia! (Recitative & Chorus)

“Hail! Bright Cecilia, Hail! fill ev’ry Heart!
With Love of thee and thy Celestial Art;
That thine and Musick’s Sacred Love
May make the British Forest prove
As Famous as Dodona’s Vocal Grove.”

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed to a text by Nicholas Brady by Henry Purcell in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint’s feast day (November 22) began in 1683, organized by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.

In spite of Brady’s conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, strings and basso continuo. Purcell is one of several composers who have written music in honour of Cecilia.

Henry Purcell (10 September 1659(?) — 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music.

Taverner Consort and Players is a period instrument ensemble: baroque orchestra (Players), vocal consort (Consort) and Choir, named after the 16th century English composer John Taverner. Founded and directed by Andrew Parrott in 1973, the ensemble was led until the early 1990s by baroque violinist John Holloway, and has released many CDs.

Tchaikovsky Nutcracker Suite – 7 ‘Reed Flutes’ * Volker Hartung & Cologne New Philharmonic

Peter Tchaikovsky’s Nutcracker Suite op.71a is brilliantly performed by the Cologne New Philharmonic Orchestra under the direction of Volker Hartung. Filmed during their annual concerts in Hamburg and Wuppertal, Germany in February 2009 in amazing picture and sound quality, the sound was recorded live by Holger Siedler during their concert at Laeisz-Halle Hamburg, on sunday morning, February 1st 2009.
Enjoy!