Claude Debussy (1862-1918) La Mer, trois esquisses symphoniques pour orchestre (1903-1905) Das Meer, drei symphonische Skizzen für Orchester
00:10 – 08:57I. De l’aube à midi sur la mer — très lent (Morgengrauen bis Mittag auf dem Meer — sehr langsam, h-Moll) 08:59 – 15:43II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll) 15:45 – 24:07III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)
Philharmonia Orchestra Dirigent: Herbert von Karajan Aufnahme: 1953
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:[citation needed]
Allegro affettuoso
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.
1. Allegro vivace e con brio 2. Allegretto scherzando 3. Tempo de Menuetto 4. Allegro vivace Philharmonia Orchestra Herbert von Karajan, conductor London, 20.V.1955
Álbum: Mozart: The Great Piano Concertos Complete Interpretes del álbum: Derek Han, Pieter-Jan Belder, Paul Freeman & Philharmonia Orchestra Compositor: Wolfgang Amadeus Mozart Año: 2006 Genero: Clásico Alemán Movimientos: Allegro Aperto-Andante-Rondeau: Tempo di Minuetto
From Wikipedia, the free encyclopedia
The Piano Concerto No. 8 in C major, K. 246, or Lützow Concert was written by Wolfgang Amadeus Mozart in April of 1776 in the same year as the Haffner Serenade (KV 250).[1]Countess Antonia Lützow, 25 or 26 years old, second wife of Johann Nepomuk Gottfried Graf Lützow, the Commander of the Hohensalzburg Fortress, was a fine pianist.[2] The solo work is not highly demanding, but it requires agility. Mozart played the concerto in Mannheim and Munich on October 4, 1777, and used it for teaching. Three different cadenzas have survived varying difficulty, accommodating the abilities of performers from student level to professional: one for two pianos.[3][4][5]
It is also suggested Mozart wrote a violin concerto for Countess Lützow’s brother Johann Rudolph Czernin (and almost the same age as Mozart).[6] Johann Rudolf, his sister and their father were in connection with Mozart at that time, while Mozart was in service of their uncle Count Hieronymus von Colloredo.[7]
Claude Debussy (1862-1918) La Mer, trois esquisses symphoniques pour orchestre (1903-1905) Das Meer, drei symphonische Skizzen für Orchester
00:10 – 08:57 I. De l’aube à midi sur la mer — très lent (Morgengrauen bis Mittag auf dem Meer — sehr langsam, h-Moll) 08:59 – 15:43 II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll) 15:45 – 24:07 III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)
Philharmonia Orchestra Dirigent: Herbert von Karajan Aufnahme: 1953
Claude Debussy (1862-1918) La Mer, trois esquisses symphoniques pour orchestre (1903-1905) Das Meer, drei symphonische Skizzen für Orchester
00:10 – 08:57 : I. De l’aube à midi sur la mer — très lent (Morgengrauen bis Mittag auf dem Meer — sehr langsam, h-Moll) 08:59 – 15:43: II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll) 15:45 – 24:07 : III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)
***Philharmonia Orchestra ***Dirigent: Herbert von Karajan ***Aufnahme: 1953
Derek Han, piano. Philharmonia Orchestra, Paul Freeman. Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 “Elvira Madigan”:
I. Allegro II. Andante III. Allegro vivace assai
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From Wikipedia, the free encyclopedia
The Piano Concerto No. 21 in C major, K. 467, was completed on March 9, 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.[1][2]
Structure
The concerto has three movements:
Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.[3]
Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. [4]
Allegro vivace assai
The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart’s original has been lost.
The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.
The final rondo movement begins with the full orchestra espousing a joyous “jumping” theme. After a short cadenza, the piano joins in and further elaborates. A “call and response” style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.
ClassicalRecords is a Youtube channel where I upload some excellent performances from the LPs in my collection. I’m uploading these LPs because they are either not available on CD, out of print on CD, or just difficult to find.
This article is about the original suite by Modest Mussorgsky and its orchestral arrangements. For other uses, see Pictures at an Exhibition .
Mussorgsky in 1874
Mussorgsky’s letter to Stasov, June 1874, written while composing Pictures
Mussorgsky’s letter to Stasov, June 1874, written while composing Pictures
Pictures at an Exhibition (Russian: Картинки с выставки – Воспоминание о Викторе Гартмане, Kartínki s výstavki – Vospominániye o Víktore Gártmane, “Pictures from an Exhibition – A Remembrance of Viktor Hartmann”; French: Tableaux d’une exposition) is a suite in ten movements (plus a recurring, varied Promenade) composed for piano by Russian composer Modest Mussorgsky in 1874.
The suite is Mussorgsky’s most famous piano composition and has become a showpiece for virtuoso pianists. It has become further known through various orchestrations and arrangements produced by other musicians and composers, with Maurice Ravel’s arrangement being the most recorded and performed.
The surviving works by Hartmann that can be shown with any certainty to have been used by Mussorgsky in assembling his suite, along with their titles, are as follows:[2]
No. 5 Sketch of theatre costumes for the ballet Trilby
No. 6a Jew in a fur cap. Sandomierz
No. 6b Sandomierz Jew
No. 8 Paris catacombs
(with the figures of V. A. Hartmann, V. A. Kenel, and a guide, holding a lantern)
No. 9 The hut of Baba-Yaga on hen’s legs–clock in the Russian Style
No. 10 Project for a city gate in Kiev–main façade
The Symphony No. 3 in E-flat major, Op. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. It was composed from 2 November to 9 December 1850, and comprises five movements:
The Third Symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, four french horns in E♭, two trumpets in E♭, three trombones, timpani and strings. It premiered on 6 February 1851 in Düsseldorf, conducted by Schumann himself,[1] and was received with mixed reviews, “ranging from praise without qualification to bewilderment”. However, according to Peter A. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting “hurrah!”.[2]
Derek Han, piano. Philharmonia Orchestra, Paul Freeman. Wolfgang Amadeus Mozart – Piano Concerto No. 8 in C major, KV 246 I. Allegro aperto II. Andante III. Tempo di menuetto
Purchase
Concerto for Piano and Orchestra No 8 K.246 “Lützow”, III. Rondeau. Tempo di Minuetto (iTune
Alexander Konstantinovich Glazunov (1865-1936 : Russia)
The Seasons (Ballet, Op.67)
Scene III. Summer
Scene Three depicts the height of summer in a wheatfield. The Spirit of Corn (Kschessinska’s role) dances in the heat of the day. Naiads carrying blue veils symbolize the coolness of streams. Satyrs invade the field and attempt to carry off the spirit of Corn who is protected by Zephyr and the flowers. From booklet notes
Dream march and circus music from: “The Red Pony” – Suite from the film by the american composer Aaron Copland (1900-1990) performed by the New Philharmonia Orchestra conducted by the composer.
The Strings of Time resound brightly today, as they’re trying to say, listen to Me, Soul of Mine.
Part 1 (Guitar Solo) (00:00) 01. Capricho Arabe (Serenata, Tárrega) [Wulfin Lieske, guitar] (05:09) 02. Lágrima (Prelude, Tárrega) (06:46) 03. Maria (Gavotte, Tárrega) (08:18) 04. Mazurka in G (Tárrega) (10:04) 05. Recuerdos de Viaje Op.71, I En el Mar (Barcarola, Albéniz) [Julian Byzantine, guitar] (15:45) 06. Recuerdos de Viaje Op.71, II Asturias (Leyenda, Albéniz) (22:50) 07. Recuerdos de Viaje Op.71, V Puerta de Tierra (Bolero, Albéniz) (26:23) 08. Andaluza (Danza Española No. 5, Granados) [Eliot Fisk, guitar] (30:59) 09. Cancon del Lladre (Llobet) [Wulfin Lieske, guitar] (32:31) 10. Romance (Anon, arr. Yepes) [Pierre Laniau, guitar]
Part 2 (Guitar and Orchestra) (35:03) 11. Concierto Madrigal, I Fanfarre (Allegro Marziale, Rodrigo) [Alfonso Moreno & Deborah Mariotti, guitars – London Symphony Orchestra, Enrique Batiz] (37:03) 12. Concierto Madrigal, II Pastoral (Allegretto, Rodrigo) (40:44) 13. Concierto Andaluz, I Tiempo de Bolero (Allegro Vivace, Rodrigo) [Alfonso Moreno, Minerva Garibay, Cecilia Lopez & Jesus Ruiz, guitars – Mexican State Symphony Orchestra, Enrique Batiz] (49:21) 14. Fantasia para un Gentilhombre, IV Canario (Rodrigo) [Ernesto Bitetti, guitar – Philharmonia Orchestra, Antoni Ros-Marba]
Music Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for non-profit purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
[youtube.com/watch?v=DpEAlVsMs9I] From the LP shown above, issued in 1954. The recording you hear was made in 1947. Artur Rubinstein is soloist; Walter Susskind leads the Philharmonia Orchestra.
Note: Rubinstein hits a wrong note at the start of variation 19 (at about16:37). I would be interested to know if this error, for which at the time of this recording there was no technology to correct, has been edited in more recently produced CD versions of this performance.
Muzio Clementi (24 January 1752 — 10 March 1832) was a composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer. Born in Rome, he spent most of his life in England.
Camille SAINT-SAËNS: Havanaise, in E Major Op.83 (1887) Ruggiero RICCI – Orchestra of Radio Luxembourg – Pierre Cao, conductor (Recorded: Hamburg 1972) __________________________________________________ SAINT-SAENS, WORKS FOR VIOLIN AND ORCHESTRA: http://www.youtube.com/playlist?list=… 1) Violin Concerto No.2 in C Major Op.58 (1858) Orchestra of Radio Luxembourg – Pierre Cao, conductor 2) Violin Concerto No.1 in A Major Op.20 -Allegro (1859) Orchestra of Radio Luxembourg – Pierre Cao, conductor 3) Introduction and Rondo capriccioso, in A Minor Op.28 (1863) Orchestra of Radio Luxembourg – Pierre Cao, conductor 4) Romance, in C Major Op.48 (1874) Philharmonia Hungarica – Reinhard Peters, conductor 5) Violin Concerto No.3 in B minor Op.61 (1880) Orchestra of Radio Luxembourg – Pierre Cao, conductor 6) Violin Concerto No.4 in G major Op.62 ‘Inachevé’ (Morceau de concert) (1880) Philharmonia Hungarica – Reinhard Peters, conductor 7) Havanaise, in E Major Op.83 (1887) Orchestra of Radio Luxembourg – Pierre Cao, conductor 8) Caprice Andalous, in G Major Op.122 (1904) Philharmonia Hungarica – Pierre Cao, conductor (Ruggiero Ricci, violin / Hamburg, 1972 – (c)&(p) 1990 by VOX) __________________________________________________
Donald Tovey has connected Beethoven to the earlier tradition in a different way:
“
Not even Bach or Handel can show a greater sense of space and of sonority. There is no earlier choral writing that comes so near to recovering some of the lost secrets of the style of Palestrina. There is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord, every position, and every doubled third or discord.
In this famous portrait of Beethoven byJoseph Karl Stieler, Beethoven can be seen working on the Missa solemnis in D major.
The Missa solemnis in D major, Op. 123 was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. Petersburg, Russia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered to be one of the composer’s supreme achievements. Together with Bach’s Mass in B minor, it is the most significantMass setting of the common practice period.
Despite critical recognition as one of Beethoven’s great works from the height of his composing career,Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his Ninth Symphony, it is Beethoven’s second setting of the Mass, after his Mass in C, Op. 86.
Like most Masses, Beethoven’s Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the Mass movements, the Kyrie is in a traditional ABA’ structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work’s two massive fugues, on the text “In gloria Dei patris. Amen”, leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven’s pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modalharmonies for the “et incarnatus” yield to ever more expressive heights through the “crucifixus”, and into a remarkable, a cappella setting of the “et resurrexit”that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on “et vitam venturi” that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion. The form of the Credo is divided into four parts: (I) allegro ma non troppo through “descendit de coelis” in B-flat; (II) “Incarnatus est” through”Resurrexit” in D; (III) “Et ascendit” through the Credo recapitulation in F; (IV) Fugue and Coda “et vitam venturi saeculi, amen” in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa’s most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea “miserere nobis” (“have mercy on us”) that begins with the men’s voices alone in B minor yields, eventually, to a bright D-major prayer “dona nobis pacem” (“grant us peace”) in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn‘s Missa in tempore belli), but after repeated pleas of “miserere!”,eventually recovers and brings itself to a stately conclusion.
Herbert von Karajan (1908-1989) leads the Philharmonia Orchestra in this 1958 recording of the Intermezzo, Minuet and Farandole from the L’Arlesienne Suite No. 2. I created this video from the LP depicted above, issued in 1958 on the Angel label, serial number S. 35618. All images in this video are taken from the LP label (3:47) and LP jacket (10:14), front and reverse. (An image of the reverse side of the jacket appears at the end of the video.)
Movement 2: Intermezzo Movement 3: Minuet (5:17) Movement 4: Farandole (9:23)
[caption id="attachment_99163" align="alignnone" width="300"] CIDSE – TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)[/caption]
CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
euzicasa 