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.

Martha Argerich plays Schumann: Kreisleriana, Op. 16: greaat compositions/performances

Martha Argerich plays Schumann: Kreisleriana, Op. 16

jgmfestvideos

***”Kreisleriana, Op.16: 7. Sehr Rasch”

***by Martha Argerich

***(Google Play • iTunes • AmazonMP3)
**********************************************

From Wikipedia, the free encyclopedia

Kreisleriana

Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. It was written in only four days in April 1838 and revised in 1852. The work was dedicated to Frédéric Chopin, but when a copy was sent to the Polish composer, “he commented favorably only on the design of the title page”.^[1] Kreisleriana is a very dramatic work and is considered to be one of Schumann’s finest compositions. Schumann himself often called it his favourite work.^[2]

	Kreisleriana, Op. 16 (1838) No. 1 “Äußerst bewegt“ No. 3 “Sehr aufgeregt“ No. 8 “Schnell und spielend“ All played by Giorgi Latso
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The work’s title, and possibly the basis for a depiction of psychological music-drama, was inspired by the character of Johannes Kreisler from works of E. T. A. Hoffmann. Like the kaleidoscopic Kreisler, each number has multiple contrasting sections, resembling the imaginary musician’s manic-depression, and recalling Florestan and Eusebius, the two imaginary characters of Schumann’s inner vision (representing his impulsive and dreamy sides, respectively). Johannes Kreisler appears in three books by Hoffmann, most notably in the Kreisleriana section of Fantasiestücke in Callots Manier, published in 1814.

LUDWIG VAN BEETHOVEN.- 1770-1827- Quinteto in E-flat major Op. 16

LUDWIG VAN BEETHOVEN.- 1770-1827- 
Quinteto in E-flat major Op. 16  (1796)

Pianoforte: Jos Van Immerseel
Oboe: Paul Dombrecht
Clarinete: Elmar Schmid
Corno: Piet Dombrecht
Fagot: Danny Bond

From Wikipedia:    

Quintet in E-flat for Piano and Winds, Op. 16, was written by Ludwig van Beethoven in 1796. 
The quintet is scored for piano, oboe, clarinet, horn, and bassoon. It was inspired by Mozart‘s Quintet, K. 452 (1784), which has the same scoring and is also in E-flat.
It is in three movements:

• I. Grave – Allegro ma non troppo
• II. Andante cantabile
• III. Rondo: Allegro ma non troppo
  

Beethoven subsequently transcribed the Op. 16 quintet as a quartet for piano and string trio (violin, viola, and cello), using the same opus number, tempo markings, and overall timing.

 

LUDWIG VAN BEETHOVEN – 1770-1827- Quinteto in E-flat major, Op. 16

LUDWIG VAN BEETHOVEN.- 1770-1827- 
Quinteto in E-flat major Op. 16

Grave – Allegro ma non troppo
Andante cantabile
Rondo, allegro ma non troppo

Pianoforte: Jos Van Immerseel
oboe: Paul Dombrecht
clarinet: Elmar Schmid
horn: Piet Dombrecht
bassoon: Danny Bond

Quinteto en mi bemol para piano y vientos , Op. 16 años, fue escrita por Ludwig van Beethoven en 1796.
El quinteto está escrita para el piano , oboe , clarinete , trompa y fagot . Está inspirada en Mozart ‘s Quintet, K. cuatrocientas cincuenta y dos (1784), que tiene la misma puntuación y también está en mi bemol.
El rendimiento es de unos 23-26 minutos.
Beethoven posteriormente transcribió el Op. 16 quinteto como un cuarteto para piano y trío de cuerdas ( violín , viola y violonchelo ), utilizando el mismo número de opus, las marcas de tempo, y el tiempo total.