Symphony No. 6 (Beethoven) – Wikipedia

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

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale^[1]), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,^[2] the symphony was first performed in the Theater an der Wien on 22 December 1808^[3] in a four-hour concert.^[4]

Symphony No. 6
by Ludwig van Beethoven
Part of a sketch by Beethoven for the symphony

Other namePastoral SymphonyKeyF majorOpusOp. 68PeriodClassical periodFormSymphonyBased onNatureComposed1802–1808DedicationPrince Lobkowitz
Count RazumovskyDurationAbout 40 minutesMovementsFiveScoringOrchestraPremiereDateDecember 22, 1808LocationTheater an der Wien, ViennaConductorLudwig van Beethoven

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MUSIC
Beethoven’s Symphony No. 6 in F Major, Op. 68
June 12, 200610:39 AM ET
Audio will be available later today.
Hear an Interview with Conductor Christoph Eschenbach
“Pastoral”

Composed in 1808

Premiered December 1808

Published 1809 in Leipzig

Many of Beethoven’s works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven’s full title was “Pastoral Symphony, or Recollections of Country Life.” Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The “Pastoral” is known as a “characteristic” symphony and closely resembles “Le musical de la nature” by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece’s “extramusical” purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.

Notes on Beethoven’s Sixth Symphony
CHRISTOPHER H. GIBBS

Most of the familiar titles attached to Beethoven’s works were put there by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that are dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Beethoven himself crossed out the heading “Bonaparte” from the title page of the Third Symphony, but later wrote in “Sinfonia eroica” (Heroic Symphony), and it is his only symphony besides the Sixth to bear an authentic title. To be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.”

“More an Expression of Feeling Than Painting”

And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s later tone poems. In the program for its premiere, Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create.

Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of “Le Portrait musical de la nature,” written nearly 25 years earlier by the Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he did know the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.”

Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century—it unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 meant that he could not leave, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”

Companion Symphonies

Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched).

The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell apart during the “Choral” Fantasy. Although the Fifth and Sixth symphonies are extremely different from one another in overall mood, there are notable points of convergence, such as the innovations in instrumentation (the delayed and dramatic introduction of piccolo and trombones in the fourth movements) and the splicing together of the final movements.

A Closer Look

Beethoven’s descriptive movement titles for the “Pastoral” were made public to the audience before the premiere. The first movement, “Awakening of cheerful feelings upon arriving in the country,” engages with a long musical tradition of pastoral music. From the opening drone of an open fifth in the lower strings to the jovial coda, the leisurely and often repetitive pace of the movement is far from the intensity of the Fifth Symphony. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied the effect for two of the birds in the pastoral third movement of his Symphonie fantastique).

This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band of limited ability playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time.

Program note © 2006. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

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Ludwig van Beethoven
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Tragic Overture Opus 81 by Johannes Brahms

The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes.

Brahms chose the title “Tragic” to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared “one laughs while the other cries.” Brahms quotes some material from the last movement of the Second Symphony in this overture.

The Tragic Overture comprises three main sections, all in the key of D minor.

• Allegro ma non troppo
• Molto più moderato
• Tempo primo ma tranquillo.

Theorists have disagreed in analyzing the form of the piece: Jackson finds Webster’s multifarious description rather obscurist and prefers to label the work’s form as a “reversed sonata design” in which the second group is recapitulated before the first, with Beethoven‘s Coriolan Overture as a possible formal model.(Source:http://en.wikipedia.org/wiki/Tragic_Overture)

Related articles

• At the Ravinia Festival, a Liszt of Subtle Works (online.wsj.com)

Ludwig van Beethoven ● Piano Trio No. 7 Op. 97 “Erzherzog Trio”, part 1 Allegro moderato

performed by the “Million Dollar Trio” Artur Rubinstein, Jascha Heifetz and Emanuel Feuermann, 1941.

The Piano Trio No. 7 in B-flat major, Op. 97, by Ludwig van Beethoven is a piano trio for piano, violin, and cello, published in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to the amateur pianist and composition student of Beethoven, Archduke Rudolph of Austria.

It was written during the “middle” period of Beethoven’s compositional career, which spans approximately 1803 until 1814. Composition began in the summer of 1810 and it was completed in March 1811.
(Source: http://en.wikipedia.org/wiki/Piano_Trio_No.7(Beethoven)

great compositions/performances: Beethoven’s Piano Concerto No. 3, in C minor, Op. 37, Daniel Barenboim / Dresden Staatskapelle 2007

Beethoven : Piano Concerto No. 3 in C minor, Op. 37 Daniel Barenboim / Dresden Staatskapelle 2007

Adagio fukax2

Beethoven : Piano Concerto No. 3 in C Minor, Op. 37 : Daniel Barenboim / Dresden Staatskapelle 2007
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Piano Concerto No. 3 (Beethoven)

From Wikipedia, the free encyclopedia

 

 Title page, first edition

The Piano Concerto No. 3 in C minor, Op. 37, was composed by Ludwig van Beethoven in 1800 and was first performed on 5 April 1803, with the composer as soloist. The year for which the concerto was composed (1800) has however been questioned by contemporary musicologists.^[1] It was published in 1804. During that same performance, the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered.^[2] The composition was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart’s 24th Piano Concerto.

Structure

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in E-flat, 2 trumpets in C, timpani, strings and piano soloist.

As is standard for Classical/Romantic-era concertos, the work is in three movements:

1. Allegro con brio
2. Largo
3. Rondo. Allegro

I. Allegro con brio

	First movement  Menu       0:00
Problems playing this file? See media help.

 Cadenza of the first movement

This movement is known to make forceful use of the theme (direct and indirect) throughout.

Orchestral exposition: In the orchestral exposition, the theme is introduced by the strings, and used throughout the movement. It is developed several times. In the third section (second subject), the clarinet and violin 1 introduce the second main theme, which is in the relative major key, E-flat major.

Second exposition: The piano enters with an ascending scale motif. The structure of the exposition in the piano solo is similar to that of the orchestral exposition.

Development: The piano enters, playing similar scales used in the beginning of the second exposition, this time in D major rather than C minor. The music is generally quiet.

Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. For the return of the second subject, Beethoven modulates to the tonic major, C major. A dark transition to the cadenza occurs, immediately switching from C major to C minor.

Cadenza: Beethoven wrote one cadenza for this movement. The cadenza Beethoven wrote is at times stormy and ends on a series of trills that calm down to pianissimo. Many other composers and pianists have written alternative cadenzas.

Coda: Beethoven subverts the expectation of a return to the tonic at the end of the cadenza by prolonging the final trill and eventually arriving on a dominant seventh. The piano plays a series of arpeggios before the music settles into the home key of C minor. Then the music intensifies before a full tutti occurs, followed by the piano playing descending arpeggios, the ascending scale from the second exposition, and finally a resolute ending on C.

II. Largo

	Second movement  Menu       0:00     Third movement  Menu       0:00
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The second movement is in the key of E major, in this context a key relatively remote from the concerto’s opening key of C minor (another example being Brahms’s first symphony.). If the movement adhered to traditional form, its key would be E-flat major (the relative key) or A-flat major (the submediant key). The movement opens with the solo piano and the opening is marked with detailed pedalling instructions.

III. Rondo – Allegro

The finale is in sonata rondo form. The movement begins in C minor with an agitated theme played only by the piano. The movement ends with a C major coda marked presto.

First performance

The score was incomplete at its first performance. Beethoven’s friend, Ignaz von Seyfried, who turned the pages of the music for him that night, later wrote:^[2]

“I saw almost nothing but empty pages; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all the solo part from memory since, as was so often the case, he had not had time to set it all down on paper.”

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

great compositions/performances: Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet

Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet

Arionia Tellus

Published on Jan 22, 2015

Ludwig van Beethoven String Quartet No 4 Op 18 No 4 in C minor
Alban Berg Quartet:
– Günter Pichler 1 violin,
– Gerhard Schulz 2 violin,
– Thomas Kakuska viola,
– Valentin Erben cello

Movements:

1. Allegro ma non tanto 0:00
2. Andante scherzoso quasi allegretto 8:58
3. Menuetto: Allegretto 14:54
4. Allegro – Prestissimo 18:16
***************************************************

String Quartet No. 4 (Beethoven)

From Wikipedia, the free encyclopedia

 The opening measures of the first movement from a 19th-century publication

Ludwig van Beethoven‘s String Quartet No. 4, Op. 18, No. 4 in C minor (1798–1800) was published in 1801. It consists of four movements:

1. Allegro ma non tanto

2. Andante scherzoso quasi allegretto

3. Menuetto: Allegretto

4. Allegro – Prestissimo

It is thought that this quartet may be in part based upon earlier material.^[1]

Fabulous Renditions: Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic

Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic

ValentinaLisitsa

Uploaded on Dec 7, 2008

Live in Seoul. Encore #4 Please come to London on June 19th of 2012 if you want to hear this piece live ! I am making my debut at Royal Albert Hall 🙂
Валентина Лисица

Valentina Lisitsa Live at the Royal Albert Hall
US iTunes – http://bit.ly/iTunesUSVal
US Amazon – http://bit.ly/ValRAH
*******************************************************************

Für Elise

From Wikipedia, the free encyclopedia

 

 

“Für Elise”, opening

 

First edition, 1867

Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as “Für Elise” or “Fuer Elise” (German: [fyːʁ eːˈliːzə] ( listen), English: “For Elise”, sometimes written without the German umlaut mark as “Fur Elise”), is one of Ludwig van Beethoven‘s most popular compositions.^[1][2][3] It is usually classified as a bagatelle, but it is also sometimes referred to as an Albumblatt.

History

The score was not published until 1867, 40 years after the composer’s death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript, now lost, was dated 27 April 1810.^[4]

The version of “Für Elise” heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles.^{[citation needed]}

Therese Malfatti, widely believed to be the dedicatee of “Für Elise”

The pianist and musicologist Luca Chiantore (es) argued in his thesis and his 2010 book Beethoven al piano that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.^[5] On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version.^[6]

Identity of “Elise”

It is not certain who “Elise” was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named “Für Therese”,^[7] a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven’s to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.^[8] Note that the piano sonata no.24, dedicated to Countess Thérèse von Brunswick, is also referred to sometimes as “für Therese”.

According to a 2010 study by Klaus Martin Kopitz (de), there is evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife of Johann Nepomuk Hummel. “Elise”, as she was called by a parish priest (she called herself “Betty” too), had been a friend of Beethoven’s since 1808.^[9] In the meantime, the Austrian musicologist Michael Lorenz^[10] has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik’s musical scores, was the son of Babette Bredl, born out of wedlock. Babette in 1865 let Nohl copy the autograph in her possession. Thus the autograph must have come to Babette Bredl from Therese von Droßdik’s estate and Kopitz’s hypothesis is refuted.

In 2012, the Canadian musicologist Rita Steblin suggested that Juliane Katharine Elisabet Barensfeld (de), who used “Elise” as a variant first name, might be the dedicatee. Born in Regensburg and treated for a while as child prodigy, she first travelled on concert tours with Beethoven’s friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna, where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel’s and Barensfeld’s residence and who might have given her piano lessons.^[11] Steblin admits that question marks remain for her hypothesis.^[12]

Music

	Bagatelle in A minor (“Für Elise”)   Menu       0:00
Problems playing this file? See media help.

The piece is in A minor and is set in 3/8 time. It begins with an A minor theme marked Poco moto (little movement), with the left hand playing arpeggios alternating between A minor and E major. It then moves into a brief section based around C major and G major, before returning to the original theme. It then enters a lighter section in the subdominant key of the relative major of A minor (C major), F major. It consists of a similar texture to the A section, where the right hand plays a melody over left hand arpeggios. It then enters a 32nd note C major figure before returning to the A section. The piece then moves to an agitated theme in D minor^{[citation needed]} with an A pedal point, as the right hand plays diminished chords. This section then concludes with an ascending A minor arpeggio before beginning a chromatic descent over two octaves, and then returning to the A section. The piece ends in its starting key of A minor with an authentic cadence. Despite being called a bagatelle, the piece is in rondo form. The structure is A–B–A–C–A. The first theme is not technically difficult and is often taught alone as it provides a good basic exercise for piano pedalling technique. However, much greater technique is required for the B section as well as the rapid rising A minor figure in the C section.

Kopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E♭ is called an Es in German and is pronounced as “S”, that makes E–(L)–(I)–S–E: E–(L)–(I)–E♭–E, which by enharmonic equivalents sounds the same as the written notes E–(L)–(I)–D♯–E.^[10][13]

historic music bits: BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956

BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956

Emilio Pessina

Uploaded on Feb 11, 2012

Ludwig van BEETHOVEN: Piano Trio No.7 in B-flat major, Op.97 “Archduke” (1811)
0:10 / I. Allegro moderato [12’36”]
12:46 / II. Scherzo. Allegro [11’35”]
24:22 / III. Andante cantabile ma però con moto [12’06”]
36:28 / IV. Allegro moderato [6’56”]
Emil Gilels, piano
Leonid Kogan, violin
Mstislav Rostropovich, cello
(rec: Moscow, 1956)
5CDs: Doremi DHR-7921-5 – ℗2007
_______________
5CDs set: http://www.youtube.com/playlist?list=…
_______________

5CDs: Doremi DHR-7921-5 – ℗2007
_______________
5CDs set: http://www.youtube.com/playlist?list=…
_______________

FABULOUS MUSICAL RENDITIONS: Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa

Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa

ValentinaLisitsa

Published on Jun 1, 2014

Watch at your own risk – I warned you  🙂
Live from Paris, Salle Gaveau , May 21, 2014.
Sonata No. 17, Op 31 No.2 D Minor
********************************************************

The Piano Sonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as “The Tempest” (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler’s information is distrusted by classical music scholars. The British music scholar Donald Francis Tovey says in A Companion to Beethoven’s Pianoforte Sonatas:

With all the tragic power of its first movement the D minor Sonata is, like Prospero, almost as far beyond tragedy as it is beyond mere foul weather. It will do you no harm to think of Miranda at bars 31–38 of the slow movement… but people who want to identify Ariel and Caliban and the castaways, good and villainous, may as well confine their attention to the exploits of Scarlet Pimpernel when the Eroica or the C minor Symphony is being played (pg. 121).

Structure

The piece consists of three movements and takes approximately twenty-five minutes to perform:

1. Largo – Allegro
2. Adagio
3. Allegretto

Each of the movements is in sonata form, though the second lacks a substantial development section.

First movement

The first movement alternates brief moments of seeming peacefulness with extensive passages of turmoil, after some time expanding into a haunting “storm” in which the peacefulness is lost. This musical form is unusual among Beethoven sonatas to that date. Concerning the time period and style, it was thought of as an odd thing to write; a pianist’s skills were demonstrated in many ways, and showing changes in tone, technique and speed efficiently many times in one movement was one of them. The development begins with rolled, long chords, quickly ending to the tremolo theme of the exposition. There is a long recitative section at the beginning of this movement’s recapitulation, again ending with fast and suspenseful passages.

Second movement

The second movement in B-flat major is slower and more dignified. The rising melodic ideas in the opening six measures are reminiscent of the first movement’s recitative. Other ideas in this movement mirror the first, for instance, a figure in the eighth measure and parallel passages of the second movement are similar to a figure in the sixth measure of the first.

Third movement

The third movement is a sonata-rondo hybrid in the key of D minor. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169–173. The recapitulation, which is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. The refrain undergoes phrase expansion to build tension for the climax of the movement at measure 381, a fortissimo falling chromatic scale.

 

Best musical Interpretations: Beethoven Sonata Op 57 “Appassionata” Mov1, ,3, Valentina Lisitsa, piano

Beethoven Sonata Op 57 “Appassionata” Mov1

ValentinaLisitsa

Uploaded on Jan 10, 2009

Rehearsal run before recital in Musikverein, Vienna

historic musical bits: Claudio Arrau Beethoven Piano Sonata No. 30

Claudio Arrau Beethoven Piano Sonata No. 30

Farookhq17

Uploaded on Jan 17, 2012

Piano Sonata No. 30 in E major, Op. 109

I. Vivace ma non troppo – Adagio espressivo
II. Prestissimo
III. Gesangvoll, mit innigster Empfindung.
Andante molto cantabile ed espressivo

Ludwig van Beethoven (1770-1827)
Claudio Arrau (1903-1991)

historic musical bits: Leonard Bernstein “Overture König Stephan” Beethoven, Wiener Philharmoniker

Leonard Bernstein “Overture König Stephan” Beethoven

Addiobelpassato

Published on Mar 5, 2013

Overture König Stephan, op. 117
by Ludwig van Beethoven
Wiener Philharmoniker
Leonard Bernstein, conductor

great compositions/performances: Beethoven Piano Sonata 10 G major Barenboim

Beethoven Piano Sonata 10 G major Barenboim

Sonorum Concentus

Published on Sep 23, 2014

Ludwig van Beethoven Piano Sonata No. 10 in G major, Op. 14, No. 2
Daniel Barenboim, piano
-Allegro in G major
-Andante variations in C major, subdominant of G major 7:15
-Scherzo: Allegro assai in G major 12:46

 

Great compositions/performances: Beethoven, Piano Sonata No. 7 in D major Op 10, No. 3. Daniel Barenboim, piano

Beethoven, Piano Sonata No. 7 in D major Op 10, No. 3.
Daniel Barenboim, piano

Pakito Palote

Published on Feb 20, 2013

Ludwig van Beethoven (1770-1827)
Sonata para piano Nº 7 en Re mayor, Opus 10 Nº 3
1. Presto
2. Largo e mesto
3. Menuetto: Allegro
4. Rondo: Allegro

Daniel Barenboim, piano

The Piano Sonata No. 7 in D major Op 10 No. 3 by Ludwig van Beethoven is the largest of Opus 10. It was composed in 1798 and dedicated to Countess Anna Margarete von Browne.
The third movement is a minuet with trio next to a scherzo style. The fourth movement is famous for its silences. ( Google Translate)

La Sonata para piano Nº 7 en Re mayor Opus 10 Nº 3 de Ludwig van Beethoven es la más extensa del Opus 10. Fue compuesta en 1798 y está dedicada a la Condesa Anna Margarete von Browne.
El tercer movimiento es un minué con trio, de estilo próximo al de un scherzo. El cuarto movimiento es famoso por sus silencios.

great compositions/performances: Annie Fischer plays Beethoven – Piano Sonata 26,Op.81a Les Adieux’ (Color-Coded Analysis)

Beethoven – Piano Sonata 26,Op.81a “Farewell” (Color-Coded Analysis)

The Daily Beethoven

Uploaded on Dec 15, 2011

(Make sure “Annotations” is ON to see section labels)

Piano Sonata No.26 in Eb, Op.81a (‘Les Adieux’)
1.Adagio. Allegro (‘Les Adieux’) @0:00
2.Andante espressivo (‘L’Absence’) @6:36
3.Vivacissimamente (‘Le Retour’) @10:20

Piano: Annie Fischer
Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…

Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/abou…

This analysis was assisted in large part by Donald Tovey’s “Companion to Beethoven’s Pianoforte Sonatas”.

My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical “paragraph”. These can be broken down into 1 or more “tunes”. These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form “working out”/”fantasia” section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced (“Eroica”).
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA’.BA’ in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD…). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)

Beethoven – Piano Sonata No. 24 in F Sharp major, Op. 78 -À Thérèse- – Artur Schnabel (this sonata plays for me for more than 50 years)

Beethoven – Piano Sonata No. 24 in F Sharp major, Op. 78 -À Thérèse- – Artur Schnabel

Jacky Tran

Published on Dec 25, 2013

0:00 Adagio cantabile – Allegro ma non troppo
7:00 Allegro vivace

Played by Artur Schnabel

discover beautiful music with Andras Schiff: Piano sonata op. 24, no. 78 “Fur Therese” (“Beethoven most beautiful melody”)

Beethoven Piano Sonata No. 24 in F-sharp major, Op. 78

Klassik Verzaubert

Published on Feb 5, 2013

Andras Schiff: The Lectures
Beethoven Sonatas
Wigmore Hall from 2004–6

Amazing music/performances: Beethoven String Quartet No 2 Op 18 in G major Alban Berg Quartet

Beethoven String Quartet No 2 Op 18 in G major Alban Berg Quartet

La Casa di Davide

Published on Dec 31, 2014

Ludwig van Beethoven String Quartet No 2 in G major op. 18 No. 2
Alban Berg Quartet
Günter Pichler 1 violin, Gerhard Schulz 2 violin, Thomas Kakuska viola, Valentin Erben cello
Allegro 0:00
Adagio cantabile – Allegro – Tempo I 9:18
Scherzo: Allegro 16:08
Allegro molto, quasi presto 20:35
**********************************************************************From Wikipedia, the free encyclopedia

The String Quartet No. 2 in G major, op. 18, No. 2, was written by Ludwig van Beethoven between 1798 and 1800 and published in 1801.

It consists of four movements:

1. Allegro
2. Adagio cantabile – Allegro – Tempo I
3. Scherzo: Allegro
4. Allegro molto, quasi presto

Of the Op. 18 string quartets, this one is the most grounded in 18th-century musical tradition.^[1] According to Steinberg, “In German-speaking countries, the graceful curve of the first violin’s opening phrase has earned the work the nickname of Komplimentier-Quartett, which might be translated as ‘quartet of bows and curtseys’.”^[2]

The nickname may have originated from one of Haydn’s last string quartets written about the same time (Op. 77, No. 1; 1799), which was also known as the Komplimentier-Quartett. Haydn was Beethoven’s teacher at the time, and there are similarities in style between the two quartets. They are also both in the key of G major.^[3]

After he finished the quartet, Beethoven was not satisfied with the second movement and wrote a replacement. Sketches of the original slow movement survive and a complete version has been reconstructed by musicologist Barry Cooper.^[4] It was performed publicly, possibly for the first time, by the Quatuor Danel in the Cosmo Rodewald Concert Hall at the Martin Harris Centre, University of Manchester, on 30 September 2011

historic musical bits: BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956

BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956

Emilio Pessina

Uploaded on Feb 11, 2012

Ludwig van BEETHOVEN: Piano Trio No.7 in B-flat major, Op.97 “Archduke” (1811)
0:10 / I. Allegro moderato [12’36”]
12:46 / II. Scherzo. Allegro [11’35”]
24:22 / III. Andante cantabile ma però con moto [12’06”]
36:28 / IV. Allegro moderato [6’56”]
Emil Gilels, piano
Leonid Kogan, violin
Mstislav Rostropovich, cello
(rec: Moscow, 1956)
5CDs: Doremi DHR-7921-5 – ℗2007
_______________
5CDs set: http://www.youtube.com/playlist?list=…
*********************************************************

From Wikipedia, the free encyclopedia

 

The Piano Trio in B-flat major, Op. 97, by Ludwig van Beethoven is a piano trio for piano, violin, and cello, finished in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to Archduke Rudolph of Austria, the youngest of twelve children of Leopold II, Holy Roman Emperor. Rudolf was an amateur pianist and a patron, friend, and composition student of Beethoven. Beethoven dedicated a total of fourteen compositions to the Archduke, who dedicated one of his own to Beethoven in return.

The trio was written late in the Beethoven’s so-called “middle period”. He began composing it in the summer of 1810, and completed it in March 1811.

Although the “Archduke Trio” is sometimes numbered as “No. 7”, the numbering of Beethoven’s twelve piano trios is not standardized, and in other sources the Op. 97 trio may be shown as having a different number, if any.

First performance

The first public performance was given by Beethoven himself, Ignaz Schuppanzigh (violin) and Josef Linke (cello) at the Viennese hotel Zum römischen Kaiser on 11 April 1814, as his deafness continued to encroach upon his ability as a performer. After a repeat of the work a few weeks later, Beethoven did not appear again in public as a pianist.^[1][2][3]

The violinist and composer Louis Spohr witnessed a rehearsal of the work, and wrote: “On account of his deafness there was scarcely anything left of the virtuosity of the artist which had formerly been so greatly admired. In forte passages the poor deaf man pounded on the keys until the strings jangled, and in piano he played so softly that whole groups of notes were omitted, so that the music was unintelligible unless one could look into the pianoforte part. I was deeply saddened at so hard a fate.”^[3]

The pianist and composer Ignaz Moscheles attended the first performance, and wrote about the work: “In the case of how many compositions is the word “new” misapplied! But never in Beethoven’s, and least of all in this, which again is full of originality. His playing, aside from its intellectual element, satisfied me less, being wanting in clarity and precision; but I observed many traces of the grand style of playing which I had long recognized in his compositions.”^[2]

Structure

The work is in four movements:

1. Allegro moderato, 4/4
2. Scherzo (Allegro), 3/4
3. Andante cantabile ma però con moto. Poco piu adagio, D major, 3/4
4. Allegro moderato – Presto, 2/4 – 6/8

A typical performance runs approximately 40 minutes in length.

References in popular culture

• The Archduke plays a significant role in Elizabeth George‘s mystery A Traitor to Memory (2001)

• In Haruki Murakami‘s novel Kafka on the Shore (2002), the piece and its history are used to explain the relationship between two main characters, Nakata and Hoshino, and the latter’s development as a person

 

great compositions/performances: ,Edvard Grieg – Norwegian Dances / Danses Norvégiennes

Edvard Grieg – Norwegian Dances / Danses Norvégiennes

miljkmi

Published on Mar 29, 2012

Edvard Grieg (1843-1907), Norge

– Danses norvegiénnes (pour orchestre), op. 35
– Norwegian Dances (for Orchestra), Op. 35

I. Allegro marcato
II. Allegro tranquille e grazioso
III. Allegro moderato alla marcia
IV. Allegro molto

Gothenburg Symphony Orchestra
Neeme Järvi

Related articles

• Edvard Grieg conducts London concert: from the archive, 18 May 1906

historic musical bits: David Oistrakh plays Variations on a theme of Corelli

David Oistrakh plays Variations on a theme of Corelli

soichi1228

Uploaded on Sep 30, 2007

Vn:David Oistrakh
Pf:Frida Bauer

historic musical bits: Schumann : Piano Quintet in E flat major, Op. 44 , Rudolf Serkin / Bush String Quartet (Rec. 1942)

Schumann : Piano Quintet in E flat major, Op. 44

RichardHilo

Published on Aug 24, 2012

Schumann : Piano Quintet in E flat major, Op. 44

The piece is in four movements, in the standard quick-slow-scherzo-quick pattern:

1. Allegro brillante
2. In modo d’una marcia. Un poco largamente
3. Scherzo: Molto vivace
4. Allegro ma non troppo

********************************************************************
Rudolf Serkin (Piano)
Bush String Quartet

(Rec.1942) Copyright: Public Domain

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

From Wikipedia, the free encyclopedia

 

 

Robert Schumann, lithograph by Josef Kriehuber, in 1839, three years before the composition of his Piano Quintet in E-flat major, Op. 44.

The Piano Quintet in E-flat major, Op. 44, by Robert Schumann was composed in 1842 and received its first public performance the following year. Noted for its “extroverted, exuberant” character, Schumann’s piano quintet is considered one of his finest compositions and a major work of nineteenth-century chamber music.^[1] Composed for piano and string quartet, the work revolutionized the instrumentation and musical character of the piano quintet and established it as a quintessentially Romantic genre.

Composition and performance

 Clara Schumann (née Wieck) in 1838. Robert Schumann dedicated the piano quintet to Clara, and she performed the piano part in the work’s first public performance in 1843.

Schumann composed his piano quintet in just a few weeks in September and October 1842, in the course of his so-called “Chamber Music Year.” Prior to 1842, Schumann had completed no chamber music at all with the exception of an early piano quartet (in 1829). However, during his year-long concentration on chamber music he composed three string quartets, followed by the piano quintet, a piano quartet, and the Phantasiestücke for piano trio.

Schumann began his career primarily as a composer for the keyboard, and after his detour into writing for string quartet, according to Joan Chisell, his “reunion with the piano” in composing a piano quintet gave “his creative imagination … a new lease on life.”^[2]

John Daverio has argued that Schumann’s piano quintet was influenced by Schubert‘s Piano Trio No. 2 in E-flat major, a work Schumann admired. Both works are in the key of E-flat, both feature a funeral march in the second movement, and both conclude with finales that dramatically resurrect earlier thematic material.^[3]

Schumann dedicated the piano quintet to his wife, the great pianist Clara Schumann. She was due to perform the piano part for the first private performance of the quintet on 6 December 1842. However, she fell ill and Felix Mendelssohn stepped in, sight-reading the “fiendish” piano part.^[4] Mendelssohn’s suggestions to Schumann after this performance led the composer to make revisions to the inner movements, including the addition of a second trio to the third movement.^[4]

Clara Schumann did play the piano part at the first public performance of the piano quintet on 8 January 1843, at the Leipzig Gewandhaus. Clara pronounced the work “splendid, full of vigor and freshness.”^[4] She often performed the work throughout her life.^[5] Robert Schumann, however, on one occasion asked a male pianist to replace Clara in a performance of the quintet, remarking that “a man understands that better.”^[5]

Instrumentation and genre

Schumann’s piano quintet is scored for piano and string quartet (two violins, viola, and cello).

By pairing the piano with string quartet, Schumann “virtually invented” a new genre.^[4][6] Prior to Schumann, piano quintets were ordinarily composed for keyboard, violin, viola, cello, and double bass. (This is the instrumentation for Schubert’s Trout Quintet, for example.)

Schumann’s choice to deviate from this model and pair the piano with a standard string quartet lineup reflects the changing technical capabilities and cultural importance, respectively, of these instruments. By 1842, the string quartet had come to be regarded as the most significant and prestigious chamber music ensemble, while advances in the design of the piano had increased its power and dynamic range. Bringing the piano and string quartet together, Schumann’s Piano Quintet takes full advantage of the expressive possibilities of these forces in combination, alternating conversational passages between the five instruments with concertante passages in which the combined forces of the strings are massed against the piano. At a time when chamber music was moving out of the salon and into public concert halls, Schumann reimagines the piano quintet as a musical genre “suspended between private and public spheres” alternating between “quasi-symphonic and more properly chamber-like elements.”^[7]

Analysis

The piece is in four movements, in the standard quick-slow-scherzo-quick pattern:

1. Allegro brillante
2. In modo d’una marcia. Un poco largamente
3. Scherzo: Molto vivace
4. Allegro ma non troppo

 

Edvard Grieg – Lyric Pieces Op. 65 No. 6 – Wedding Day at Troldhaugen Pianist: Gerhard Oppitz

Group photograph showing Edvard Grieg, Percy Grainger, Nina Grieg and Julius Rontgen, at Grieg’s home, Troldhaugen, in July 1907 (Photo credit: Wikipedia)

 

Edvard Grieg – Lyric Pieces Op. 65 No. 6 – Wedding Day at Troldhaugen

Fledermaus1990

Uploaded on Jul 28, 2011

Pianist: Gerhard Oppitz

Photo: Edvard Grieg and his wife Nina.

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• Hough Plays Grieg.
• Edvard Grieg conducts London concert: from the archive, 18 May 1906
• Stephen Hough Puts His Experience Of A Miracle Into His Music

historic musical bits: Beethoven – String Quartet No.5 in A major, Op.18 – Végh Quartet – 1952

 

Beethoven – String Quartet No.5 in A major, Op.18 – Végh Quartet – 1952

PalamedeDePalamede

Published on Mar 9, 2013

Ludwig van Beethoven: The Early String Quartets, Opus 18
String Quartet No. 5 in A major, Op. 18, No. 5
(Streichquartett Nr. 5 in A-dur, Op. 18, Nr. 5)

I. Allegro
II. Menuetto
III. Andante cantabile
IV. Allegro

Végh Quartet
Sándor Végh, 1st violin
Sándor Zöldy, 2nd violin
Georges Janzer, viola
Paul Szabo, violoncello

The 1952 Haydn Society Recordings

 

Historic Musical Bits: Wilhelm Kempff plays Robert Schumann – Piano Concerto in A minor, Op. 54 (Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik)

Robert Schumann – Piano Concerto in A minor, Op. 54

Wolfgang Amadé Mozart

Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik

Movements:

Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
*****************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.

History

Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.

In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.

The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.

After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).

Instrumentation

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano.

Structure

The piece, as marked in the score, is in three movements:

1. Allegro affettuoso (A minor)

2. Intermezzo: Andantino grazioso (F major)

3. Allegro vivace (A major)

There is no break between these last two movements (attacca subito).

Schumann preferred that the movements be listed in concert programs as only two movements:^{[citation needed]}

1. Allegro affettuoso
2. Andantino and Rondo

The three movement listing is the more common form used.

Allegro affettuoso

The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.

Intermezzo

This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.

Allegro vivace

The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.

Further reading

• Donald Tovey, Essays in Musical Analysis: Concertos (London, 1936)
• Alfred Nieman, “The Concertos,” in Robert Schumann: The Man and his Music, edited by Alan Walker (London, 1972)
• Michael Steinberg, “The Concerto: A Listener’s Guide”, (Oxford, 1998)

 

Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim

mugge62

 

Published on Mar 16, 2012

Beethoven’s 5th Piano concert (Emperor) – Daniel Barenboim
Det kongelige kapel – Michael Schønvandt i Danmarks Radio Koncerthuset 2009 ved prisoverrækkelsen i København af Sonningprisen 2009 på 600,000 DKK ~ 125.000 US$ ~ The Sonning Prize Award is always held in Copenhagen, Denmark.
! The copyright © owner to all content in this video with The Royal Orchestra & Daniel Barenboim conducted by Michael Schønwandt, is entirely Danmarks Radio!
Also listen to Barenboims version of Noctune op. 27 no 2 by Chopin: http://www.youtube.com//watch?v=7EcER…

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

From Wikipedia, the free encyclopedia

 

The Piano Concerto No. 5 in E-flat major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven’s patron and pupil. The first performance took place on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider.^[1][2] On 12 February 1812, Carl Czerny, another student of Beethoven’s, gave the Vienna debut of this work.The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer, the English publisher of the concerto.^[3] Its duration is approximately forty minutes.

Instrumentation

The concerto is scored for a solo piano, two flutes, two oboes, two clarinets in B-flat (clarinet I playing clarinet in A in movement 2; flute II, oboe II, clarinet II, both trumpets, and timpani are tacet during this movement), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings.

Movements

The concerto is divided into three movements:

1. Allegro in E-flat major
2. Adagio un poco mosso in B major
3. Rondo: Allegro ma non troppo in E-flat major

As with Beethoven’s other concertos from this time period, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements of about twenty minutes.)

Recordings

• In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood but this recording no longer exists.
• Also in the 1920s, Wilhelm Backhaus recorded the 4th and 5th concertos very successfully. He would later record all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in stereo.
• In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra.
• Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
• Josef Hoffmann recorded it with the Chicago Symphony Orchestra, conducted by Hans Lange on May 12, 1940.
• Arthur Rubinstein recorded it three times, with Josef Krips, Erich Leinsdorf, and Daniel Barenboim.
• Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944, apparently the earliest surviving such recording, for German radio.
• Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra.
• Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
• Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic; in 1953 with Eugene Ormandy and the Philadelphia Orchestra; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa.
• Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic. The performance was filmed and released on DVD.
• Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
• Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis, first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden.
• Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations.
• Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon. First with Karl Böhm and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic.
• Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
• Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek.
• Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink, 1988.

Related articles

• this day in the yesteryear: Beethoven’s Ninth Symphony Premieres in Vienna (1824)

Historic Musical Bits: David Oistrakh plays Variations on a theme of Corelli

David Oistrakh plays Variations on a theme of Corelli

soichi1228

Violin:David Oistrakh
Piano Forte:Frida Bauer

P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” (Fedoseyev)

 

Joseph Aknin

Uploaded on Jan 27, 2012

P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” in G minor, Op. 13 (1866)
П. И. Чайковский – Симфония № 1 «Зимние грёзы» соль минор, соч. 13:
1. «Грёзы зимнею дорогой (Dreams of a Winter Journey)». Allegro tranquillo g-moll
2. «Угрюмый край, туманный край» (Land of Desolation, Land of Mists). Adagio cantabile ma non tanto
3. Скерцо (Scherzo). Allegro scherzando giocoso
4. Финал (Finale). Andante lugubre. Allegro maestoso

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

this day in the yesteryear: Beethoven’s Ninth Symphony Premieres in Vienna (1824)

Beethoven’s Ninth Symphony Premieres in Vienna (1824)

The Symphony No. 9 in D Minor is the last complete symphony composed by Ludwig van Beethoven. One of the best known works of the Western repertoire, it is considered one of Beethoven’s greatest masterpieces. Incorporating part of Johann Schiller’s “Ode to Joy,” sung by soloists and a chorus, it is the first symphony in which a major composer utilizes human voices on the same level as instruments. How many standing ovations reportedly followed its premiere performance in 1824? More… Discuss

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• Ten Stories of Beethoven’s Ninth

Kurt Masur: Felix Mendelssohn ／ Overture Ruy Blas, op.95 , great compositions/performances

[Kurt Masur] Felix Mendelssohn ／ Overture Ruy Blasop.95

senzokugakuen

Uploaded on Apr 19, 2010

*洗足学園音楽大学 Senzoku Gakuen College of Music
　http://www.senzoku.ac.jp/music/index….

クルト・マズア マスターコース 特別演奏会
指揮：クルト・マズア　クルト・マズア マスターコース選抜受講生
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Cziffra plays Liszt Hungarian Rhapsodies No.1-9

EvaYoungPianist

Published on Jul 1, 2012

Franz Liszt:
Hungarian Rhapsodies:
No.1 in E Major 00:00
No.2 in C-sharp Minor 12:49
No.3 in B-flat Major 23:04
No.4 in E-flat Major 27:28
No.5 in E Minor 32:52
No.6 in D-flat Major 41:56
No.7 in D Minor 48:58
No.8 in F-sharp Minor 54:09
No.9 in E-flat Major 1:00:54

Georges Cziffra: piano

 

Related articles

• LISZT Orchestral Hungarian Rhapsody No 4, Herbert von Karajan / Berliner Philharmoniker

 

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

fritz51268

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

Uploaded on Jan 5, 2009

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

Johann Strauss, Kaiser Walzer, op.437

Kaiser-Walzer op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The famous waltz was originally titled ‘Hand in Hand’ and was intended as a toast made in August of that year by Austrian emperor Franz Josef on the occasion of his visit to the German Kaiser Wilhelm II where it was symbolic as a ‘toast of friendship’ extended by Austria to Germany.

best classical music , Schubert Symphony No 5 B flat major Bavarian RSO Maazel

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra

Movements:
– Allegro in B♭, in cut (2/2) time.
– Andante con moto in E♭, in 6/8 time 4:50
– Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
– Allegro vivace in B♭, in 2/4 time 21:36

 

L. v. Beethoven: Op. 25 / Serenade [Serenata] for flute, violin and viola in D major (Vienna, 1796?)

PerleBarocche

Uploaded on Dec 2, 2011

LUDWIG VAN BEETHOVEN [1770 – 1827]

Serenade for flute, violin and viola in D major, Op. 25 (Vienna, Cappi, 1802)

date: c. 1796

note: There is another version Op. 41 for flute and pianoforte

I. Entrata (Allegro)
II. Tempo ordinario d’un Minuetto
III. Allegro molto in D minor
IV. Andante con variazioni in C major
V. Allegro scherzando e vivace
VI. Adagio
VII. Allegro vivace

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)

Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim, great compositions/performances

© Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim (whole concert)

mugge62

Published on Mar 16, 2012

Beethoven’s 5th Piano concert (Emperor) – Daniel Barenboim
Det kongelige kapel – Michael Schønvandt i Danmarks Radio Koncerthuset 2009 ved prisoverrækkelsen af Sonningprisen 2009 på 600,000 DKK ~ 125.000 US$ ~ The Sonning Prize Award! The copyright © owner to all content in this video with The Royal Orchestra & Daniel Barenboim conducted by Michael Schønwandt, is entirely Danmarks Radio!
Also listen to Barenboims version of Noctune op. 27 no 2 by Chopin: http://www.youtube.com//watch?v=7EcER..
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Piano Concerto No. 5 (Beethoven)

From Wikipedia, the free encyclopedia
The Piano Concerto No. 5 in E-flat major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven’s patron and pupil. The first performance took place on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider.^[1][2] On 12 February 1812, Carl Czerny, another student of Beethoven’s, gave the Vienna debut of this work.

The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer, the English publisher of the concerto.^[3] Its duration is approximately forty minutes.

Instrumentation

The concerto is scored for a solo piano, two flutes, two oboes, two clarinets in B-flat (clarinet I playing clarinet in A in movement 2; flute II, oboe II, clarinet II, both trumpets, and timpani are tacet during this movement), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings.

Movements

The concerto is divided into three movements:

1. Allegro in E-flat major
2. Adagio un poco mosso in B major
3. Rondo: Allegro ma non troppo in E-flat major

As with Beethoven’s other concertos from this time period, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements of about twenty minutes.)

Recordings

• In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood but this recording no longer exists.
• Also in the 1920s, Wilhelm Backhaus recorded the 4th and 5th concertos very successfully. He would later record all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in stereo.
• In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra.
• Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
• Josef Hoffmann recorded it with the Chicago Symphony Orchestra, conducted by Hans Lange on May 12, 1940.
• Arthur Rubinstein recorded it three times, with Josef Krips, Erich Leinsdorf, and Daniel Barenboim.
• Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944, apparently the earliest surviving such recording, for German radio.
• Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra.
• Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
• Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic; in 1953 with Eugene Ormandy and the Philadelphia Orchestra; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa.
• Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic. The performance was filmed and released on DVD.
• Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
• Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis, first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden.
• Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations.
• Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon. First with Karl Böhm and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic.
• Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
• Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek.
• Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink, 1988.

 

Debussy: Danse (Tarantelle Styrienne) L. 69 , Claudio Arrau

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau – Topic

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau

℗ 2011 Unchained Melodie

Released on: 2011-12-01

Composer: Claude Debussy

 

Beethoven piano sonata no. 18, op. 31, in E flat major, Piano: Wilhelm Kempff , great compositions/performances

Beethoven piano sonata no. 18 op. 31 in E flat major

BLOP888

Piano: Wilhelm Kempff
The Piano Sonata No. 18 in E-flat major, Op. 31, No. 3, is a sonata for solo piano by Ludwig van Beethoven, the third and last of his Op. 31 piano sonatas. The work dates from 1802. A playful jocularity is maintained throughout the piece, earning it the occasional nickname of The Hunt, although like many of Beethoven’s early works, the ‘jocular’ style can be heard as a facade, concealing profound ideas and depths of emotion.
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• Music

  • “Piano sonata No. 18 in E Flat Major Op. 31 No. 1: III. Menuetto – moderato e grazioso” by Wilhelm Kempff (Google Play • AmazonMP3 • iTunes • eMusic)
    

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From Wikipedia, the free encyclopedia

The Piano Sonata No. 18 in E-flat major, Op. 31, No. 3, is a sonata for solo piano by Ludwig van Beethoven, the third and last of his Op. 31 piano sonatas. The work dates from 1802. A playful jocularity is maintained throughout the piece, earning it the occasional nickname of The Hunt, although like many of Beethoven’s early works, the ‘jocular’ style can be heard as a facade, concealing profound ideas and depths of emotion.

Roger Kamien has performed a Schenkerian analysis of facets of chords of the sonata.^[1]

The sonata consists of four movements:

1. Allegro: Beethoven’s progressive harmonic language is apparent from the very first chord of the piece (3rd inversion of the 11th on dominant B♭^[2]), the stability of a tonic chord in root position delayed until bar 8. The expressive harmonic colour, coupled with the changes of tempi in the introduction (1-18), creates an evocative opening, reminiscent of the improvisatory style of C. P. E. Bach‘s piano sonatas. This opening cell is repeated extensively throughout the movement – at the start of the development (89), in the recapitulation (137), and also during the coda (transposed into the subdominant (220), and then at its original pitch (237)). The codetta (33-45) explores this opening chord in a minor variation (with a C flat, implying ii7 of E♭ minor), even appearing in bar 36 in the exact spacing (albeit with different spelling) of the ‘Tristan chord‘, written by Richard Wagner some 55 years later.
2. Scherzo. Allegretto vivace: This scherzo is different from regular scherzos, as it is written in 2/4 time as opposed to 3/4, and because it is in sonata form. However, its still contains many characteristics of a scherzo, including unexpected pauses and a playful nature. The theme is in the right hand while the left-hand contains staccato accompaniment. This wasn’t the first time Beethoven wrote a scherzo that wasn’t in ternary form; the scherzo in the Op. 14, No. 2 sonata has a scherzo as its third movement, which is in rondo form.
3. Menuetto. Moderato e grazioso: It is surprisingly the most serious of the movements, with a sweet and tender nature presented in the piece, with both the minuet and the trio presented in E flat major.
4. Presto con fuoco: A very vigorous and rolling piece, suspended by continuous, rollicking eighth notes in the bass.

The form of the sonata is unusual because it does not have a slow movement, which is instead replaced with a scherzo and followed by a minuet, before launching into the spirited finale.

Adaptations

• Camille Saint-Saëns used the Trio section of the Menuetto as the theme for his 1874 Variations sur un thème de Beethoven, Op. 35, for two pianos.

References

• Kamien, Roger (Summer 1998). “Non-Tonic Settings of the Primary Tone in Beethoven Piano Sonatas”. The Journal of Musicology 16 (3): 379–393. doi:10.1525/jm.1998.16.3.03a00060. JSTOR 199822

2. Harding, Henry Alfred (1901). Analysis of form in Beethoven’s sonatas. Novello. p. 37.

External links

• A lecture by András Schiff on Beethoven’s piano sonata op. 31 no. 3
• For a public domain recording of this sonata visit Musopen
• Piano Sonata No. 18: Free scores at the International Music Score Library Project

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

Related articles

• Schubert Symphony No 8 B minor Unfinished Unvollendete Claudio Abbado ,great compositions/performances

JOHANNES BRAHMS- Serenade Nº2 A, Op. 16

Carlos Garcia

Published on Jun 10, 2013

JOHANNES BRAHMS:

Serenade Nº2 A-Dur Op 16

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

Orquesta de cámara Scottish

Director. Charles Mackerras

Serenatas (Brahms)
Las dos serenatas, opp. 11 y 16, representan dos de los primeros intentos de Johannes Brahms de escribir música orquestal. Ambas datan de los años 1850, específicamente del período en el que trabajó en la corte de Detmold. Según sus biografos ese período fue tranquilo y reposado, y a pesar de que al mismo tiempo componía el diabólico primer concierto para piano, compuso algunas piezas corales y el sexteto para cuerda, op. 18.

Serenata n.º 2 en la mayor, op. 16.

La segunda serenata fue escrita entre 1857 y 1860, y está dedicada a Clara Schumann. Llama poderosamente la atención su orquestación: sin timbales, trompetas, ni violínes. En este sentido se le suele relacionar con la ópera Uthal de Etienne Méhul.
En 1875 Brahms revisó la partitura para una nueva edición, por lo general usada hoy en día. Algunos autores han sugerido que la peculiar orquestación fue producto de esta revisión. Otros lo desmienten.
La serenata consta de cinco movimientos y dura aproximadamente treinta minutos.

• Music

  • “Serenade No. 2 in A Major, Op. 16: I. Allegro Moderato” by Scottish Chamber Orchestra & Sir Charles Mackerras (iTunes)

Says Google Translate:  (Spanish to English)

Allegro moderato (highest)
Scherzo. Vivace (major) – Trio (F major)
Adagio non troppo (the lowest)
Quasi menuetto (high re) – Trio (if sustained low)
Rondo. Allegro (highest)

Scottish Chamber Orchestra

Head Teacher. Charles Mackerras

Serenades (Brahms)
The two serenades, opp. 11 and 16 represent two of the first attempts of Johannes Brahms to write orchestral music. 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 although while composing the 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 was the result of this review. Others say otherwise.
The serenade consists of five movements and lasts about thirty minutes.

Beethoven: String Quartet No. 2 in G Major, Live in The Greene Space , great compositions/performances

Beethoven: String Quartet No. 2 in G Major, Live in The Greene Space

The Greene Space at WNYC & WQXR

Published on Dec 4, 2012

http://www.thegreenespace.org

The Attacca Quartet performs the Quartet No. 2 in G Major, Op. 18, No 2

WQXR presented the Beethoven String Quartet Marathon on November 18th, 2012. Part of the Beethoven awareness month, all of Beethoven’s string quartets performed in a special marathon at The Jerome L. Greene Performance Space.

The Orion Quartet, the Afiara Quartet, the Amphion Quartet, the Attacca Quartet, the Jasper Quartet and other notable Beethoven interpreters performed.

The String Quartet No. 14 in C-sharp minor, opus 131, by Ludwig van Beethoven was completed in 1826. (The number traditionally assigned to it is based on the order of its publication; it is actually his fifteenth quartet by order of composition.) About 40 minutes in length, it consists of seven movements to be played without a break, as follows: 1. Adagio ma non troppo e molto espressivo
2. Allegro molto vivace
3. Allegro moderato
4. Andante ma non troppo e molto cantabile — Più mosso — Andante moderato e lusinghiero — Adagio — Allegretto — Adagio, ma non troppo e semplice — Allegretto
5. Presto
6. Adagio quasi un poco andante
7. Allegro

This work, which is dedicated to Baron Joseph von Stutterheim, was Beethoven’s favourite from the late quartets. He is quoted as remarking to a friend: “thank God there is less lack of imagination than ever before”[citation needed]. Together with the quartets op. 130 and 132, it goes beyond anything Beethoven had previously written. (Op. 131 is the conclusion of that trio of great works, written in the order 132, 130 with the Grosse Fugue ending, 131; they may be profitably listened to and studied in that sequence.) It is said that upon listening to a performance of this quartet, Schubert remarked, “After this, what is left for us to write?”

W. A. Mozart – Missa Solemnis C major KV 337 ,great compositions/performances

W. A. Mozart – Missa Solemnis in 

C major,  KV 337

Przemysław Zalewski

Jerzy Salwarowski – Dyrygent

Orkiestra Symfoniczna UMFC Wydziału Instrumentalno-Pedagogicznego w Białymstoku
Chór kierunku Edukacji artystycznej w zakresie sztuki muzycznej

Hanna Różankiewicz – sopran
Paulina Malinowska – mezzosopran
Paweł Cichoński – tenor
Maciej Falkiewicz – baryton

26 lutego 2013
Sala koncertowa OiFP, ul. Podlesna 2

http://www.chopin.man.bialystok.pl
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From Wikipedia, the free encyclopedia

The Missa solemnis in C major by Wolfgang Amadeus Mozart, K. 337, was written in 1780 for Salzburg.^[1] It was Mozart’s last complete mass.^[2] The mass is scored for soloists, choir, 2 oboes,^[3] 2 bassoons, 2 trumpets, 3 trombones,^[4] strings (without violas^[5]) and organ, the latter supplying figured bass for most of the duration.

The Sanctus recalls features of the Kyrie, and also has a violin figure Mozart used again in Idomeneo.^[6] The Benedictus is peculiar for Mozart’s mass settings in that it is an austere fugue in an archaic style.

Fragmentary first Credo setting and its completion

The autograph of the mass features an alternative setting of the Credo. This setting has a length of 136 measures and abruptly ends after the words “cuius regni non erit finis”.^[8] It is not clear why Mozart stopped work on this setting and instead began work on the second – and complete – setting of the Credo on the next page of the autograph, but this may be due to the fact that Mozart had forgotten to set the words “sub Pontio Pilato” to music in the first draft. In the years 1989 and 2003 Dr Murl Sickbert completed the fragment; in 2006 it was performed at Hardin–Simmons University, Texas.^[9]

See also

• Missa solemnis by Ludwig van Beethoven
• Missa solemnis by Anton Bruckner

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Nicolai Rimsky-Korsakov,Symphonic Suite:”Antar” (Symphony No.2) , great compositions/performances

Nicolai Rimsky-Korsakov,Symphonic Suite:”Antar” (Symphony No.2).

pomip1010

Published on Jan 24, 2014

Nikolay Rimsky-Korsakov had a work ethic that bordered on the obsessive, and when inspiration failed him, he would often busy himself by tidying up works from his youth. This habit accounts for the proliferation of versions of Antar. This work was composed between January and August 1868, and premiered in March of the next year. After a few alterations, it was published in 1880 as his Second Symphony. However, in the “new edition” of 1903, which was dated 1897, “Antar” was substantially revised and called a symphonic suite, with the words Second Symphony in a parenthetical subtitle. In 1913, a final version of Antar came out, called simply a “Symphonic Suite,” as Rimsky-Korsakov had decided that Antar was “a poem, suite, fairy tale, story, anything you like, but not a symphony.” The final version changes the key of the second movement and has more refined and detailed orchestration. However, the earlier version may best preserve the freshness of Rimsky-Korsakov’s response to the myth of Antar, a great warrior from Arabian literature.

Polish National Radio Symphony Orchestra/Lucasz Borowicz.

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.

 

 

 

 

Borodin In the Steppes of Central Asia – Svetlanov , great compositions/performances

Borodin In the Steppes of Central Asia – Svetlanov

Mark Farago

Borodin: In the Steppes of Central Asia – Musical picture

USSR Symphony Orchestra
Evgeny Svetlanov, conductor
Rec. 1966

The musical picture “In Central Asia” was written in 1880 and premiered in St.Petersburg under Rimsky Korsakov‘s baton that year.

Beethoven – Turkish March (arr. for 8 pianos; Larrocha, Bolet, etc.) , great compositions/performances

Beethoven – Turkish March (arr. for 8 pianos; Larrocha, Bolet, etc.)

madlovba3

2 successive performances of Ludwig van Beethoven’s Turkish March from “Die Ruinen von Athen”, arranged by Richard Blackford for 8 pianos. Played by Gina Bachauer, Jorge Bolet, Jeanne-Marie Darré, Alicia De Larrocha, John Lill, Radu Lupu, Garrick Ohlsson and Bálint Vázsonyi at a Gargantuan Pianistic Extravaganza in London, 1974.

Please note that the 2nd performance is NOT a shredding video – these great pianists were actually playing what you hear!

The audio goes out of sync after a while, sorry about that.

Ludwig van Beethoven: Piano Concerto No.2 Op.19 in B flat major

vivaldi369

 

Published on Sep 16, 2012

Álbum: Beethoven: Edition Vol. 02 – Concertos (Disc 1)
Interprete del álbum: Maurizio Pollini, Wiener Philharmoniker & Sviatoslav Richter, Wiener Symphoniker
Compositor: Ludwig van Beethoven
Año: 1997
Genero: Clásico Romántico Alemán
Movimientos: Allegro con Brio-Adagio-Rondo Molto Allegro
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From Wikipedia, the free encyclopedia

The Piano Concerto No. 2 in B-flat major, Op. 19, by Ludwig van Beethoven was composed primarily between 1787 and 1789, although it did not attain the form it was published as until 1795. Beethoven did write another finale for it in 1798 for performance in Prague, but that is not the finale that it was published with. It was used by the composer as a vehicle for his own performances as a young virtuoso, initially intended with the Bonn Hofkapelle. It was published in 1801, by which time he had also published the Piano Concerto No. 1 in C major, although it had been composed after this work, in 1796 and 1797.^[1]

The B-flat major Piano Concerto became an important display piece for the young Beethoven as he sought to establish himself after moving from Bonn to Vienna. He was the soloist at its premiere on 29 March 1795, at Vienna’s Burgtheater in a concert marking his public debut.^[1] (Prior to that, he had performed only in the private salons of the Viennese nobility.) While the work as a whole is very much in the concerto style of Mozart, there is a sense of drama and contrast that would be present in many of Beethoven’s later works.^[1] Beethoven himself apparently did not rate this work particularly highly, remarking to the publisher Franz Anton Hoffmeister that, along with the Piano Concerto No. 1, it was “not one of my best.”^[2] The version that he premiered in 1795 is the version that is performed and recorded today.

Movements

The work is scored for solo piano, flute, two oboes, two bassoons, two horns and strings.^[3] The concerto is in three movements:

• I. Allegro con brio
• II. Adagio
• III. Rondo. Molto allegro

The first movement begins with a triumphant orchestral opening on the tonic chord, and maintains a playfulness while using chromatic passages to show off the soloist’s dizzying technique. The second movement is characteristically serene and peaceful, while the closing Rondo brings back the youth-filled playfulness heard in the opening movement.

***I. Allegro con brio

This movement is in the concerto variant of sonata form (double-exposition sonata form). The orchestra introduces the main theme and the subordinate theme in its exposition. The second exposition is in F major. The development wanders in key and ends on a long B-flat major scale. The recapitulation is similar to the exposition and is in B-flat major.

There is a rather difficult cadenza composed by Beethoven himself, albeit much later than the concerto itself. Stylistically, the cadenza is very different from the concerto, but it makes good use of the first opening theme. Beethoven applies this melody to the cadenza in several different ways, changing its character each time and displaying the innumerable ways that a musical theme can be used and felt.

This movement was written between 1787 and 1789 in Bonn. Average performances last from thirteen to fourteen minutes.

***II. Adagio

This movement is in E-flat major, the subdominant key. Like many slow movements, it has ABA (ternary) form, where the opening section introduces the themes, and the middle section develops them. This movement was written between 1787 and 1789 in Bonn. Average performances last from eight to nine minutes.

***III. Rondo. Molto allegro

This movement takes the form of a Third Rondo (ABACABA). Beethoven’s playfulness of his early period can be heard here. There is a constant angular feel within the 6/8 melody itself that Beethoven plays on with each return of the rondo theme. The C section is also highly contrasting with the others, being that it is in a minor key and more forceful and stern in meaning. Also, prior to the last appearance of the rondo theme, Beethoven brings the piano in in the “wrong” key of G major, before the orchestra “discovers” the discrepancy and returns to the correct tonic key. This musical joke can be seen in many of Beethoven’s subsequent compositions.

This rondo is the one that Beethoven wrote in 1795 and premiered in Vienna that year. It does show Haydn’s influence. Average performances last from five to six minutes.

Lucia Popp – Ruhe Sanft, Mein Holdes Leben (Mozart, Zaide)

anes1001

 

Uploaded on Jul 9, 2010/ 117,609 views

Wolfgang Amadeus Mozart (1756-1791)
Zaide, Act 1 : Zaide’ aria
“Ruhe Sanft, Mein Holdes Leben”

Lucia Popp, soprano

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Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff , great compositions/performances

Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff

La Casa di Davide

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Franz Schubert Piano Sonata No 5 in A flat, D 557
Andras Schiff, piano
I. Allegro moderato 0:00
II. Andante 4:15
III. Allegro 7:51

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Johann Sebastian Bach – Aria: Bist Du bei mir (“be, thou, with me) BWV 508 , great compositions/performances

Johann Sebastian Bach – Aria: Bist Du bei mir “be, thou, with me”, BWV 508

ArcosOrchestra

Published on Feb 16, 2014

Johann Sebastian Bach (1685-1750)
Aria: Bist Du bei mir BWV 508
(Arrangement for Alto Saxophone and String Orchestra by J. Kelly)

John-Edward Kelly, alto saxophone
North Czech Symphony Orchestra, Teplice
Charles Olivieri-Munroe, conductor

Recorded live in concert, 16 October 2003

Happy Birthday Mozart – Week: Mozart – Piano Sonatas – Classical Music (COMPLETE)

Mozart – Piano Sonatas – Classical Music (COMPLETE)

sadeq Ghanem

SONATAS
1. Sonata in C, K279
2. Sonata in F, K280
3. Sonata in B flat, K281
4. Sonata in E flat, K282
5. Sonata in G, K283
6. Sonata in D, K284 “Durnitz”
7. Sonata in C, K309
8. Sonata in A minor, K310
9. Sonata in D, K311
10. Sonata in C, K330
11. Sonata in A, K331
12. Sonata in F, K332
13. Sonata in B flat, K333
14. Fantasia in C minor, K475
15. Sonata in C minor, K457
16. Sonata in C, K545 “fur Anfanger”
17. Sonata in B flat, K570
18. Sonata in D, K576
19. Sonata in F, K533 & 494

Wolfgang Amadeus Mozart (27 January 1756 — 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.

Wolfgang Amadeus Mozart, cuyo nombre completo era Johannes Chrysostomus Wolfgangus Theophilus Mozart,1 (Salzburgo, 27 de enero de 1756 – Viena, 5 de diciembre de 1791), fue un compositor y pianista austriaco, maestro del Clasicismo, considerado como uno de los músicos más influyentes y destacados de la historia.

Classical Music: Piano Sonatas – Mozart
Musique classique: Sonates pour piano – Mozart
Música Clásica: Piano Sonatas – Mozart
Klassische Musik: Klaviersonaten – Mozart
Musica classica: Piano Sonatas – Mozart
Música clássica: Sonatas para Piano – Mozart

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