Tag Archives: Orchestra
Historic Musical Bits: Mozart: Piano concerto n. No. 21 in C major, K.467(“Elvira Madigan”) Pollini-Muti
Mozart: Piano concerto n. No. 21 in C major, K.467 (“Elvira Madigan”) Pollini-Muti
Shostakovich Plays Shostakovich – Piano Concerto No. 2 in F major, Op. 102
Mendelssohn: Symphony no. 3 “Scottish” – Klemperer & Philharmonia Orchestra
Frederick Delius: Florida Suite (1888, Reedited by Beecham, 1963)
Shostakovich: Symphony No. 5 / Bernstein · New York Philharmonic Orchestra
historic musical bits: Stravinsky|The Firebird / Gergiev · Vienna Philarmonic · Salzburg Festival 2000 (Wikipedia article on the musical piece
Stravinsky: The Firebird / Gergiev · Vienna Philarmonic · Salzburg Festival 2000
Peter von Winter – Oboe Concerto No.2 in F-major
Kozeluh: Concerto For Oboe And Orchestra In F Major – 1. Vivace
Dream Children, Dorabella, and Carissima by Sir Edward Elgar
The beautiful music of Elgar set to images of children, flowers and pets.
1. Dream Children Op.43 : II Allegretto piacevole
2. Enigma Variations Op. 36 :X. Intermezzo: Dorabella (Dora Penny)
3. Excerpt from “Carissima”
Best compositions/performances: Dvořák Symphony No 9 “New World” Sergiu Celibidache (Bio.) , Münchner Philharmoniker, 1991
Dvořák Symphony No 9 “New World” Sergiu Celibidache, Münchner Philharmoniker, 1991
Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philarmonic
great compositions/performances: Saint-Saëns – Le carnaval des animaux (The Carnival of the Animals) (1886)
Saint-Saëns – Le carnaval des animaux (The Carnival of the Animals) (1886)
Historic Musical Bits: Mendelssohn – A Midsummer Night’s Dream Overture Op. 21 | The Philharmonia Orchestra Conductor: Otto Klemperer
Mendelssohn – A Midsummer Night’s Dream Overture Op. 21
Antonín Dvořák – Symphony No. 3 in E flat major, Op. 10
Mozart – Symphony No. 40,
in G minor, K. 550
Dvorak : In nature’s realm ouverture op 91
great compositions/performances: Glazunov “Symphony No 7” USSR Ministry of Culture Symphony OrchestraGennadi Rozhdestvensky
Glazunov “Symphony No 7” Gennadi Rozhdestvensky
Antonin Dvorak, : The Wood Dove, Op. 110, B. 198 , great compositions/performances, (Fritz Lehmann · Symphony Orchestra of Radio Berlin)
The Wood Dove, Op. 110, B. 198
Franz Anton Rösler (Rosetti). Symphony in D major, A12
Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218
O. Respighi Ancient Airs and Dances Suite III.
From Wikipedia, the free encyclopedia
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 (1932)
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.
- Italiana (Anonymous: Italiana (Fine sec.XVI) – Andantino)
- Arie di corte (Jean-Baptiste Besard: Arie di corte (Sec.XVI) – Andante cantabile – Allegretto – Vivace – Slow with great expression – Allegro vivace – Vivacissimo – Andante cantabile)
- Siciliana (Anonymous: Siciliana (Fine sec.XVI) – Andantino)
- Passacaglia (Lodovico Roncalli: Passacaglia (1692) – Maestoso – Vivace)
great compositions/performances: Richard Wagner Overture from the Flying Dutchman (The Met Orchestra James Levine conducting)
Richard Wagner Overture from the Flying Dutchman
Edvard Grieg – Norwegian Dances / Danses Norvégiennes
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
historic musical bits: Arthur Rubinstein – Chopin – Piano Concerto No 2 in F minor, Op 21/ London Symphony Orchestra André Previn, conductor Classical Vault 2 Classical Vault 2
Arthur Rubinstein – Chopin – Piano Concerto No 2 in F minor, Op 21
Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981
Claudio Abbado “Overture “The Fair Melusina” Mendelssohn
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
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
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.
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:
Allegro affettuoso (A minor)
Intermezzo: Andantino grazioso (F major)
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:
- Allegro affettuoso
- Andantino and Rondo
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.
- 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)