Antonín Dvořák – Symphony No. 3 in E flat major, Op. 10
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Ancient Airs and Dances (Italian: Antiche arie e danze) is a set of three orchestral suites by Italian composer Ottorino Respighi. In addition to being a renowned composer and conductor, Respighi was also a notable musicologist. His interest in Italian music of the 16th, 17th, and 18th centuries led him to compose works inspired by the music of these periods.
Suite No. 3 was composed in 1932. It differs from the previous two suites in that it is arranged for strings only and somewhat melancholy in overall mood. It is based on lute songs by Besard, a piece for baroque guitar by Ludovico Roncalli, and lute pieces by Santino Garsi da Parma and additional anonymous composers.
Tanglewood is an estate and music venue in Lenox and Stockbridge, Massachusetts, and is the home of the annual summer Tanglewood Music Festival and the Tanglewood Jazz Festival. It has been the Boston Symphony Orchestra’s summer home since 1937. Its summer school is one of the world’s preeminent training grounds for composers, conductors, instrumentalists, and vocalists. The name “Tanglewood” pays homage to what American author who spent time in the region? More… Discuss
Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik
Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
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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.
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).
The piece, as marked in the score, is in three movements:
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:
The three movement listing is the more common form used.
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.
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.
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.
Henry Lee Higginson, who established the Boston Symphony Orchestra in 1881, believed that “concerts of a lighter kind of music” should be presented in the summer. People began to refer fondly to these summer concerts as “the Pops,” a name which became official in 1900. The Boston Pops tailors its programs around American music and musicians, medleys of popular songs, and familiar movements of classical works. Outside of its official concert season at Symphony Hall, where it performs through May and June, the Pops also tours the United States. More… Discuss
Ragtime is a style of American piano music emphasizing syncopation and polyrhythm. Popular in the early 20th century, it was the first form of jazz to exert a wide appeal—thanks, in part, to Scott Joplin and Irving Berlin, its most celebrated composers and performers. In a ragtime composition, the pianist’s left hand keeps an accented beat while the right hand plays a fast, bouncing melody that gives the music its powerful forward impetus. What is the likely origin of the name “ragtime”? More… Discuss
1. Adagio, 4/8 — Allegro molto, 2/4, E minor
2. Largo, common time, D-flat major, then later C-sharp minor
3. Scherzo: Molto vivace — Poco sostenuto, 3/4, E minor
4. Allegro con fuoco, common time, E minor, ends in E major
Sinfonia n.º 9 (Dvořák)
A Sinfonia Nº. 9 em Mi menor Op. 95 Sinfonia do Novo Mundo
Symfonie č. 9 (Dvořák), Symfonie č.9, e-moll, op. 95 Antonína Dvořáka
This symphony is scored for an orchestra of the following:
2 flutes (one doubling piccolo)
2 oboes (one doubling on English horn)
2 clarinets in A and B♭ (B♭ in movement 2)
4 horns in E, C and F
2 trumpets in E, C and E♭
2 tenor trombones
tuba (second movement only)
triangle (third movement only)
cymbals (fourth movement only)
Symphony No. 9 (Dvořák)