Pyotr Il’yich Tchaikovsky, Eugene Onegin, Op. 24, Act II Scene 1: Waltz (Slovak Radio Symphony Orchestra, Ondrej Lenard, Slovak Radio Symphony Orchestra)

Pyotr Il’yich Tchaikovsky, Eugene Onegin, Op. 24, Act II Scene 1: Waltz

naxosorchestral

Published on Mar 22, 2013

Pyotr Il’yich Tchaikovsky
Slovak Radio Symphony Orchestra, Ondrej Lenard, Slovak Radio Symphony Orchestra
Eugene Onegin, Op. 24
Tchaikovsky: Piano Concerto No. 1 / The Tempest
8.550137
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great compositions/performances: Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky

Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky

SymphonyOfAThousand

Published on Feb 24, 2013

Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky
Composed in 1872; revised in 1879/1880

I. Andante sostenuto – Allegro vivo (0:00)
II. Andante marziale (11:35)
III. Scherzo. Allegro molto vivace (18:53)
IV. Finale. Moderato assai (24:21)

Royal Philharmonic Orchestra
Yuri Temirkanov, cond.
Recorded in 1990
http://www.amazon.com/6-Symphonies-P-…

Image: Tchaikovsky (published 1906), courtesy Wikipedia

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The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.

make music part of your llife series: Pyotr Ilyich Tchaikovsky – Romeo and Juliet – Fantasy Overture

Pyotr Ilyich Tchaikovsky – Romeo and Juliet – Fantasy Overture

Fledermaus1990

Uploaded on Sep 3, 2011

Romeo and Juliet is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare’s play of the same name. Unlike Tchaikovsky’s other major compositions, Romeo and Juliet does not have an opus number.

In 1880, ten years after his first reworking of the piece, Tchaikovsky rewrote the ending and gave the piece the sub-title “Overture-Fantasia”. It was completed by September 10, 1880, but did not receive its premiere until May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), under Mikhail Ippolitov-Ivanov.

Conductor: Julian Kovatchev
Orchestra: Sofia Festival Orchestra

Love Theme at 14:55

Paint: Il Bacio, Francesco Heyez (1859).

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

Pyotr Ilyich Tchaikovsky – Souvenir d’un lieu cher, Op. 42 – III. Mélodie (“Chant sans paroles”)

Fledermaus1990

Published on Nov 10, 2012

Arrangement by Alexander Glazunov for violin and orchestra.
Conductor: Pavel Kogan
Orchestra: Radio-Philharmonie Hannover des NDR
Violin: Robert Chen

Tchaikovsky – Sleeping Beauty – I. Pas d’action

imusiciki

The Sleeping Beauty – Ballet Suite, Op. 66 (Extracts)

Act I. Pas d’action (Adagio)

Composer: Pyotr Ilyich Tchaikovsky (1840-1893)

Conductor: Riccardo Muti
Orchestra: The Philadelphia Orchestra

 

 

Pyotr Tchaikovsky – Souvenir de Florence ,great compositions/performances

Pyotr Tchaikovsky – Souvenir de Florence

MrWippler

Uploaded on Feb 26, 2012

The String Sextet in D minor “Souvenir de Florence”, Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the European summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled “Souvenir de Florence” because the composer sketched one of the work’s principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.

1. Allegro con spirito (00:00)
2. Adagio cantabile e con moto (10:16)
3. Allegretto moderato (19:56)
4. Allegro con brio e vivace (26:11)

• Music

  • “III. Allegretto moderato” by Norwegian Chamber Orchestra (Google Play • iTunes • AmazonMP3 • eMusic)

Antonín Dvořák – Slavonic Dances, Op. 46

Wolfgang Amadé Mozart

Published on Sep 22, 2012

Royal Philharmonic Orchestra, John Farrer

Antonín Dvořák – Slavonic Dances, Op. 46
1. No.1 in C major 4’00
2. No.2 in E minor 6’00
3. No.3 in A flat major 5’22
4. No.4 in F major 7’59
5. No.5 in A major 3’16
6. No.6 in D major 5’15
7. No.7 in C minor 3’34
8. No.8 in G minot 4’05

31,637

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• Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky, #Great compositions/performancers

Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky, Royal Philharmonic Orchestra Yuri Temirkanov, conductor, great compositions/performances

Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky

SymphonyOfAThousand

Published on Feb 24, 2013

Symphony No. 2 in C Minor, Op. 17 “Little Russian” – Pyotr Ilyich Tchaikovsky
Composed in 1872; revised in 1879/1880

I. Andante sostenuto – Allegro vivo (0:00)
II. Andante marziale (11:35)
III. Scherzo. Allegro molto vivace (18:53)
IV. Finale. Moderato assai (24:21)

Royal Philharmonic Orchestra
Yuri Temirkanov, cond.
Recorded in 1990
http://www.amazon.com/6-Symphonies-P-…

Image: Tchaikovsky (published 1906), courtesy Wikipedia

The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.

Related articles

• Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky, #Great compositions/performancers

Schumann: Pianotrio in g kl.t., op.110

AVROTROS Klassiek

Inon Barnatan, piano
Julian Rachlin, viool
Torleif Thedéen, cello

Schumann: Piano Trio in g minor, op.110

27 december 2010, Internationaal Kamermuziekfestival Utrecht, Vredenburg

Tchaikovsky – Suite No. 4 in G major “Mozartiana”, Op. 61 (FULL)

Classical Music

Published on Apr 29, 2014

The Orchestral Suite No. 4, Op. 61, more commonly known as Mozartiana, is an orchestral suite by Pyotr Ilyich Tchaikovsky, written in 1887 as a tribute to Wolfgang Amadeus Mozart on the 100th anniversary of that composer’s opera Don Giovanni. Because this suite consists of four orchestrations of piano pieces by (or in one case, based on) Mozart, Tchaikovsky did not number this suite with his previous three suites for orchestra. Instead, he considered it a separate work entitled Mozartiana. Nevertheless, it is usually counted as No. 4 of his orchestral suites.

Tchaikovsky conducted the premiere himself, in Moscow in November 1887. It was the only one of his suites he conducted, and only the second at whose premiere he was present.

Pyotr Iliyich Tchaikovsky (May 7, 1840 — November 6, 1893) was a Russian composer of the Romantic era. His wide-ranging output includes symphonies, operas, ballets, instrumental, chamber music and songs. He wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, his last three numbered symphonies, and the opera Eugene Onegin.

Born into a middle-class family, Tchaikovsky was educated for a career as a civil servant, despite his obvious musical precocity. He pursued a musical career against the wishes of his family, entering the Saint Petersburg Conservatory in 1862 and graduating in 1865. This formal, Western-oriented training set him apart from the contemporary nationalistic movement embodied by the influential group of young Russian composers known as The Five, with whom Tchaikovsky’s professional relationship was mixed.
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Mikhail Glinka – A Life for the Tsar – III. Waltz

Fledermaus1990

Published on Jul 23, 2012

A Life for the Tsar is a “patriotic-heroic tragic opera” in four acts with an epilogue by Mikhail Glinka. The original Russian libretto, based on historical events, was written by Nestor Kukolnik, Georgy Fyodorovich Rozen, Vladimir Sollogub and Vasily Zhukovsky. It premiered on 29 November 1836 at the Bolshoi Theatre in St. Petersburg. The historical basis of the plot involves Ivan Susanin, a patriotic hero of the early 17th century who gave his life in the expulsion of the invading Polish army for the newly elected Tsar Mikhail, the first of the Romanov dynasty, elected in 1613.

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114 , great compositions

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114

whomakemefeel

Uploaded on May 11, 2009

Johann Sebastian Bach (1685 † 1750)

Work: Minuet No.1 in G major (Anna Magdalena Notebook II/1), BWV Anh.114 Anna Magdalena Bach Clavier-Büchlein

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.

Tchaikovsky: 1812 Overture, Op. 49 Herbert Von Karajan & Berlin Philharmonic Orchestra , great compositions/performances

Tchaikovsky: 1812 Overture, Op. 49 Herbert Von Karajan & Berlin Philharmonic Orchestra

hollandskgjestehus

Tchaikovsky: 1812 Overture, Op. 49 Herbert Von Karajan & Berlin Philharmonic Orchestra (1966)

Video made by Maarten Kroon @ Hollandsk Gjestehus in Vinstra (Norway) / Our guesthouse website link: http://www.hollandskgjestehus.com / Tel.: +47 61290045.
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From Wikipedia, the free encyclopedia

The 1812 Overture, complete with cannon fire, performed at the 2005 Classical Spectacular in Melbourne, Australia

The 1812 Overture, complete with cannon fire, performed at the 2005 Classical Spectacular in Melbourne, Australia

The Year 1812, festival overture in E♭ major, Op. 49, popularly known as the 1812 Overture,^[1] is an overture written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky to commemorate Russia’s defense of its motherland against Napoleon‘s invading Grande Armée in 1812. It has also become a common accompaniment to fireworks displays, including those in the United States during Fourth of July celebrations

The overture debuted in Moscow on 20 August 1882,^[2] conducted by Ippolit Al’tani under a tent near the then unfinished Cathedral of Christ the Saviour, which also memorialized the 1812 defense of Russia.^[3] The overture was conducted by Tchaikovsky himself in 1891 at the dedication of Carnegie Hall.^[4] The overture is best known for its climactic volley of cannon fire, ringing chimes, and brass fanfare finale.

Instrumentation

The 1812 Overture is scored for an orchestra that consists of the following:^[5]

Brass band¹ (finale only)

Woodwinds: a piccolo, 2 flutes, 2 oboes, 1 English horn, 2 clarinets in B♭ and 2 bassoons

Brass: 4 horns in F, 2 cornets in B♭, 2 trumpets in E♭, 3 trombones (2 tenor, 1 bass) and a tuba

Percussion: timpani, an orchestral bass drum, a snare drum, cymbals, a tambourine, a triangle, a carillon² and a cannon³

Strings: first and second violins, violas, violoncellos and double basses

Notes:

1. “Open” instrumentation consisting of “any extra brass instruments” available. In some indoor performances, the part may be played on an organ. Military or marching bands also play this part.

2. Sometimes substituted with tubular bells or recordings of carillons.

3. In the sections that contain cannon shots, actual cannon are sometimes replaced by recorded cannon or played on a piece of staging, usually with a large wooden mallet or sledgehammer. The bass drum and tam-tam are also regularly used in indoor performances.

Musical structure

Beginning with the plaintive Russian melody of the Eastern Orthodox Troparion of the Holy Cross (also known as “O Lord, Save Thy People”) played by four cellos and two violas, the piece moves through a mixture of pastoral and martial themes portraying the increasing distress of the Russian people at the hands of the invading French. This passage includes a Russian folk dance, At the Gate, at my Gate (“U Vorot, Vorot”).^[6] At the turning point of the invasion—the Battle of Borodino—the score calls for five Russian cannon shots to counter a fragment of La Marseillaise. A descending string passage represents the subsequent retreat of the French forces, followed by victory bells and a triumphant repetition of O Lord, Save Thy People as Moscow burns to deny winter quarters to the French. A musical chase scene appears, out of which emerges the anthem God Save the Tsar! thundering with eleven more precisely scored shots. The overture utilizes counterpoint to reinforce the appearance of the leitmotif that represents the Russian forces throughout the piece.^[7] A total of sixteen cannon shots are written into the score of the Overture.

The music can be interpreted as a fairly literal depiction of the campaign: in June 1812, the previously undefeated French Allied Army of over half a million battle-hardened soldiers and almost 1,200 state-of-the-art guns (cannons, artillery pieces) crossed the Niemen River into Lithuania on its way to Moscow. The Holy Synod, aware that the Russian Imperial Army could field a force only a fraction of this size, inexperienced and poorly equipped, called on the people to pray for deliverance and peace. The Russian people responded en masse, gathering in churches all across the Empire and offering their heartfelt prayers for divine intervention (the opening hymn). Next we hear the ominous notes of approaching conflict and preparation for battle with a hint of desperation but great enthusiasm, followed by the distant strains of La Marseillaise, the French National Anthem, as the French approach. Skirmishes follow, and the battle goes back and forth, but the French continue to advance and La Marseillaise becomes more prominent and victorious – almost invincible. The Tsar desperately appeals to the spirit of the Russian people in an eloquent plea to come forward and defend the Rodina (Motherland). As the people in their villages consider his impassioned plea, we hear traditional Russian folk music. La Marseillaise returns in force with great sounds of battle as the French approach Moscow. The Russian people now begin to stream out of their villages and towns toward Moscow to the increasing strains of folk music and, as they gather together, there is even a hint of celebration. Now, La Marseillaise is heard in counterpoint to the folk music as the great armies clash on the plains west of Moscow, and Moscow burns. Just at the moment that Moscow is occupied and all seems hopeless, the hymn O Lord, Save Thy People that opens the piece is heard again as God intervenes, bringing an unprecedented deep freeze the French cannot bear (the winter winds blow in the music). The French attempt to retreat, but their guns, stuck in the freezing ground, are captured by the Russians and turned against them. Finally, the guns are fired in celebration and church bells all across the land peal in grateful honor of their deliverance from their treacherous and cruel enemies.^[6][8][9]

In a transcription by American conductor Igor Buketoff^[10] the following changes and additions were made:

The opening segment, O Lord, Save Thy People is sung a cappella by a choir instead of being played by cellos and violas.

A children’s or women’s choir is added to the flute and cor anglais duet rendition of At the Gate, at my Gate.

The orchestra and chorus unite in the climax with a triumphant version of O Lord, Save Thy People and God Save the Tsar.

Composition

Historical background: Napoleon’s invasion of Russia

Main article: French invasion of Russia

On 7 September 1812, at Borodino, 120 km (75 mi) west of Moscow, Napoleon’s forces met those of General Mikhail Kutuzov in a concerted stand made by Russia against the seemingly invincible French Army. The Battle of Borodino saw casualties estimated as high as 100,000 and resulted in a French tactical victory. It was, however, ultimately a pyrrhic victory for the French invasion.^[8]

With resources depleted and supply lines overextended, Napoleon’s weakened forces moved into Moscow, which they occupied with little resistance. Expecting capitulation from the displaced Tsar Alexander I, the French instead found themselves in a barren and desolate city, parts of which the retreating Russian Army had burned to the ground.

Deprived of winter stores, Napoleon had to retreat. Beginning on October 19 and lasting well into December, the French Army faced several overwhelming obstacles on its long retreat: famine, typhus, frigid temperatures, harassing cossacks and Russian forces barring the way out of the country. Abandoned by Napoleon in November, the Grande Armée was reduced to one-tenth of its original size by the time it reached Poland^[9] and relative safety.

Anachronism of nationalist motifs

Although La Marseillaise was chosen as the French national anthem in 1795, it was banned by Napoleon in 1805 and would not have been played during the Russian campaign. It was reinstated as the French Anthem in 1879—the year before the commission of the overture—which can explain its use by Tchaikovsky in the overture.^[11]

Although God Save the Tsar! was the Russian national anthem in Tchaikovsky’s time, it had not been written in 1812. There was no official Russian anthem until 1815, from which time until 1833 the anthem was Molitva russkikh, Prayer of the Russians, sung to the tune of God Save the King.^[12]

 

 

 

 

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky, #Great compositions/performancers

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky

SymphonyOfAThousand

Published on Feb 24, 2013

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky
Composed in 1875

I. Introduzione e Allegro. Moderato assai (Tempo di marcia funebre) – Allegro brillante (0:00)
II. Alla tedesca. Allegro moderato e semplice – Trio (15:30)
III. Andante. Andante elegiaco (26:38)
IV. Scherzo. Allegro vivo – Trio (36:32)
V. Finale. Allegro con fuoco (Tempo di polacca) (42:42)

****Royal Philharmonic Orchestra
****Yuri Temirkanov, cond.
****Recorded in 1991
****http://www.amazon.com/6-Symphonies-P-…

****Image: Tchaikovsky (published 1906), courtesy Wikipedia

~

The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.

Tchaikovsky – Suite No. 4 in G major “Mozartiana”, Op. 61: great compositions/performances

Tchaikovsky – Suite No. 4 in G major “Mozartiana“, Op. 61

Classical Music

The Orchestral Suite No. 4, Op. 61, more commonly known as Mozartiana, is an orchestral suite by Pyotr Ilyich Tchaikovsky, written in 1887 as a tribute to Wolfgang Amadeus Mozart on the 100th anniversary of that composer’s opera Don Giovanni. Because this suite consists of four orchestrations of piano pieces by (or in one case, based on) Mozart, Tchaikovsky did not number this suite with his previous three suites for orchestra. Instead, he considered it a separate work entitled Mozartiana. Nevertheless, it is usually counted as No. 4 of his orchestral suites.

Tchaikovsky conducted the premiere himself, in Moscow in November 1887. It was the only one of his suites he conducted, and only the second at whose premiere he was present.

Pyotr Il’yich Tchaikovsky (May 7, 1840 — November 6, 1893) was a Russian composer of the Romantic era. His wide-ranging output includes symphonies, operas, ballets, instrumental, chamber music and songs. He wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, his last three numbered symphonies, and the opera Eugene Onegin.

Born into a middle-class family, Tchaikovsky was educated for a career as a civil servant, despite his obvious musical precocity. He pursued a musical career against the wishes of his family, entering the Saint Petersburg Conservatory in 1862 and graduating in 1865. This formal, Western-oriented training set him apart from the contemporary nationalistic movement embodied by the influential group of young Russian composers known as The Five, with whom Tchaikovsky’s professional relationship was mixed.
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Felix Mendelssohn-Bartholdy Piano Trio No 1 D Minor Op. 49: make music part of your life series

Felix Mendelssohn-Bartholdy Piano Trio No 1 D Minor Op. 49

  Bösendorfer Klavierfabrik, L.

Published on Dec 27, 2013

Anne-Sophie Mutter – Violin
Andre Previn – Piano
Lynn Harrell – Cello
at Brahms Hall – Musikverein Vienna

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

From Wikipedia, the free encyclopedia

Felix Mendelssohn‘s Piano Trio No. 1 in D minor, Op. 49 was completed on 23 September 1839 and published the following year. The work is scored for a standard piano trio consisting of violin, cello and piano. The trio is one of Mendelssohn’s most popular chamber works and is recognized as one of his greatest along with his Octet, Op. 20.

During the initial composition of the work, Mendelssohn took the advice of a fellow composer, Ferdinand Hiller, and revised the piano part. The revised version was in a more romantic, Schumannesque style with the piano given a more important role in the trio. Indeed, the revised piece was reviewed by Schumann who declared Mendelssohn to be “the Mozart of the nineteenth century, the most illuminating of musicians.”

Movements

The trio has four movements:

1. Molto allegro ed agitato (D minor)
2. Andante con moto tranquillo (B-flat major)
3. Scherzo: Leggiero e vivace (D major)
4. Finale: Allegro assai appassionato (D minor, ending in D major)

A typical performance lasts just under 30 minutes.

Molto allegro ed agitato

The first movement is in sonata form and begins without an introduction with a cantabile main theme played by the cello, with the piano providing a syncopated accompaniment. The violin then joins the cello with a distorted version of the theme. Further variations of the main theme fill the transition to the second theme, also introduced by the cello, which is in A major. Mendelssohn combines both themes in the development, which is predominately in D minor, the key in which the movement also ends. In the recapitulation, Mendelssohn adds a violin counter-melody to support the return of the original theme.

Andante con moto tranquillo

The piano introduces the second movement, with the eight bar melody in the right hand and the accompaniment divided between the hands, as in a number of Mendelssohn’s Songs without Words. Below this, the bass line in the piano moves methodically, carefully balancing with the accompaniment and the melody. After the piano plays the main theme, the violin repeats it with a counterpoint played on the cello.

Scherzo

The short and light scherzo is essentially in sonata form. As in the second movement, the main theme is first played on the piano, which then reduces itself to fragmentary accompaniment almost immediately. A rhythmical motif of the main theme is present throughout the movement, except in the more lyrical central section, whose theme resembles material from the first movement.

Finale

After Hiller gave Mendelssohn his advice, the finale was the most revised movement and unsurprisingly has a busy piano part. Various keyboard techniques are called upon in the movement, from close chords to sweeping arpeggios and chromatic octaves. The cantabile moments provide a refreshing contrast. The trio finishes with the shift to D major shortly before the end.

Rimsky Korsakov – Dance Of The Tumblers -: make music pat of your life series

Rimsky Korsakov – Dance Of The Tumblers –

  Sliepnir2006

Uploaded on Nov 20, 2008

Please remember to visit http://www.youtube.com/user/shreddeds… and sign her petition.
Rimsky Korakov A lively classical instrumental, this recording made in the late 70s.

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Rimsky-Korsakov – Mlada Suite, Procession of the Nobles – Svetlanov,: great compositions/performances

Rimsky-Korsakov – Mlada Suite, Procession of the Nobles – Svetlanov

Opus 21

Nikolai Rimsky-Korsakov
Mlada Suite, Procession of the Nobles

London Symphony Orchestra
Evgeny Svetlanov, conductor

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Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & London Symphony Orchestra: great compositions/performances

Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & LSO

  Czarmuzyki Ewa Chamiec

Carl Maria von Weber Konzertstück f-moll für Klavier und Orchester, Op. 79 – Alfred Brendel, London Symphony Orchestra, Claudio Abbado — https://www.youtube.com/playlist?list…

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky,: great compositions/performances

[embes]https://www.youtube.com/watch?v=tRKiE8o3NQU[/embed]

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky (improved sound)

  2ndviolinist

London Symphony Orchestra
Recorded in 1947
*******************************************************************
John Barbirolli
Born: 12/2/1899 – Holborn, London, England
Died: 7/29/1970 – London, England
*******************************************************************
Anton Stepanovich Arensky (Russian: Антон Степанович Аренский) (12 July 1861 — 25 February 1906), was a Russian composer of Romantic classical music, a pianist and a professor of music.

Arensky was born in Novgorod, Russia. He was musically precocious and had composed a number of songs and piano pieces by the age of nine. With his mother and father, he moved to Saint Petersburg in 1879, where he studied composition at the Saint Petersburg Conservatory with Nikolai Rimsky-Korsakov. After graduating from the Saint Petersburg Conservatory in 1882, Arensky became a professor at the Moscow Conservatory. Among his students there were Alexander Scriabin, Sergei Rachmaninoff and Alexander Gretchaninov. In 1895 Arensky returned to Saint Petersburg as the director of the Imperial Choir, a post for which he had been recommended by Mily Balakirev. Arensky retired from this position in 1901, spending his remaining time as a pianist, conductor, and composer. Arensky died of tuberculosis in a sanatorium in Perkjärvi, Finland. It is alleged that drinking and gambling undermined his health.

Pyotr Tchaikovsky was the greatest influence on Arensky’s musical compositions. Indeed, Rimsky-Korsakov said, “In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” The perception that he lacked a distinctive personal style contributed to long-term neglect of his music, though in recent years a large number of his compositions have been recorded. Especially popular are the orchestral Variations on a Theme of Tchaikovsky based on one of Tchaikovsky’s Songs for Children, Op. 54.

Sviatoslav Richter plays Rachmaninoff Concerto No.1, Op. 1: great compositions/performances

Sviatoslav Richter plays Rachmaninov Concerto No.1, Op.1

FirstPublicChannel

Piano Concerto No.1 in F sharp minor, Op.1

00:00 – Vivace
12:30 – Andante
18:52 – Allegro vivace

USSR RTV Large Symphony Orchestra
Kurt Sanderling
recording:
*1962 (date written on the cd);
**Feb 18, 1955 (according to New4785689)
http://www.youtube.com/user/New4785689
*************************************************************

From Wikipedia, the free encyclopedia

Sergei Rachmaninov composed his Piano Concerto No. 1 in F-sharp minor, Op. 1, in 1891, at age 18. He dedicated the work to Alexander Siloti. He revised the work thoroughly in 1917.

First version

Rachmaninoff (right) with Alexander Siloti.

This was actually Rachmaninov’s second attempt at a piano concerto. In 1889 he had begun but abandoned a concerto in C minor (the same key, incidentally, in which he would later write his Second Piano Concerto). He wrote Natalya Skalon on 26 March 1891, “I am now composing a piano concerto. Two movements are already written; the last movement is not written, but is composed; I shall probably finish the whole concerto by the summer, and then in the summer orchestrate it”^[1] He finished composing and scoring the piece on July 6 and was satisfied with what he had written.^[2] The first movement was premiered on 17 March 1892 at the Moscow Conservatoire, with the composer as soloist and Vasily Safonov conducting. This may have been the only time the composer played the concerto in its original form, although Siloti, to whom it is dedicated, programmed it to play himself on several occasions.^[3]

Composition students were usually advised to base their efforts on a specific model for their first exercises in new forms. In Rachmaninoff’s case this was the Grieg Piano Concerto,^[4] which was a favorite work of his and one which he had been familiar from Siloti practicing it at the Rachmaninoff household during the spring and summer of 1890 for future concerts.^[5] Rachmaninoff adapted the entire musical structure of the outer movements to the Grieg concerto, literally building his music into it. With all his other concertos, Rachmaninoff would prove more enterprising.^[6]

Selected recordings

Manuscript version

• Alexandre Ghindin, pianist, with Vladimir Ashkenazy conducting the Helsinki Philharmonic Orchestra, recorded in 2001 (first recording)

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P. I. Tchaikovsky – Symphony No. 6 “Pathetique”, Op. 74 (Fedoseyev),: great compositions/performances

P. I. Tchaikovsky – Symphony No. 6 “Pathetique”, Op. 74 (Fedoseyev)

   Joseph Aknin

Pyotr Ilyich Tchaikovsky – Symphony No. 6 “Pathétique” in B minor, Op. 74 (1893) :
1. Adagio. Allegro non troppo
2. Allegro con grazia
3. Allegro molto vivace
4. Finale. Adagio lamentoso. Andante

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

*****************************************************************
From Wikipedia, the free encyclopedia

The Symphony No. 6 in B minor, Op. 74, Pathétique is Pyotr Ilyich Tchaikovsky‘s final completed symphony, written between February and the end of August 1893. The composer led the first performance in Saint Petersburg on 28 October [O.S. 16 October] of that year, nine days before his death. The second performance, conducted by Eduard Nápravník, took place 21 days later, at a memorial concert on 6/18 November.^[1][2] It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today. The first performance in Moscow was on 16 December [O.S. 4 December], conducted by Vasily Safonov.^[3] It was the last of Tchaikovsky’s compositions premiered in his lifetime; his last composition of all, the single-movement 3rd Piano Concerto, Op. 75, which was completed in October 1893, a short time before his death, received a posthumous premiere.

Background

After completing his 5th Symphony in 1888, Tchaikovsky did not start thinking about his next symphony until April 1891, on his way to the United States. The first drafts of a new symphony were started in the spring of 1891.^[4] However, some or all of the symphony was not pleasing to Tchaikovsky, who tore up the manuscript “in one of his frequent moods of depression and doubt over his alleged inability to create.”^[4] In 1892, Tchaikovsky wrote the following to his nephew Vladimir “Bob” Davydov:

The symphony is only a work written by dint of sheer will on the part of the composer; it contains nothing that is interesting or sympathetic. It should be cast aside and forgotten. This determination on my part is admirable and irrevocable.^[5]

This work was the Symphony in E-flat, the first movement of which Tchaikovsky later converted into the one-movement 3rd Piano Concerto (his final composition), and the latter two movements of which Sergei Taneyev reworked after Tchaikovsky’s death as the Andante and Finale.

In 1893, Tchaikovsky mentions an entirely new symphonic work in a letter to his brother:

I am now wholly occupied with the new work … and it is hard for me to tear myself away from it. I believe it comes into being as the best of my works. I must finish it as soon as possible, for I have to wind up a lot of affairs and I must soon go to London. I told you that I had completed a Symphony which suddenly displeased me, and I tore it up. Now I have composed a new symphony which I certainly shall not tear up.^[5]

The symphony was written in a small house in Klin and completed by August 1893. Tchaikovsky left Klin on 19 October for the first performance in St. Petersburg, arriving “in excellent spirits.”^[6] However, the composer began to feel apprehension over his symphony, when, at rehearsals, the orchestra players did not exhibit any great admiration for the new work.^[6] Nevertheless, the premiere was met with great appreciation. Tchaikovsky’s brother Modest wrote, “There was applause and the composer was recalled, but with more enthusiasm than on previous occasions. There was not the mighty, overpowering impression made by the work when it was conducted by Eduard Nápravník, on November 18, 1893, and later, wherever it was played.”^[7]

Rimsky-Korsakov – Christmas Eve: Orchestral Suite (1895): Great compositions/performances

Rimsky-Korsakov – Christmas Eve: Orchestral Suite (1895)

   musicanth

Uploaded on Dec 23, 2010/67,932 views

Christmas Eve (Suite)

I. Christmas Night
II. Ballet of the Stars
III. Witches’ Sabbath and Ride on the Devil’s Back
IV. Polonaise
V. Vakula and the Slippers

A thrilling orchestral suite by Russian composer Nikolai Rimsky-Korsakov (1844-1908), based on music from the 1895 opera of the same name. The plot of the opera follows the short story “Christmas Eve” from Nikolai Gogol‘s “Evenings on a Farm Near Dikanka“. The same story also formed the basis of Tchaikovsky’s operas “Vakula the Smith” and “Cherevichki“.

A synopsis of Gogol’s short story is available on Wikipedia:
http://en.wikipedia.org/wiki/Christma…

Related articles

• Alexander Borodin In The Steppes Of Central Asia: make music part of your life series

Alexander Borodin In The Steppes Of Central Asia: make music part of your life series

Alexander Borodin In The Steppes Of Central Asia

bluekeith999 さんのチャンネル

From Wikipedia, the free encyclopedia

 

Three main themes from the composition

In the Steppes of Central Asia (Russian: В средней Азии, V srednyeĭ Azii, literally In Central Asia) is the common English title for a “musical tableau” (or symphonic poem) by Alexander Borodin, composed in 1880.

Background

The work was originally intended to be presented as one of several tableaux vivants to celebrate the silver anniversary of the reign of Alexander II of Russia, who had done much to expand the Russian Empire eastward. The intended production never occurred, but the work itself became, and has remained, a concert favorite ever since its first concert performance, on 8 April 1880 (Old style) in St. Petersburg by the orchestra of the Russian Opera under the conductorship of Nikolai Rimsky-Korsakov.^[1] The work is dedicated to Franz Liszt.

Structure

This orchestral work idyllically depicts an interaction of Russians and Asians in the steppe lands of the Caucasus. A caravan of Central Asians is crossing the desert under the protection of Russian troops. The opening theme, representing the Russians, is heard first (see chart of themes); then we hear the strains of an ornamented eastern melody on English horn, representing the Asians. These two melodies eventually are combined contrapuntally. Amidst these two ethnic melodies is heard a “traveling” theme in pizzicato that represents the plodding hoofs of the horses and camels. At the end only the Russian theme is heard.

Instrumentation

The piece is scored for two Flutes, Oboe, Cor Anglais, two Clarinets, two Bassoons, four Horns in F, two Trumpets in F, two Trombones, Bass Trombone, Timpani and strings.

Somewhat unusually, the two scores available via the IMSLP link below show different tempo markings at the start. The Eulenberg score is marked “Allegretto con moto”, whereas the Russian Muzica score shows “Allegro con moto”.

Composer’s note

The composer provided the following description in a note to the score:

“In the silence of the monotonous steppes of Central Asia is heard the unfamiliar sound of a peaceful Russian song. From the distance we hear the approach of horses and camels and the bizarre and melancholy notes of an oriental melody. A caravan approaches, escorted by Russian soldiers, and continues safely on its way through the immense desert. It disappears slowly. The notes of the Russian and Asiatic melodies join in a common harmony, which dies away as the caravan disappears in the distance.”

Smetana: Má Vlast: Vltava (Die Moldau) – gesamt: great compositions/performances

Smetana: Má Vlast: Vltava (Die Moldau) – gesamt

AUS DEM HAUSE STYRIARTE

Uploaded on Nov 11, 2011/19,712 views

Bedřich Smetana: Má Vlast (Mein Vaterland):
Vltava (Die Moldau)
Chamber Orchestra of Europe
Nikolaus Harnoncourt, Dirigent
styriarte 2010
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From Wikipedia, the free encyclopedia

Bedřich Smetana (Photo credit: Wikipedia)

Má vlast (Czech pronunciation: [maː vlast], meaning “My homeland”) is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. While it is often presented as a single work in six movements and – with the exception of Vltava – is almost always recorded that way, the six pieces were conceived as individual works. They had their own separate premieres between 1875

English: gravestone of Bedřich Smetana (Vyšehrad, Prague) Deutsch: Grabstätte von Bedřich Smetana (Vyšehrad, Prag) (Photo credit: Wikipedia)

and 1880; the premiere of the complete set took place on 5 November 1882 in Prague, under Adolf Čech, who had also conducted two of the individual premieres.

In these works Smetana combined the symphonic poem form pioneered by Franz Liszt with the ideals of nationalistic music which were current in the late nineteenth century. Each poem depicts some aspect of the countryside, history, or legends of Bohemia.

Vltava

The Vltava in Prague

Vltava, also known by its German name Die Moldau (or The Moldau), was composed between 20 November and 8 December 1874 and was premiered on 4 April 1875 under Adolf Čech. It is about 12 minutes long, and is in the key of E minor.

In this piece, Smetana uses tone painting to evoke the sounds of one of Bohemia’s great rivers.^[2] In his own words:

“The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe (or Elbe, in German).^[3]”

The piece contains Smetana’s most famous tune. It is an adaptation of the melody La Mantovana, attributed to the Italian renaissance tenor, Giuseppe Cenci,^[4] which, in a borrowed Moldovan form, was also the basis for the Israeli national anthem, Hatikvah. The tune also appears in major in an old folk Czech song Kočka leze dírou (“The Cat Crawls Through the Hole”), and Hanns Eisler used it for his “Song of the Moldau”.

 

None but the Lonely Heart – Pyotr Tchaikovsky, make music part of your life series

None but the Lonely Heart – Pyotr Tchaikovsky

Juancitoamericano

6 Romances, Op.6: None but the Lonely Heart
Performed by the London Festival Orchestra
Josef Sakonov, Violin

Russian composer Pyotr Ilich Tchaikovsky is best known for his vivid and colorful orchestral works, ballets and operas. However, in Russia he is equally respected and known for the 100 or so songs that he published during his career. These songs for voice and piano, some of which have been transcribed for orchestral accompaniment, are settings to works by Russian poets or to poems in their Russian translations. In style they are the equal match of the German Romantic lieder.

None but the Lonely Heart is a poem by the German literary figure Johann Wolfgang von Goethe which appeared in his novel “Wilhelm Meister’s Apprenticeship“. It is one of the songs of Mignon, a character in the novel. The poem has been set to music by many composers, among them Pyotr Ilyich Tchaikovsky (via its translation into Russian) and has been set in many vocal, choral, and instrumental arrangements.

Tchaikovsky dedicated this work to Anna (Alina Aleksandrovna) Khvostova, a Russian soprano and singing teacher who graduated in 1866 from the singing classes of Henriette Nissen-Saloman at the Saint Petersburg Conservatory, and went on to give concerts in Saint Petersburg, Riga and Warsaw. Her repertoire included many of Tchaikovsky’s romances, of which she was one of the earliest exponents. Her sister Anastasiya Khvostova was a close friend of the composer from his days at the Imperial School of Jurisprudence in Saint Petersburg.

Tchaikovsky String Quartet Op. 11 – II. Andante cantabile (Kontras Quartet): great compositions/performances

Tchaikovsky String Quartet Op. 11 – II. Andante cantabile (Kontras Quartet)

Kontras Quartet

II. Andante cantabile

The Kontras Quartet plays Tchaikovsky’s String Quartet No. 1 Op. 11 quartet on their Chamber Classics II concert in North Carolina on Dec. 11, 2010. For more information, visit http://www.kontrasquartet.com.

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Pyotr Tchaikovsky – String Quartet No 1 in D Major, op.11: great compositions/performances

Pyotr Tchaikovsky – String Quartet No 1 in D Major, op.11

Valentin Dmitriev

CONCERT HALL OF THE MARIINSKY THEATRE
(Sunday, 11 November 2012)

The State Borodin Quartet:

Ruben Aharonian – violin
Sergei Lomovsky – violin
Igor Naidin – viola
Vladimir Balshin – cello

Pyotr Tchaikovsky
String Quartet No 1 in D Major, op.11:

I Moderato e semplice
II Andante cantabile
III Scherzo. Allegro non tanto e con fuoco — Trio
IV Finale. Allegro giusto — Allegro vivace
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From Wikipedia, the free encyclopedia

 

The String Quartet No. 1 in D major, Opus 11, was Pyotr Ilyich Tchaikovsky‘s first completed string quartet of three string quartets, published during his lifetime. (An earlier attempt had been abandoned after the first movement had been completed.^[1]) Composed in February 1871, it was premiered in Moscow on 16/28 March 1871 by four members of the Russian Musical Society: Ferdinand Laub and Ludvig Minkus, violins; Pryanishnikov, viola; and Wilhelm Fitzenhagen, cello.

The quartet has four movements:

1. Moderato e semplice (D major)
2. Andante cantabile (B♭ major)
3. Scherzo. Allegro non tanto e con fuoco – Trio (D minor)
4. Finale. Allegro giusto – Allegro vivace (D major)

The melancholic Andante cantabile movement, which has become famous in its own right, was based on a folk song the composer heard at his sister’s house at Kamenka ^{[3] [4]} whistled by a house painter.^{[citation needed]} When the quartet was performed at a tribute concert for Leo Tolstoy, the author was said to have been brought to tears by this movement. “…Tolstoy, sitting next to me and listening to the Andante of my First Quartet, burst into tears” ^{[5] [6]}

When the Zoellner Quartet, at her request, performed the second movement for Helen Keller, who rested her fingertips on a resonant tabletop to sense the vibrations, she, too, reacted strongly.^[7]

Since the time of the composer, the Andante cantabile movement has frequently been performed in arrangements for string orchestra. The melody from the 2nd theme of the Andante cantabile, in D-flat major, was also used as the basis for the popular song “On the Isle of May”, popularized by Connee Boswell in 1940.

 

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Daniil Trifonov – Glazunov Piano Concerto No 2 in B major: great compositions/performances

Daniil Trifonov – Glazunov Piano Concerto No 2 in B major

  newTheDoremika

Royal Albert Hall, August 13, 2013 at BBC Proms
London Symphony Orchestra
Valery Gergiev conductor

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky: great compositions/performances

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky

  SymphonyOfAThousand

Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky
Composed in 1875

I. Introduzione e Allegro. Moderato assai (Tempo di marcia funebre) – Allegro brillante (0:00)
II. Alla tedesca. Allegro moderato e semplice – Trio (15:30)
III. Andante. Andante elegiaco (26:38)
IV. Scherzo. Allegro vivo – Trio (36:32)
V. Finale. Allegro con fuoco (Tempo di polacca) (42:42)

Royal Philharmonic Orchestra
Yuri Temirkanov, cond.
Recorded in 1991
http://www.amazon.com/6-Symphonies-P-…

***Image: Tchaikovsky (published 1906), courtesy Wikipedia

“The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.”

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Svetlanov conducts Tchaikovsky – Capriccio italien, Op. 45: great compositions/performances

Svetlanov conducts Tchaikovsky – Capriccio italien, Op. 45

  ClassicalRecords

Pyotr Ilyich Tchaikovsky (1840-1893):

Capriccio italien, Op. 45

Written in 1880.

Yevgeni Svetlanov, conductor
U.S.S.R. Symphony Orchestra

(Released in 1971.)

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.

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Éléonore Darmon et Éric Astoul jouent Tchaikovsky “Souvenir d’un Lieu Cher” op. 42: make music part of your life series

Éléonore Darmon et Éric Astoul jouent Tchaikovsky “Souvenir d’un Lieu Cher” op. 42 

   eleonoredarmon

TCHAIKOVSKI : Souvenir d’un Lieu Cher op. 42
Méditation, Scherzo, Mélodie
avec Éléonore Darmon, violon
et Éric Astoul, piano

Concert du 9 novembre 2013 au Festival SenLiszt
Fondation Cziffra, Chapelle Royale Saint-Frambourg, Senlis, France

Captation vidéo : Vincent Bérczi.
Avec l’aimable autorisation de la Fondation Cziffra

http://www.eleonoredarmon.com
http://www.astoul.com
http://www.facebook.com/Violinist.Ele…
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Souvenir d’un lieu cher

From Wikipedia, the free encyclopedia

 

Souvenir d’un lieu cher (Memory of a dear place; Russian: Воспоминание о дорогом месте), Op. 42, for violin and piano, was written by Pyotr Ilyich Tchaikovsky between March and May 1878. It consists of three movements:

• Méditation (D minor)
• Scherzo (C minor)
• Mélodie (E-flat major; Tchaikovsky also described it as a “chant sans paroles”).

The Méditation was written between 23 and 25 March 1878, in Clarens, Switzerland, where Tchaikovsky wrote his Violin Concerto. It was originally intended as the slow movement of the concerto, but he realised it was too slight for a concerto, so he discarded it and wrote a Canzonetta instead. On 16 May, back in Russia, he started on a work in three parts for violin and piano (the only time he ever originally wrote for that combination of instruments, although the Valse-Scherzo also exists in a violin and piano arrangement). On 22 May he told his brother Modest that it was going well. On 25 May he left for a two-week vacation on the Ukrainian country estate Brailovo (sometimes seen in English as “Brailov“), which belonged to his benefactress Nadezhda von Meck, where he finished the work by 31 May. For the first movement, he used the discarded Méditation, recasting it for violin and piano. The two additional movements, Scherzo and Mélodie, completed the Souvenir d’un lieu cher. While at Brailovo, he also completed the Six Romances, Op. 38, and sketched his entire setting of the Liturgy of St. John Chrysostom.^[1]

Tchaikovsky had the original manuscript sent as a token of gratitude to Nadezhda von Meck, but he always intended to publish the work, so he asked her to arrange for a copy to be made, which was done by Władysław Pachulski, a member of von Meck’s household and later her son-in-law. This copy was sent to the publisher, P. Jurgenson. Tchaikovsky dedicated the work to “B*******”, which is understood to refer to Brailovo itself. It was published in May 1879, as Op. 42.

In 1880, the Méditation was published separately, and has since become well known as an independent piece. The Scherzo and Mélodie were published separately in 1884. In 1896 Jurgenson published the complete work in an arrangement by Alexander Glazunov for violin and orchestra, and in this form it has perhaps become better known than in its original form for violin and piano. There is also an arrangement for violin and strings by Alexandru Lascae.^[2]

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Tchaikovsky-Violin Concerto in D Major Op. 35: Great compositions/performances

Tchaikovsky-Violin Concerto in D Major Op. 35 (Complete)

   Kanaal van viool7

David Oistrakh: violin-Staatskapelle Dresden-Franz Konwitchny: conductor-1954-The piece is in three movements:

1. Allegro moderato (D major)
2. Canzonetta: Andante (G minor)
3. Finale: Allegro vivacissimo (D major)

There is no break or pause between the second and third movements.
***************************************************************

From Wikipedia, the free encyclopedia:

 

The Violin Concerto in D major, Op. 35, was written by Pyotr Ilyich Tchaikovsky in 1878. It is one of the best known violin concertos, and is considered one of the most technically difficult works for the violin.

Composition

Tchaikovsky (right) with violinist Iosif Kotek

The piece was written in Clarens, a Swiss resort on the shores of Lake Geneva, where Tchaikovsky had gone to recover from the depression brought on by his disastrous marriage to Antonina Miliukova. He was working on his Piano Sonata in G major but finding it heavy going. Presently he was joined there by his composition pupil, the violinist Iosif Kotek, who had been in Berlin for violin studies with Joseph Joachim. The two played works for violin and piano together, including a violin-and-piano arrangement of Édouard Lalo‘s Symphonie espagnole, which they may have played through the day after Kotek’s arrival. This work may have been the catalyst for the composition of the concerto.^[1] He wrote to his patroness Nadezhda von Meck, “It [the Symphonie espagnole] has a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies…. He [Lalo], in the same way as Léo Delibes and Bizet, does not strive after profundity, but he carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans.”^[2] Tchaikovsky authority Dr. David Brown writes that Tchaikovsky “might almost have been writing the prescription for the violin concerto he himself was about to compose.”^[3]

Tchaikovsky made swift, steady progress on the concerto, as by this point in his rest cure he had regained his inspiration, and the work was completed within a month despite the middle movement getting a complete rewrite (a version of the original movement was preserved as the first of the three pieces for violin and piano, Souvenir d’un lieu cher).^[4] Since Tchaikovsky was not a violinist, he sought the advice of Kotek on the completion of the solo part.^[5] “How lovingly he’s busying himself with my concerto!” Tchaikovsky wrote to his brother Anatoly on the day he completed the new slow movement. “It goes without saying that I would have been able to do nothing without him. He plays it marvelously.”^[6]

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Luigi Boccherini – String Quintet in E maj Opus 11 No 5 G275: make music part of your life series

Luigi Boccherini – String Quintet in E maj Opus 11 No 5 G275

  gerundive

I Amoroso
II Allegro e con spirito
III Minuetto, trio
IV Rondeau, andante

Performed by La Magnifica Comunità

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P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev) Erudite Music Channel: make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

   Erudite Music Channel
P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

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

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P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev): make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

  Erudite Music Channel

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

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

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• Tchaikovsky – Symphony No. 2 in C minor, Op. 17 (“Little Russian”)
• Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor): make music part of your life series

Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor): make music part of your life series

Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor)

Parts/Movements

1. Adagio – Allegro passionato
2. Tema con varazioni
3. Intermezzo. Allegretto
4. Finale. Andante maestoso

Review :

While the Symphony No. 6 in C minor, Op. 58, of 1896 by Alexander Glazunov is not the most personally characteristic of his eight completed symphonies — the optimistic Third or the Olympian Fifth are more typical of his confident symphonic aesthetic — it is arguably the most typically Russian of his symphonies. Part of the reason for this is the scoring — violins in octaves above massed brass at its climaxes à la Tchaikovsky and gorgeously colorful woodwind writing in its central movements — part of it is the themes — ardent and powerful with a yearning quality characteristic of fin de siècle Russian symphonies — but most of it is the furious tone of the opening movement.
******With the darkly unfolding Adagio leading into a Allegro appassionato that balances a passionately despairing first theme with a fervently supplicating second theme, Glazunov’s Sixth sounds like a Russian symphony composed after the death of Tchaikovsky. But the Sixth is more than the work of a symphonic epigone. While the tone of the opening movement sounds typically Russian, its chromatic melodic and cogent harmonic structure makes it sound much more modern than contemporary symphonies by Kalinnikov or even Rachmaninov. Even more modern are the Sixth’s second and fourth movements.
******The second movement is a theme and seven variations that slowly transmutes the tone of the symphony from the fury of the opening movement to one of calm acceptance.
******The brief third-movement Intermezzo that precedes the Finale is lighter in tone than anything else in the symphony.
******The Finale itself is one of Glazunov’s most successful closing movements. With its magisterial Andante maestoso introduction announcing the chorale theme that will ultimately cap the movement, its highly contrasted themes — the first confidently striding in the winds Moderato maestoso, the second a lilting Scherzando theme for the flutes, horns, and strings — the Finale seems at first too episodic to cohere. Glazunov’s superb technical skills, however, form all the Finale’s material into an organic whole and the tone of the Finale — powerfully positive — is altogether Glazunov’s own. ~ James Leonard, Rovi

Read more:
               http://www.answers.com/topic/symphony-no-6-in-c-minor-op-58#ixzz3AkekJ1oA
               http://www.bbc.co.uk/music/artists/5a0988a4-695c-4bff-bc68-4f312427495e.html
              http://www.allmusic.com/composition/symphony-no-6-in-c-minor-op-58-mc0002366895

 

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Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov): great compositions/performances

From:   Kanaal van viool7

Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov)

Tchaikovsky’s tomb at the Alexander Nevsky Monastery (Photo credit: Wikipedia)

*****Isaac Stern: violin-
*****National Symphony Orchestra-Mstislav                 Rostropovich: conductor-1977

 

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Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky: make music part of your life series

Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky

FROM

SymphonyOfAThousand

Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky
Composed in 1866

I. Allegro tranquillo (0:00)
II. Adagio cantabile (12:17)
III. Scherzo. Allegro scherzando giocoso (24:45)
IV. Finale. Andante lugubre (32:53)

Royal Philharmonic Orchestra
Yuri Temirkanov, cond.
Recorded in 1993
http://www.amazon.com/6-Symphonies-P-…

Image: Tchaikovsky (published 1906), courtesy Wikipedia

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Peter Tchaikovsky: Variations on a Rococo Theme Op 33 (make music part of your life series)

[youtube.com/watch?v=NSCslGqxCVQ]
Peter Tchaikovsky: Variations on a Rococo Theme Op 33
DIMITRI MASLENNIKOV (cello),
Deutsches Symphonie-Orchester, Berlin
CHRISTOPH ESCHENBACH (conductor)

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great compositions/performancesTchaikovsky – Romeo and Juliet, Fantasy-Overture | Valery Gergiev, London Symphony Orchestra

[youtube.com/watch?v=ZxOtYNf-eWE]

Tchaikovsky – Romeo and Juliet, Fantasy-Overture | Valery Gergiev, London Symphony Orchestra

Published by  Adagietto on Jan 13, 2013/ 108,521 views

From Adagietto:
“Pyotr Il’yich Tchaikovsky – Romeo and Juliet, fantasy-overture for orchestra in B minor, 1880. Maestro Valery Gergiev with the London Symphony Orchestra.

Numerous composers have responded to Shakespeare’s timeless drama of forbidden and youthful love, but Tchaikovsky’s response (along with Berlioz’s and Prokofiev’s) is at the top of the list. It is the only one of the three to be intended as a number in a symphony concert, and, hence is by default the most famous of the lot.

Tchaikovsky, a lawyer, was still developing as a composer at age 29 when Mily Balakirev (self-appointed father figure to Russian composers) persuaded him to write an orchestral work on the subject of the “star-cross’d lovers.” Balakirev outlined the form, planned the keys, and even suggested some of the actual music. After the 1870 premiere, he convinced Tchaikovsky to revise it. The work’s success in this form did much to transform the composer’s tendency toward crippling doubt into useful self-criticism. (Not that the transformation was ever total; Tchaikovsky suffered bouts of depression and self-doubt throughout his career.) The composer revised it again in 1880; this version is almost universally the one played. While the final version is probably the best one, the 1869 text is also a fine work and very much worth hearing. The earlier version begins with a charming tune that carries elements of the great love theme. In the first and second revisions Tchaikovsky eliminated this and replaced it with the benedictory theme representing Friar Laurence. The effect of this change on the overture’s structure is large. The first version seems to begin with Juliet still in a relatively childlike state, but with the potential for the great love present in the disguised premonitions of the love theme. The focus is, therefore, on the development of the drama as it unfolds. The later versions, beginning as it were with a prayer, seem to invite the hearer to look back on a tragedy that has already happened. Both versions proceed identically through depictions of the clashes between the houses of Montague and Capulet, and then unveil the great love music. After that, though, Tchaikovsky’s original idea seems to this writer to be superior: There is a great development, fugal-sounding and allowing for contrapuntal conflict based on the overture’s main rhythms and themes. It is tremendously exciting, more so than the music which replaced it. Justification for dropping it might be made along the lines that the original version has too much dramatic weight and overshadows the rest of the music. The main differences thereafter are in details of scoring, and in the finale, which in the original version is much too curt.

It is often instructive to see what a great composer has done at two different times with the same ideas and material. Whether or not it has greater musical merit, Tchaikovsky’s blessing of his final version served to ensure that it is the one that prevailed, and in that form it is accepted as one of the greatest programmatic pieces in the symphonic repertoire. The yearning love theme, in particular, is universally acknowledged as one of the greatest melodies ever written, while the exciting fight music and Tchaikovsky’s unfailingly clear and imaginative orchestration carry the listener through with hardly a misstep. But the original version is not far behind it in musical worth; it should be given more frequent revivals, if only for the sake of hearing the great fugato passage described above.

Pyotr Ilyich Tchaikovsky – Romeo und Julia, Romeo y Julieta, Roméo et Juliette, Romeo e Giulietta, Romeo en Julia, Romeu e Julieta, Romeo and Juliet, Romeu i Julieta, Romeo a Juliet, Romeo og Julie, Romeo kaj Julieta, Romeo i Julija, Romeo e Xulieta, Romeo dan Julia, Rómeó és Júlia, Romeo și Julieta, Romeowan Juliet, Romeo dhe Xhuljeta, Romeo ja Julia, Romeo och Julia, Romeo at Julieta, Romeo un Džuljeta

Visit  this site for many more wonderful unique musical moments! I suscribed to this channel  Adagietto

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great compositions/performances: Barbirolli – Arensky: Variations on a Theme by Tchaikovsky (improved sound)

[youtube.com/watch?v=tRKiE8o3NQU]

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky

London Symphony Orchestra
Recorded in 1947

John Barbirolli in the mid-1960s (Photo credit: Wikipedia)

John Barbirolli
Born: 12/2/1899 – Holborn, London, England
Died: 7/29/1970 – London, England

Anton Stepanovich Arensky (Russian: Антон Степанович Аренский) (12 July 1861 — 25 February 1906), was a Russian composer of Romantic classical music, a pianist and a professor of music.

Anton Arensky, 1895

Arensky was born in Novgorod, Russia. He was musically precocious and had composed a number of songs and piano pieces by the age of nine. With his mother and father, he moved to Saint Petersburg in 1879, where he studied composition at the Saint Petersburg Conservatory with Nikolai Rimsky-Korsakov. After graduating from the Saint Petersburg Conservatory in 1882, Arensky became a professor at the Moscow Conservatory. Among his students there were Alexander Scriabin, Sergei Rachmaninoff and Alexander Gretchaninov. In 1895 Arensky returned to Saint Petersburg as the director of the Imperial Choir, a post for which he had been recommended by Mily Balakirev. Arensky retired from this position in 1901, spending his remaining time as a pianist, conductor, and composer. Arensky died of tuberculosis in a sanatorium in Perkjärvi, Finland. It is alleged that drinking and gambling undermined his health.

Pyotr Tchaikovsky was the greatest influence on Arensky’s musical compositions. Indeed, Rimsky-Korsakov said, “In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” The perception that he lacked a distinctive personal style contributed to long-term neglect of his music, though in recent years a large number of his compositions have been recorded. Especially popular are the orchestral Variations on a Theme of Tchaikovsky based on one of Tchaikovsky’s Songs for Children, Op. 54.

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make music part of your life series: S.Riсhter plays P.Tchaikovsky L’espiegle, Op.72

[youtube.com/watch?v=LX-I89T-MEM]
make music part of your life series:  S.Riсhter plays P.Tchaikovsky L’espiegle, Op.72

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[youtube.com/watch?v=KVIB3T2Q-sY]

Rimsky Korsakov – Dance Of The Tumblers –

Please remember to visit http://www.youtube.com/user/shreddeds… and sign her petition.

Rimsky Korakov A lively classical instrumental, this recording made in the late 70s.

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Make Music PArt of Your Life: Pyotr Tchaikovsky – Souvenir de Florence

The String Sextet in D minor “Souvenir de Florence“, Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the European summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled “Souvenir de Florence” because the composer sketched one of the work’s principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.

1. Allegro con spirito (00:00)
2. Adagio cantabile e con moto (10:16)
3. Allegretto moderato (19:56)
4. Allegro con brio e vivace (26:11)

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