Fabulous rendition: Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa

Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa

ValentinaLisitsa

Published on Aug 15, 2012

Filmed live May 20, 2012, Freiburg im Breisgau ,Germany
Cadenzas by Mozart’s favorite student – and billiards pal, Jan Nepomuk Hummel 🙂
**********************************************************************

Piano Concerto No. 20 (Mozart)

From Wikipedia, the free encyclopedia

 

 Neuer Markt in Vienna with Capuchin Church and Haus zur Mehlgrube on the right, painting by Bernardo Bellotto, 1760

The Piano Concerto No. 20 in D minor, K. 466, was written by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on February 11, 1785, with the composer as the soloist.^[1]

Background

A few days after the first performance, the composer’s father, Leopold, visiting in Vienna, wrote to his daughter Nannerl about her brother’s recent success: “[I heard] an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got there, and your brother didn’t even have time to play through the rondo because he had to oversee the copying operation.”^[1]

It is written in the key of D minor. Other works by the composer in that key include the Fantasia K. 397 for piano, Requiem, a Kyrie, the aria “Der Hölle Rache kocht in meinem Herzen” from the opera The Magic Flute and parts of the opera Don Giovanni. It is the first of two piano concertos written in a minor key (No. 24 in C minor being the other).

The young Ludwig van Beethoven admired this concerto and kept it in his repertoire.^[1] A bass run from the first movement appears for comic effect in Variation 22 of the Diabelli Variations. Daniel Barenboim contends that this concerto was Joseph Stalin‘s favorite piece of music.^[2] Composers who wrote cadenzas for it include Beethoven (WoO 58), Charles-Valentin Alkan, Johannes Brahms (WoO 16), Johann Nepomuk Hummel, Ferruccio Busoni, and Clara Schumann.

Movements

The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. As is typical with concertos, it is in three movements:

1. Allegro (in D minor)
2. Romanze (in B-flat major)
3. Allegro assai (in D minor, ending in D major)

The first movement starts off the concerto in the dark tonic key of D minor with the strings restlessly but quietly building up to a full forte. The theme is quickly taken up by the piano soloist and developed throughout the long movement. A slightly brighter mood exists in the second theme, but it never becomes jubilant. The timpani further heighten the tension in the coda before the cadenza. The movement ends on a quiet note.

The ‘Romanze’ second movement is a five-part rondo (ABACA)^[3] with a coda. The beginning features a solo piano playing the flamboyant and charming main B-flat major melody without accompaniment. This lyrical, passionate, tender and romantic melody, played at a relatively dainty tempo, paints a picture of peace and a sense of harmony between the piano and the orchestra, and has also inspired its title ‘Romanze’. Halfway through, the piece moves on to the second episode (part C), where the beautiful melody is replaced with a turbulent, agitated and ominous theme in the relative minor key of G minor, which greatly contrasts the peaceful mood at the starting of the movement. Finally, we are greeted once again with the aforeheard melody which returns as the movement is nearing the end. The piece ends with an ascending arpeggio that is light and delicate, gradually until it becomes a faint whisper.

The final movement, a rondo, begins with the solo piano rippling upward in the home key before the full orchestra replies with a furious section. (This piano “rippling” is known as the Mannheim Rocket and is a string of eighth notes (d-f-a-d-f) followed by a quarter note (a). A second melody is touched upon by the piano where the mood is still dark but strangely restless. A contrasting cheerful melody in F major ushers in not soon after, introduced by the orchestra before the solo piano rounds off the lively theme. A series of sharp piano chords snaps the bright melody and then begin passages in D minor on solo piano again, taken up by full orchestra. Several modulations of the second theme (in A minor and G minor) follow. Thereafter follows the same format as above, with a momentary pause for introducing the customary cadenza. After the cadenza, the mood clears considerably and the bright happy melody is taken up this time by the winds. The solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant D major finish.

In other media

The second movement (minus the more tumultuous C part of the rondo) plays in the final scene and during the end credits of the 1984 movie Amadeus. The melody begins right before Antonio Salieri tells the priest sent to hear his confession that he is the patron saint of mediocrities. In the final shot of the film, Salieri announces, “Mediocrities everywhere, I absolve you.” Right before the screen fades to black, Mozart’s laugh is heard. At this point, the piano concerto picks up in volume, continuing through the end of the credits.

The first movement was also played in the ballet scene in Series 1 Episode 8 of the television series Mr. Robot.

great compositions/performances: Mozart – Horn Concerto No. 2 in E flat, K. 417 [complete]

Mozart – Horn Concerto No. 2 in E flat, K. 417 [complete]

Am4d3usM0z4rt

Uploaded on Oct 29, 2011

Wolfgang Amadeus Mozart’s Horn Concerto No. 2 in E-flat major, K. 417 was completed in 1783.

The work is in three movements:
I. Allegro maestoso
II. Andante
III. Rondo Più allegro 6/8

Mozart’s good-natured ribbing of his friend is evident in the manuscript inscription “W. A. Mozart took pity on Leitgeb, ass, ox and fool in Vienna on 27 May 1783.” This is one of two horn concerti of Mozart to omit bassoons. It is also one of Mozart’s two horn concerti to have ripieno horns (horns included in the orchestra besides the soloist), though in contrast to K. 495, the solo horn in this one does not duplicate the first ripieno horn’s part in the tutti passages.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

 

fabulous musical renditions: Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa

Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa

ValentinaLisitsa

Published on Aug 15, 2012

Filmed live May 20, 2012, Freiburg im Breisgau ,Germany
Cadenzas by Mozart’s favorite student – and billiards pal, Jan Nepomuk Hummel
**********************************************************************

Piano Concerto No. 20 (Mozart)

From Wikipedia, the free encyclopedia

 

 Neuer Markt in Vienna with Capuchin Church and Haus zur Mehlgrube on the right, painting by Bernardo Bellotto, 1760

The Piano Concerto No. 20 in D minor, K. 466, was written by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on February 11, 1785, with the composer as the soloist.^[1]

Background

A few days after the first performance, the composer’s father, Leopold, visiting in Vienna, wrote to his daughter Nannerl about her brother’s recent success: “[I heard] an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got there, and your brother didn’t even have time to play through the rondo because he had to oversee the copying operation.”^[1]

It is written in the key of D minor. Other works by the composer in that key include the Fantasia K. 397 for piano, Requiem, a Kyrie, the aria “Der Hölle Rache kocht in meinem Herzen” from the opera The Magic Flute and parts of the opera Don Giovanni. It is the first of two piano concertos written in a minor key (No. 24 in C minor being the other).

The young Ludwig van Beethoven admired this concerto and kept it in his repertoire.^[1] A bass run from the first movement appears for comic effect in Variation 22 of the Diabelli Variations. Daniel Barenboim contends that this concerto was Joseph Stalin‘s favorite piece of music.^[2] Composers who wrote cadenzas for it include Beethoven (WoO 58), Charles-Valentin Alkan, Johannes Brahms (WoO 16), Johann Nepomuk Hummel, Ferruccio Busoni, and Clara Schumann.

Movements

The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. As is typical with concertos, it is in three movements:

1. Allegro (in D minor)

2. Romanze (in B-flat major)

3. Allegro assai (in D minor, ending in D major)

The first movement starts off the concerto in the dark tonic key of D minor with the strings restlessly but quietly building up to a full forte. The theme is quickly taken up by the piano soloist and developed throughout the long movement. A slightly brighter mood exists in the second theme, but it never becomes jubilant. The timpani further heighten the tension in the coda before the cadenza. The movement ends on a quiet note.

The ‘Romanze’ second movement is a five-part rondo (ABACA)^[3] with a coda. The beginning features a solo piano playing the flamboyant and charming main B-flat major melody without accompaniment. This lyrical, passionate, tender and romantic melody, played at a relatively dainty tempo, paints a picture of peace and a sense of harmony between the piano and the orchestra, and has also inspired its title ‘Romanze’. Halfway through, the piece moves on to the second episode (part C), where the beautiful melody is replaced with a turbulent, agitated and ominous theme in the relative minor key of G minor, which greatly contrasts the peaceful mood at the starting of the movement. Finally, we are greeted once again with the aforeheard melody which returns as the movement is nearing the end. The piece ends with an ascending arpeggio that is light and delicate, gradually until it becomes a faint whisper.

The final movement, a rondo, begins with the solo piano rippling upward in the home key before the full orchestra replies with a furious section. (This piano “rippling” is known as the Mannheim Rocket and is a string of eighth notes (d-f-a-d-f) followed by a quarter note (a). A second melody is touched upon by the piano where the mood is still dark but strangely restless. A contrasting cheerful melody in F major ushers in not soon after, introduced by the orchestra before the solo piano rounds off the lively theme. A series of sharp piano chords snaps the bright melody and then begin passages in D minor on solo piano again, taken up by full orchestra. Several modulations of the second theme (in A minor and G minor) follow. Thereafter follows the same format as above, with a momentary pause for introducing the customary cadenza. After the cadenza, the mood clears considerably and the bright happy melody is taken up this time by the winds. The solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant D major finish.

In other media

The second movement (minus the more tumultuous C part of the rondo) plays in the final scene and during the end credits of the 1984 movie Amadeus. The melody begins right before Antonio Salieri tells the priest sent to hear his confession that he is the patron saint of mediocrities. In the final shot of the film, Salieri announces, “Mediocrities everywhere, I absolve you.” Right before the screen fades to black, Mozart’s laugh is heard. At this point, the piano concerto picks up in volume, continuing through the end of the credits.

The first movement was also played in the ballet scene in Series 1 Episode 8 of the television series Mr. Robot.
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Best musical collections: Mozart – Symphonies No. 25, 29, 35, 36, 38, 39, 40, 41 Wiener Philharmoniker Leonard Bernstein

Mozart – Symphonies No. 25, 29, 35, 36, 38, 39, 40, 41 (Bernstein)

Musical Art Channel

Published on Oct 14, 2014

Symphony No.25 in G minor, K.183:
I. Allegro con brio – 00:00
II. Andante – 08:10
III. Menuetto – Trio – 12:22
IV. Allegro – 16:12
Symphony No.29 in A major, K.201:
I. Allegro moderato – 22:14
II. Andante – 30:23
III. Menuetto – Trio – 37:16
IV. Allegro con spirito – 40:42
Symphony No.35 in D major, K.385 “Haffner”:
I. Allegro con spirito – 45:56
II. Andante – 51:44
III. Menuetto – Trio – 58:53
IV. Presto – 01:02:10
Symphony No.36 in C major, K.425 “Linz”:
I. Adagio – Allegro spirito – 01:05:53
II. Andante – 01:17:03
III. Menuetto – Trio – 01:25:01
IV. Presto – 01:28:47
Symphony No.38 in D major, K.504 “Prague”:
I. Adagio – Allegro – 01:36:16
II. Andante – 01:49:47
III. Presto – 01:58:58
Symphony No.39 in E flat major, K.543:
I. Adagio – Allegro – 02:07:39
II. Andante con moto – 02:19:02
III. Menuetto. Allegretto – Trio – 02:28:23
IV. Finale. Allegro – 02:32:29
Symphony No.40 in G minor, K.550:
I. Molto allegro – 02:40:35
II. Andante – 02:49:08
III. Menuetto. Allegretto – Trio – 02:57:26
IV. Allegro assai – 03:02:19
Symphony No.41 in C major, K.551 “Jupiter”:
I. Allegro vivace – 03:11:35
II. Andante cantabile – 03:23:34
III. Menuetto. Allegretto – 03:32:47
IV. Molto allegro – 03:38:03

Performers:
Wiener Philharmoniker
Leonard Bernstein

historic musical bits: MOZART Symphony No 40 in G minor, KV550, LEONARD BERNSTEIN|Boston Symphony Orchestra

MOZART Symphony No 40 in G minor KV550 LEONARD BERNSTEIN

roger bridgland

Published on Feb 23, 2014

Mozart Symphony No.40 in G minor KV550

four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

1. Molto allegro, 2/2

2. Andante in E-flat major, 6/8

3. Menuetto. Allegretto – Trio, 3/4

4. Finale. Allegro assai, 2/2

*****Leonard Bernstein (conductor)
*****Boston Symphony Orchestra
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Symphony No. 40 (Mozart)

From Wikipedia, the free encyclopedia

 

Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the “Great G minor symphony,” to distinguish it from the “Little G minor symphony,” No. 25. The two are the only extant minor key symphonies Mozart wrote.^[1]

Composition

The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively).^[2] Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 40, as the middle work, has no introduction (unlike No. 39) and does not have a finale of the scale of No. 41’s.^[3]

Premiere

As Neal Zaslaw has pointed out, writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, #39 and #41) without even intending it to be performed, but rather for posterity; as (to use Alfred Einstein‘s words), an “appeal to eternity”.^[4]

Modern scholarship suggests that these conjectures are not correct. First, in a recently discovered 10 July 1802 letter by the musician Johann Wenzel (1762-1831) to the publisher Ambrosius Kühnel in Leipzig, Wenzel refers to a performance of the symphony at the home of Baron Gottfried van Swieten with Mozart present, but the execution was so poor that the composer had to leave the room.^[5]

There is strong circumstantial evidence for other, probably better, performances. On several occasions between the composition of the symphony and the composer’s death, symphony concerts were given featuring Mozart’s music for which copies of the program have survived, announcing a symphony unidentified by date or key. These include:^[6]

• Dresden, 14 April 1789, during Mozart’s Berlin journey
• Leipzig, 12 May 1789, on the same trip
• Frankfurt, 15 October 1790
• Copies survive of a poster for a concert given by the Tonkünstlersocietät (Society of Musicians) 17 April 1791 in the Burgtheater in Vienna, conducted by Mozart’s colleague Antonio Salieri. The first item on the program was billed as “A Grand Symphony composed by Herr Mozart”.^[7]

Most important is the fact that Mozart revised his symphony (the manuscripts of both versions still exist).^[8] As Zaslaw says, this “demonstrates that [the symphony] was performed, for Mozart would hardly have gone to the trouble of adding the clarinets and rewriting the flutes and oboes to accommodate them, had he not had a specific performance in view.”^[9] The orchestra for the 1791 Vienna concert included the clarinetist brothers Anton and Johann Nepomuk Stadler; which, as Zaslaw points out, limits the possibilities to just the 39th and 40th symphonies.^[9]

Zaslaw adds: “The version without clarinets must also have been performed, for the reorchestrated version of two passages in the slow movement, which exists in Mozart’s hand, must have resulted from his having heard the work and discovered an aspect needing improvement.”^[10][11]

Regarding the concerts for which the Symphony was originally intended when it was composed in 1788, Otto Erich Deutsch suggests that Mozart was preparing to hold a series of three “Concerts in the Casino”, in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest.^[2] Zaslaw suggests that only the first of the three concerts was actually held.

The music

The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

1. Molto allegro, 2/2

2. Andante in E-flat major, 6/8

3. Menuetto. Allegretto – Trio, 3/4

4. Finale. Allegro assai, 2/2

Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form.

The first movement begins darkly, not with its first theme but with accompaniment, played by the lower strings with divided violas. The technique of beginning a work with an accompaniment figure was later used by Mozart in his last piano concerto (KV. 595) and later became a favorite of the Romantics (examples include the openings of Mendelssohn‘s Violin Concerto and Sergei Rachmaninoff‘s Third Piano Concerto). The first theme is as follows.

The second movement is a lyrical work in 6/8 time, in E flat major, the submediant major of the overall G minor key of the symphony. The contrapuntal opening bars of this movement appear thus in keyboard reduction:

The minuet begins with an angry, cross-accented hemiola rhythm and a pair of three-bar phrases; various commentators have asserted that while the music is labeled “minuet,” it would hardly be suitable for dancing. The contrasting gentle trio section, in G major, alternates the playing of the string section with that of the winds.

The fourth movement opens with a series of rapidly ascending notes outlining the tonic triad illustrating what is commonly referred to as the Mannheim rocket.

The movement is written largely in eight-bar phrases, following the general tendency toward rhythmic squareness in the finales of classical-era symphonies. A remarkable modulating passage in which every tone in the chromatic scale but one is played, strongly destabilizing the key, occurs at the beginning of the development section. The single note left out is in fact a G (the tonic).

The symphony typically has a duration of about 25 minutes.

Reception

This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing “Grecian lightness and grace”. Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony “a work of passion, violence, and grief.”

Although interpretations differ, the symphony is unquestionably one of Mozart’s most greatly admired works, and it is frequently performed and recorded.

Influence

Ludwig van Beethoven knew the symphony well, copying out 29 bars from the score in one of his sketchbooks.^[12] As Gustav Nottebohm observed in 1887, the copied bars appear amid the sketches for Beethoven’s Fifth Symphony, whose third movement begins with a pitch sequence similar to that of Mozart’s finale (see example above).^[13]

In the 1860s, composer Johannes Brahms obtained Mozart’s original score, “the crown of his manuscript collection.”^[14]

Media

The following files contain a digital recording of a performance of the 40th Symphony by the Fulda Symphonic Orchestra. The performance took place on March 18, 2001 in the Orangerie in Fulda, Germany.

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

Alessandro152

Uploaded on Sep 12, 2011

Mozart:Piano Concerto No. 21 in C major, K. 467

Orchestra filarmonica della Scala
Maurizio Pollini, piano
Riccardo Muti, conductor
(2004)
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Wolfgang Amadeus Mozart –

Piano Concerto No. 21,

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

	Third movement Performed by: Giorgi Latso, piano
Problems playing this file? See media help.

The concerto has three movements:

1. Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.^[3]
2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. ^[3]
3. 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.^[4] 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.

Cultural references

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][5] This has led to an anachronistic nickname of Elvira Madigan for the concerto.^[6][7][8]

Neil Diamond‘s 1972 song “Song Sung Blue” was based on a theme from the andante movement of the concerto.^[9]

An electronic arrangement of the concerto’s first movement was used as the main theme of the TV series Whiz Kids.
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great compositions/performances: 12 Variations in E-Flat Major on “Je suis Lindor,” K. 354| Karl Engel (Piano)

12 Variations in E-Flat Major on “Je suis Lindor,” K. 354

#KarlEngel

Published on Feb 24, 2015

Provided to YouTube by The Orchard Enterprises

12 Variations in E-Flat Major on “Je suis Lindor,” K. 354

· Wolfgang Amadeus Mozart · Karl Engel (Piano)

Mozart: Piano Variations

℗ 2010 The Reader’s Digest Assocation, Inc.

Released on: 2010-12-13

Auto-generated by YouTube.

great compositions/performances: Mozart – Symphony No. 40 in G minor, K. 550

Mozart – Symphony No. 40,

in G minor, K. 550

Am4d3usM0z4rt

Uploaded on Feb 20, 2012

Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the “Great G minor symphony,” to distinguish it from the “Little G minor symphony,” No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani.
The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony:
1. Molto allegro, 2/2
2. Andante, 6/8
3. Menuetto. Allegretto — Trio, 3/4
4. Finale. Allegro assai, 2/2.
Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form. This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing “Grecian lightness and grace”. Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony “a work of passion, violence, and grief.”
Although interpretations differ, the symphony is unquestionably one of Mozart’s most greatly admired works, and it is frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

Mozart – Piano Sonata No. 15 in F, K. 533 / K. 494

Am4d3usM0z4r

Uploaded on Dec 22, 2011

Wolfgang Amadeus Mozart’s Piano Sonata No. 15 in F major, KV 533/494 (finished January 3, 1788) is a sonata in three movements:
1. Allegro
2. Andante
3. Rondeau, Allegretto
A typical performance takes about 23 minutes.
The F Major sonata was written in two parts — hence, the two Köchel numbers. The Rondeau finale was originally written as a separate piece as K. 494. A few months later, the first two movements were written. At his publisher Hoffmeister’s request, he joined K. 494 to them to form a three-movement sonata, referred to as K. 533, adding a twenty-seven measure cadenza to the Rondo making use of lower registers of the piano not heard in the rest of the movement.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/
—————————————-­———————————
NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome.

Historic Musical Bits: David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

Classical Vault 2

Published on Jan 14, 2015

Wolfgang Amadeus Mozart
Violin Concerto No 3 in G major, K 216

David Oistrakh, violin & conductor

Berlin Philharmonic Orchestra

Berlin, March 1971
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From Wikipedia, the free encyclopedia

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time.

Movements

The piece is in three movements:

1. Allegro
2. Adagio
3. Rondeau. Allegro

I. Allegro

The Allegro is in sonata form, opening with a G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompaniment, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.

II. Adagio

The second movement is also in ternary form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.

III. Rondeau

The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg”.^[1] After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.

great compositions/performances: Mozart – Symphony No. 35 in D, K. 385 (Haffner)

Mozart – Symphony No. 35 in D, K. 385  (Haffner)

Am4d3usM0z4rt

Uploaded on Feb 23, 2012

Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner’s ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart’s choice of key for the Haffner Symphony is an aspect that catches one’s attention. According to Cuyler, “the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,” including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work’s serenade origins as all of Mozart’s orchestral serenades are scored in D major. Hence, it is not surprising that the Haffner Symphony was written in the key of D major. The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34.

make music part of your life series: Mozart – String Quartet No. 14 in G, K. 387 (“Spring”)

https://www.youtube.com/watch?v=5BS_rG_XZ0Y%5B/emebed%5D

Mozart – String Quartet No. 14 in G, K. 387 [complete] (Spring)

Am4d3usM0z4rt

Published on Apr 29, 2012

The String Quartet No. 14 in G major, K. 387, nicknamed the “Spring” quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer’s inscription on the title page of the autograph score is stated: “li 31 di decembre 1782 in vienna”. The work was perhaps edited in 1783. This is the first of the Haydn Quartets, a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn, who is generally viewed as the father of the string quartet form. As with all later Mozart quartets, this quartet has four movements:
I. Allegro vivace assai
II. Menuetto
III. Andante cantabile, in C major
IV. Molto allegro
The first movement, in G major, contrasts fairly diatonic passages with chromatic runs. According to (Williams, 1997) “it must come as something of a surprise to anyone examining this quartet just how much chromaticism there is in it.” In contrast to the standard quartet form, which places the minuet as the 3rd movement, this quartet has the minuet as its 2nd movement (another example of this ordering is the String Quartet No. 17). It is a long minuet, written in the tonic key of G major, with its chromatic fourths set apart by note-to-note dynamics changes. The minuet is followed by a slow movement in the subdominant C major, whose theme explores remote key areas.
The fugal theme of four whole notes in the finale points ahead to the finale of Mozart’s “Jupiter” Symphony of 1788, a movement which also begins with four whole notes that are used in a fugal fashion, in the coda, and it also points back to Michael Haydn’s Symphony No. 23 in which the finale is also a fugato based on a theme of four whole notes, which Mozart copied out the first few bars of and was mistakenly entered into Köchel’s original catalog as K. 291.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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Mozart / Horn Quintet in E-flat major, K. 407 (Timothy Brown)

scrymgeour34

Published on Jun 14, 2012

Wolfgang Amadeus Mozart (1756-1791)

Horn Quintet in E-flat major, K. 407/386c (1782)

00:00 – Allegro
06:22 – Andante
13:50 – Allegro

Performed by members of the Academy of St. Martin-in-the-Fields Chamber Ensemble (1980).

Horn – Timothy Brown
Violin – Iona Brown
Viola I – Stephen Shingles
Viola II – Anthony Jenkins
Violoncello – Denis Vigay

“The Horn Quintet K. 407 is more of a concerto ‘en miniature’ than a chamber work. Remarkably, the string quartet contains not two violins but two violas, and functions principally as an accompaniment, whilst the horn provides the distinctive colouring. The two outer movements, like most of Mozart’s music for Leutgeb, are humorous in character, particularly the rondo finale, which opens with a jovial fanfare theme. As in the horn concertos the limited possibilities of the natural horn are exploited wittily and skilfully; even cadenzas are provided for. In contrast to the outer movements, the Andante has a lyrical, cantabile quality. The violin becomes independent and performs a duet with the horn.” – Alfred Beaujean (trans. Joanne Poole)

Painting: A Courtesan (Smiling Girl Holding an Obscene Image), Gerard van Honthorst

great compositions/performances: ,Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Classical Vault 2

Published on Jul 30, 2013

Wolfgang Amadeus Mozart
Violin Concerto No 4 in D major, K 218

1 Allegro
2 Andante cantabile
3 Rondeau. Andante grazioso – Allegro ma non troppo

Hilary Hahn, violin

BBC Symphony Orchestra
Andrew Davis, conductor

Mozart – Symphony No. 38 in D, K. 504 (Prague)

 

Am4d3usM0z4rt

Uploaded on Feb 20, 2012

The Symphony No. 38 in D major, K. 504, was composed by Wolfgang Amadeus Mozart in late 1786. It was premiered in Prague on January 19, 1787, a few weeks after Le nozze di Figaro opened there. It is popularly known as the Prague Symphony. Mozart’s autograph thematic catalogue bears December 6, 1786, as the date of composition. Other works written by Mozart about contemporary with this symphony include the twenty-fifth piano concerto and the piano trio in B-flat (K. 503 and K. 502, respectively) the former also written in December 1786, the latter written in November. The aria scena and rondo Ch’io mi scordi di te? K.505 for soprano and orchestra with piano obligato, regarded by Girdlestone in his book on Mozart and his Piano Concertos as a work on the same level, also dates from the same period. This work would be called No. 37 if the K. 444 work (mostly by Michael Haydn, except for the slow introduction, which is by Mozart) was removed from the numbering. The early classical symphony of the 18th century would either have three movements or four (or one movement in three recognizable sections, like the 26th or the 32nd), the four-movement symphonies having a minuet in addition. By the time Mozart wrote his Prague symphony, however, the symphony was no longer a step away from the opera overture, no longer bound to this tradition, so that the symphony without a minuet could be, and was, similar in weight to his other symphonies, different mostly in the lack of that minuet and not in overall specific gravity. The Prague Symphony was scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The work has the following three movements:
1. Adagio—Allegro, 4/4 (Sonata form)
2. Andante in G major, 6/8 (Sonata form)
3. Finale (Presto), 2/4.
Although Mozart’s popularity among the Viennese waxed and waned, he was consistently popular among the Bohemians and had a devoted following in Prague. A piece appearing in the Prager Neue Zeitung shortly after Mozart’s death expresses this sentiment: “Mozart seems to have written for the people of Bohemia, his music is understood nowhere better than in Prague, and even in the countryside it is widely loved.” The Prague Symphony was written in gratitude for their high esteem.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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“Ruhe sanft, mein holdes Leben” Lucia Popp , Vienna Haydn Orchestra, István Kertész (1972 Decca Music Group Limited) , A Mozart, Wolfgang Amadeus

Mozart: Zaide, K.344 / Act 1 – “Ruhe sanft, mein holdes

Leben”

#LuciaPopp

Published on Jan 13, 2015

“Ruhe sanft, mein holdes Leben”

Lucia Popp
Vienna Haydn Orchestra
István Kertész

℗ 1972 Decca Music Group Limited

Author: Schachtner, Johann Andreas
Composer: Mozart, Wolfgang Amadeus

best classical music bits , Manuel Barrueco – Variations on a Theme of Mozart

Manuel Barrueco-Variations on a Theme of Mozart

hckaraman

Manuel Barrueco-Variations on a Theme of Mozart

Best classical music , Antonín Dvořák – Serenade in D minor, Op. 44 , great compositions/performances

Antonín Dvořák – Serenade in D minor, Op. 44

Wolfgang Amadé Mozart

Published on Sep 21, 2012

Nash Ensemble

Antonín Dvořák – Serenade in D minor, Op. 44
1. Moderato, alla Marcia 4’17
2. Minuetto 6’08
3. Andante con moto 8’35
4. Allegro molto 6’13

• Music

  • “Serenade in D minor Op.44: Minuetto. Tempo di Minuetto” by The Nash Ensemble (Google Play • eMusic • iTunes • AmazonMP3)

Best Classical Music Series: Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son,

Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son

alddo3

Published on Dec 18, 2014

2011 Tchaikovsky Competition – Piano Round II, Phase II

Mozart – Concerto for Piano and Orchestra No. 21 in C major, K.467

Yeol Eum Son (South Korea)
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Structure

The concerto has three movements:

1. Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.^[3]
2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. ^[4]
3. 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.

Recordings

This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski, Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires, Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley, Mitsuko Uchida, and Christian Zacharias.

Cultural references

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][6] This has led to an anachronistic nickname of Elvira Madigan for the concerto.^[7][8][9]

Neil Diamond’s 1972 song “Song Sung Blue” was based on a theme from the andante movement of the concerto.^[10]

An electronic arrangement of the concerto’s first movement was used as the main theme of the TV series Whiz Kids.

Leonid Kogan – Mozart – Adagio in E major, K 261 , great compositions/performances

Leonid Kogan – Mozart – Adagio in E major, K 261

Classical Vault 1

Wolfgang Amadeus Mozart
Adagio in E major for violin and orchestra, K 261

Leonid Kogan, violin

Moscow Philharmonic Orchestra
Pavel Kogan, conductor

Live recording, May 1981

Mozart. Piano Concerto No. 20 in D minor, K466 – Martha Argerich (1998) , great compositions/performances

Mozart. Piano Concerto No. 20 in D minor, K466 – Martha Argerich (1998)

Facconti

Published on Jun 4, 2012

Wolfgang Amadeus Mozart (1756-1791).
Piano Concerto No. 20 in D minor, K 466. (Cadenzas, L. v. Beethoven)
I. Allegro
II. Romance 13:32
III. Allegro Assai 22:18

Alexandre Rabinovitch, Orchestra di Padova e del Veneto.
Martha Argerich, piano.
Palazzo Giusti, Padova, September 1998.

Wolfgang Amadeus Mozart /// Ballet Music in C, K 299b from ‘Les petits riens’

Anthony Lowery

Les Petits Riens, K. App. 10/299b.

Concerto Köln, on period instruments. Directed by Anton Steck. Composed by W.A. Mozart (1756-91).

I. Ouverture: Allegro (0:00)
II. No. 9 Andantino (3:14)
III. No. 10 Allegro (4:24)
IV. No. 11 Larghetto (4:34)
V. No. 8 — * (5:49)
VI. No. 12 Gavotte: Allegro (7:53)
VII. No. 15 Gavotte gracieuse (9:14)
VIII. No. 16 Pantomime (10:07)
IX. No. 14 –* (11:58)
X. No. 18 Gavotte (13:34)
XI. No. 5 Agité* (16:58)

Happy birthday Bach: Mozart Quartet No 19 K 465 Dissonanze Dissonances Hagen Quartet

Mozart Quartet No 19 K 465 Dissonanze Dissonances Hagen Quartet

La Casa di Davide

x

The String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadeus Mozart, nicknamed “Dissonance” on account of its unusual slow introduction, is perhaps the most famous of his quartets. It is the last in the set of six quartets composed between 1782-1785 that he dedicated to Joseph Haydn.
According to the catalog of works Mozart began early the preceding year, the quartet was completed on January 14, 1785. As is normal with Mozart’s later quartets, it is in four movements:
1. Adagio-Allegro
2. Andante cantabile – in F major
3. Menuetto. Allegro. (C major, trio in C minor)
4. Allegro molto
The first movement opens with ominous quiet Cs in the cello, joined successively by the viola (on A♭ moving to a G), the second violin (on E♭) and the first violin (on A), thus creating the “dissonance” itself and narrowly avoiding a greater one. This lack of harmony and fixed key continues throughout the slow introduction before resolving into the bright C major of the Allegro section of the first movement, which is in sonata form. Mozart goes on to use chromatic and whole tone scales to outline fourths. Arch shaped lines emphasizing fourths in the first violin (C – F – C) and the violoncello (G – C – C’ – G’) are combined with lines emphasizing fifths in the second violin and viola. Over the barline between the second and third measures of the example a fourth-suspension can be seen in the second violin’s tied C. In another of his string quartets, KV 464, such fourth-suspensions are also very prominent.
The second movement is in sonatina form, i.e. lacking the development section. Alfred Einstein writes of the coda of this movement that “the first violin openly expresses what seemed hidden beneath the conversational play of the subordinate theme.” The third movement is a minuet and trio, with the exuberant mood of the minuet darkening into the C minor of the trio. The last movement is also in sonata form.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
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Mozart / Serenade in G major, K. 525 “Eine kleine Nachtmusik” (Mackerras) , great compositions/performances

Mozart / Serenade in G major, K. 525 “Eine kleine Nachtmusik” (Mackerras)

scrymgeour34

Wolfgang Amadeus Mozart (1756-1791)

Serenade No. 13 for strings in G major, K. 525 “Eine kleine Nachtmusik” (1787)

00:00 – Allegro
08:09 – Romance. Andante
13:52 – Menuetto. Allegretto – Trio
16:19 – Rondo. Allegro

Performed by Charles Mackerras and the Prague Chamber Orchestra (Telarc: 1985).

Painting: Harlequin and a Lady, Konstantin Somov

Mozart / String Quintet No. 5 in D major, K. 593 , great compositions/performances

Mozart / String Quintet No. 5 in D major, K. 593

scrymgeour34

Uploaded on Jan 3, 2012

Wolfgang Amadeus Mozart (1756-1791)

String Quintet No. 5 in D major, K. 593 (1790)

00:00 – Larghetto – Allegro
10:13 – Adagio
17:36 – Menuetto (Allegretto)
22:56 – Finale (Allegro)

Violin: Arthur Grumiaux & Arpad Gérecz
Viola: Georges Janzer & Max Lesueur
Cello: Eva Czako

“The two last string quintets followed in December 1790 and April 1791, supposedly on commission from a Hungarian said to be the wholesale merchant Johann Tost of Ungarisch-Hrodisch in Moravia, himself an excellent violinist, and the bearer of the dedications of two series of quartets by Haydn of 1789 (51-56) and 1790 (57-62). Since Tost had recently become wealthy by marriage, perhaps Mozart was well paid for these two works, at least. He should have been; both bear all the earmarks of compositions intended for a connoisseur.

“The first, in D major, K. 593, begins with a Larghetto, which juxtaposes the ‘cello (Mozart has not completely forgotten the King of Prussia) and the group of higher instruments; question and answer are repeated at once on a higher step of the scale— a typical beginning for the great instrumental works of the last period (the Piano Sonata in D, K. 576, the fragments of movements for piano, K. Anh. 29 and 30, the Quartet, K. 590, etc.) and a procedure of which Beethoven took careful note, as we see in the String Quartet Op. 59, No. 2, for example. This Larghetto returns at the end of the following Allegro, and leads to a quite short, abrupt conclusion—consisting simply of the eight opening measures of the Allegro. Thus this whole Allegro itself has a somewhat groping, combinative character, with an impetuous development section in two parts, the first marchlike, the second warlike. The recapitulation achieves its effect by means of intensified polyphony. It is a very unusual movement for Mozart, being definitely introductory in character. It leads to a deeply felt Adagio, related to the slow movement of the ‘Jupiter’ Symphony, with three-part responses as in the five-part madrigals of the sixteenth century, and containing the finest polyphonic development. The Minuet is a bit Haydnish—manly, with a concluding canon as a ‘trump card’ and a ‘spiccato’ Trio. The Rondo, finally, is of the richest maturity, with its playful theme, its fugati in which ‘learnedness’ takes on wit and charm without forfeiting any of its earnestness. The beginning of the theme, originally a chromatically descending fifth, gains grace and character by means of a single stroke.” – Alfred Einstein

Painting: Self-Portrait, Anthony van Dyck

Mozart – Violin Concerto No. 4 in D, K. 218

Am4d3usM0z4rt

Uploaded on Oct 24, 2011

Violin Concerto No. 4 in D major K. 218 was composed by Wolfgang Amadeus Mozart in 1775 in Salzburg. The autograph of the score is preserved in Biblioteka Jagiellońska, Kraków. The concerto has the usual fast-slow-fast structure and lasts around 23 minutes. The movements are:
1. Allegro
2. Andante cantabile
3. Rondeau (Andante grazioso – Allegro ma non troppo).
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
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and http://imslp.org/wiki/
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Mozart: Overture – ‘La Finta Semplice’

Thewisemonkey9

Published on Dec 2, 2012

Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.), name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 — 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that “posterity will not see such a talent again in 100 years… http://en.wikipedia.org/wiki/Wolfgang…

La finta semplice (The Pretended Simpleton), K. 51 (46a) is an opera buffa in three acts for soloists and orchestra, composed in 1769 by then 12-year-old Wolfgang Amadeus Mozart to an Italian libretto by the court poet Marco Coltellini based on an early work by Carlo Goldoni. Mozart composed the music using the model of comedy started by Philippe Destouches with La fausse Agnès, ou le Poète campagnard (1734). The form of libretto includes the introduction, a duet and three finals… http://en.wikipedia.org/wiki/La_finta…

A link to this wonderful artists Website: http://www.classicalarchives.com/moza…

Mozart – Violin Concerto No. 3 in G, K. 216

Am4d3usM0z4rt

Uploaded on Oct 24, 2011

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time. The piece is in three movements:
1. Allegro
2. Adagio
and 3. Rondeau, Allegro.
The Allegro is in sonata form, opening with a brilliant G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompanist, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.
The second movement is also in ternary form form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.
The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg”. After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.

Wolfgang Amadeus Mozart: Così fan tutte, K.588, Overture

Così fan tutte, K.588, Overture

Amadeus Mozart

Uploaded on Sep 15, 2008

John Eliot Gardiner conducting The English Baroque Soloists:

Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School For Lovers) K. 588, is an opera buffa by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo da Ponte.

Così fan tutte (often shortened to Così in the English-speaking world) is one of the three Mozart operas for which da Ponte wrote the libretto. The other two da Ponte-Mozart collaborations were Le nozze di Figaro and Don Giovanni.

Così was written and composed at the suggestion of the Emperor Joseph II. The libretto was originally intended to be set to music by Mozart’s contemporary Antonio Salieri but Salieri only completed parts of the first act and then broke off work on the opera.

The title, Così fan tutte, literally means “Thus do all [women]” but it is often translated as “Women are like that”.
The first performance of Mozart’s setting took place at the Burgtheater in Vienna on January 26, 1790.

Synopsis
Mozart and Da Ponte took as a theme “fiancée swapping” which dates back to the 13th century, with notable earlier versions being those of Boccaccio’s Decameron and Shakespeare’s play Cymbeline. Elements from Shakespeare’s The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid’s Metamorphoses, vii.

The two officers Ferrando and Guilelmo are in a coffehouse raving about their brides, the two sisters Dorabella and Fiordiligi. Their skeptical friend Don Alfonso, as old philosopher, expresses his doubt concerning the women’s fidelity, immediately provoking such indignation on the part of the young men that they challenge him to a duel.

Wolfgang Amadeus Mozart: Magic Flute ~ Papageno’s Aria

Paul Hardwick

Uploaded on Sep 12, 2011

Wolfgang Amadeus Mozart: Die Zauberflöte, K. 620 – Act 2, Aria: “Ein Mädchen Oder Weibchen” ~ “A Maiden Or A Little Wife” Aria.

Ein Mädchen oder Weibchen

A girl or a little wife
Wünscht Papageno sich

Wishes Papageno
O so ein sanftes Täubchen

O, such a soft little dove
Wär Seligkeit für mich.

Would be bliss for me.
Dann schmeckte mir Trinken und Essen;
Then drink and food would taste good to me;
Dann könnte’ ich

Then I could
mit Fuersten mich messen,
Measure myself with princes,

Des Lebens als Weiser mich freun,
Enjoy life as a wiseman,

und wie im Elysium sein.
And feel like I’m in Elysium.

Ach, kann ich denn keiner von allen
Ah, can I not please any of all

den reizenden Mädchen gefallen?
Those charming girls?

Helf’ eine mir nur aus der Not,
If only someone would help me out in this need,

Sonst gräm¹ ich mich wahrlich zu Tod.
Otherwise I will worry myself to death.

Wird keiner mir Liebe gewähren,
If no one will grant me love,

So muss mich die Flamme verzehren;
Then the flame must consume me;

Doch küsst mich ein weiblicher Mund,
Still, if a feminine mouth kisses me,

so bin ich schon wieder gesund.
Then I will be immediately well again!

***Performed by Michael Kraus, Georg Solti; Vienna Philharmonic Orchestra, Vienna State Opera Chorus.

Historic Musical Bits: Kempff plays Schubert Piano Sonata in A Major D664, great compositions/performances

Kempff plays Schubert Piano Sonata in A Major D664

EvaYoungPianist

Published on Jul 4, 2012

Franz Schubert:
Piano Sonata in A Major D664:
Mvt.I: Allegro moderato 00:00
Mvt.II: Andante 10:41
Mvt.III: Allegro 15:14

Wilhelm Kempff: piano

From Wikipedia, the free encyclopedia

 
The Piano Sonata in A major D. 664, Op. posth. 120 is a sonata for solo piano composed by Franz Schubert in the summer of 1819.

Movements

I. Allegro moderato

A major

II. Andante

D major

III. Allegro

A major

Well regarded among pianists, the “Little” A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key.^{[citation needed]} It is the shortest among Schubert’s complete sonatas.^[1] The manuscript, completed in July 1819, was dedicated to Josephine von Koller of Steyr in Upper Austria, whom he considered to be “very pretty” and “a good pianist.” The lyrical, buoyant, in spots typically poignant nature of this sonata fits the image of a young Schubert in love, living in a summery Austrian countryside, which he also considered to be “unimaginably lovely.”^[2]

The A major sonata is straightforward, with a dulcet melodic opening. It was the first of Schubert’s piano sonatas where the sonata form as perfected by his idol, Beethoven, does not seem wrestled with; rather, it is a “joyous breakthrough,” a carefree triumph over strict rules of construction.^[3]

The original manuscript to this “little” sonata has been lost.^[4]

Wilhelm Walter Friedrich Kempff:

(25 November 1895 – 23 May 1991) was a German pianist and composer. Although his repertoire included Bach, Mozart, Chopin, Schumann, Liszt and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert. He recorded the complete collection of their piano sonatas.^[1][2] He is considered to have been one of the chief exponents of the Germanic tradition during the 20th century and one of the greatest pianists of all time.^[3

Album cover for Wilhelm Kempff’s recording of Beethoven Piano Sonatas on DG 139 935 (1965), which received the Grand Prix du Disque.

Early life

Kempff was born in Jüterbog, Brandenburg, in 1895.^[1] He grew up in nearby Potsdam where his father was a royal music director and organist at St. Nicolai Church. His grandfather was also an organist and his brother Georg became director of church music at the University of Erlangen. Kempff studied music at first at the Berlin Hochschule für Musik at the age of nine after receiving lessons from his father at a younger age. Whilst there he studied composition with Robert Kahn and piano with Karl Heinrich Barth^[1] (with whom Arthur Rubinstein also studied). In 1914 Kempff moved on to study at the Viktoria gymnasium in Potsdam before returning to Berlin to finish his training.^[1]

As a pianist

In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven’s Hammerklavier Sonata and Brahms Variations on a theme of Paganini.^[1] Kempff toured widely in Europe and much of the rest of the world. Between 1936 and 1979 he performed ten times in Japan (a small Japanese island was named Kenpu-san in his honor)^{[citation needed]}. Kempff made his first London appearance in 1951 and his first in New York in 1964. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease)^{[citation needed]}. He died in Positano, Italy at the age of 95, five years after his wife, whom he had married in 1926. They were survived by five children.^[1]

Wilhelm Kempff recorded over a period of some sixty years. His recorded legacy includes works of Schumann, Brahms, Schubert, Mozart, Bach, Liszt, Chopin and particularly, of Beethoven.^[1]

 Kempff (right) with Ernest Ansermet (left) in 1965

He was among the first to record the complete sonatas of Franz Schubert, long before these works became popular. (For Schubert sonatas which were left incomplete, Kempff recorded only the completed movements and not the fragments.) He also recorded two sets of the complete Beethoven sonatas (and one early, almost complete set on shellac 1926-1945), one in mono (1951–1956) and the other in stereo (1964–1965). He recorded the complete Beethoven piano concertos twice as well, both with the Berlin Philharmonic; the first from the early 1950s in mono with Paul van Kempen, and the later in stereo from the early 1960s with Ferdinand Leitner. Kempff also recorded chamber music with Yehudi Menuhin, Pierre Fournier, Wolfgang Schneiderhan, Paul Grummer, and Henryk Szeryng, among others.

He left recordings of most of his repertory, including the complete sonatas of Beethoven and Schubert. He performed to an advanced age, concertizing past his eightieth birthday. His association with the Berlin Philharmonic spanned over sixty years.  Read more

Mozart – Flute Quartet No. 1 in D, K. 285 , great compositions/performances

Mozart – Flute Quartet No. 1 in D, K. 285

Am4d3usM0z4rt

Published on Apr 28, 2012/ views: 22,053

The Flute Quartet No. 1 in D major, K. 285, by Wolfgang Amadeus Mozart for flute, violin, viola, and cello, the first of three quartets for the amateur Ferdinand De Jean, was probably written between 1777 and 1778. It is in three movements :
1. Allegro, common time
2. Adagio, B minor, 3/4
3. Rondeau: [Allegro], 2/4
Ludwig van Beethoven borrowed from the first movement for his Duo for clarinet and bassoon of 1792. The “distinguished Adagio in B minor, [is] a romantic troubadour song which, in the brevity of its thirty-five bars, hints at the future slow movement of the A major piano concerto (K.488).” There are a number of different editions. The edition of G. Schirmer was edited by Louis Moyse, while that for International music was edited by Jean-Pierre Rampal. The piece has also been arranged for flute and guitar.
—————————————-­————————————-
FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

 

Historic Musical bits, 12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45, Serkin/Casals, great compositions/performances

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45

Various Artists – Topic

Published on September 25, 2014

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabaeus for Cello and Piano, WoO 45

Rudolf Serkin / 魯道夫塞爾金
Pablo Casals / 卡薩爾斯

℗ Originally released 1953 SONY BMG MUSIC ENTERTAINMENT

Released on: 1993-11-08

Associated Performer, Piano: Rudolf Serkin / 魯道夫塞爾金
Associated Performer, Cello: Pablo Casals / 卡薩爾斯
Producer: Producer not documented on available sources
Composer: Ludwig Van Beethoven (1770-1827) / Ludwig Van Beethoven

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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.
Free video background: http://www.free-video-footage.com

 

Schubert – Overture in E minor, D. 648 , Prague Sinfonia, conducted by Christian Benda

Schubert – Overture in E minor, D. 648

ncmtman

Schubert wrote his Overture in E minor in 1819. It was performed in Vienna two years later, but then disappeared from public view until the publication of Schubert’s collected works in 1886. Some Schubertians regard it as a landmark work of unusual power, breaking ground that he would build on in his last two symphonies. Schubert biographer John Reed appears to disagree when he writes that it “lacks any touch of Schubertian charm. The themes are short and symphonic, rather than lyrical.” But the two opinions are reconcilable. The Overture is, in a sense, Schubert doing Beethoven: The short motifs building into longer sequences and the mounting tension and explosive climaxes all show Beethoven’s influence on the 22-year-old Schubert. At the same time, the actual construction of those sequences, with the same motif repeated at progressively higher or lower pitches, harks back to Baroque music. Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.This performance by the Prague Sinfonia, conducted by Christian Benda

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W. A. Mozart – Missa Solemnis C major KV 337 ,great compositions/performances

W. A. Mozart – Missa Solemnis in 

C major,  KV 337

Przemysław Zalewski

Jerzy Salwarowski – Dyrygent

Orkiestra Symfoniczna UMFC Wydziału Instrumentalno-Pedagogicznego w Białymstoku
Chór kierunku Edukacji artystycznej w zakresie sztuki muzycznej

Hanna Różankiewicz – sopran
Paulina Malinowska – mezzosopran
Paweł Cichoński – tenor
Maciej Falkiewicz – baryton

26 lutego 2013
Sala koncertowa OiFP, ul. Podlesna 2

http://www.chopin.man.bialystok.pl
************************************************************

From Wikipedia, the free encyclopedia

The Missa solemnis in C major by Wolfgang Amadeus Mozart, K. 337, was written in 1780 for Salzburg.^[1] It was Mozart’s last complete mass.^[2] The mass is scored for soloists, choir, 2 oboes,^[3] 2 bassoons, 2 trumpets, 3 trombones,^[4] strings (without violas^[5]) and organ, the latter supplying figured bass for most of the duration.

The Sanctus recalls features of the Kyrie, and also has a violin figure Mozart used again in Idomeneo.^[6] The Benedictus is peculiar for Mozart’s mass settings in that it is an austere fugue in an archaic style.

Fragmentary first Credo setting and its completion

The autograph of the mass features an alternative setting of the Credo. This setting has a length of 136 measures and abruptly ends after the words “cuius regni non erit finis”.^[8] It is not clear why Mozart stopped work on this setting and instead began work on the second – and complete – setting of the Credo on the next page of the autograph, but this may be due to the fact that Mozart had forgotten to set the words “sub Pontio Pilato” to music in the first draft. In the years 1989 and 2003 Dr Murl Sickbert completed the fragment; in 2006 it was performed at Hardin–Simmons University, Texas.^[9]

See also

• Missa solemnis by Ludwig van Beethoven
• Missa solemnis by Anton Bruckner

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Tzvi Erez plays Mozart Rondo Alla Turca from Sonata No. 11 in A, K. 331, great compositions/performances

Tzvi Erez plays Mozart Rondo Alla Turca from Sonata No. 11 in A, K. 331

TzviErez

iTunes: http://itunes.apple.com/us/album/pian…

Wolfgang Amadeus Mozart’s compositions characterized music of the classical era. (Photo credit: Wikipedia)

Piano Sonata No. 11 in A, K. 331 – III. Alla Turca (Allegretto) performed by Tzvi Erez on a Bosendorfer grand piano. Copyright 2012 Tzvi Erez & Niv Classical. All Rights Reserved.

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Mozart: The Marriage Of Figaro, K 492 – 1. Overture great compositions

Mozart: The Marriage Of Figaro, K 492 – 1. Overture

Claudine Shim

Uploaded on Sepember 24, 2010

Wolfgang Amadeus Mozart: The Marriage Of Figaro, K 492 – 1. Overture – Alfred Scholz: London Philharmonic Orchestra.

Wolfgang Amadeus Mozart, vollständiger Taufname: Joannes Chrysostomus Wolfgangus Theophilus Mozart (27. Januar 1756 in Salzburg; † 5. Dezember 1791 in Wien), war ein Komponist zur Zeit der Wiener Klassik. Sein umfangreiches Werk geniesst weltweite Popularität und gehört zu den bedeutendsten im Repertoire der klassischen Musik. Er selbst nannte sich meist Wolfgang Amadé Mozart.

Google Translator says:  (and I have no objection whatsoever)

Wolfgang Amadeus Mozart, full baptismal name: Joannes Chrysostom Wolfgangus Theophilus Mozart (27 January 1756 in Salzburg, † 5 December 1791 in Vienna) was a composer at the time of Viennese Classicism. His extensive work enjoys worldwide popularity and is among the most important in the repertoire of classical music. He called himself the most Wolfgang Amadeus Mozart.

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Lucia Popp – Ruhe Sanft, Mein Holdes Leben (Mozart, Zaide)

anes1001

 

Uploaded on Jul 9, 2010/ 117,609 views

Wolfgang Amadeus Mozart (1756-1791)
Zaide, Act 1 : Zaide’ aria
“Ruhe Sanft, Mein Holdes Leben”

Lucia Popp, soprano

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Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff , great compositions/performances

Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff

La Casa di Davide

Published on Dec 18, 2013

Franz Schubert Piano Sonata No 5 in A flat, D 557
Andras Schiff, piano
I. Allegro moderato 0:00
II. Andante 4:15
III. Allegro 7:51

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Happy Birthday Mozart Week: Piano Concerto No.8 ‘Lützow’ in C major, (KV 246) , great compositions

Wolfgang Amadeus Mozart: Piano Concerto No.8 ‘Lützow’ in C major, (KV 246)

vivaldi369

 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]

The concerto is scored for two oboes, two horns, solo piano and string section.

The concerto, very convenient for beginning performers,^[8] is in three movements:

• I. Allegro aperto.^[9]
• II. Andante
• III. Rondeau. Tempo di Menuetto.^[10]

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Gotta listen! Chopin Valse Op 64. No 2. Waltz in c sharp minor #7 Valentina Lisitsa, WOW!

Chopin Valse Op 64. No 2. Waltz in c sharp minor #7 Valentina Lisitsa

ValentinaLisitsa

Uploaded on Jan 11, 2011/ 951,882 views

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Happy Birthday Mozart: Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker , great compositions/performances

Mozart, Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker

some oane

From Wikipedia, the free encyclopedia

Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. The German title means “a little serenade,” though it is often rendered more literally but less accurately as “a little night music.”^[1] The work is written for an ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.^[2

Composition, publication, and reception

The serenade was completed in Vienna on 10 August 1787,^[2] around the time Mozart was working on the second act of his opera Don Giovanni.^[3] It is not known why it was composed.^[4] Hildesheimer (1991, 215), noting that most of Mozart’s serenades were written on commission, suggests that this serenade, too, was a commission, whose origin and first performance were not recorded.

The traditionally used name of the work comes from the entry Mozart made for it in his personal catalog, which begins, “Eine kleine Nacht-Musik.”^[5] As Zaslaw and Cowdery point out, Mozart almost certainly was not giving the piece a special title, but only entering in his records that he had completed a little serenade,^[6] in German, a “Ständchen”.^[7]

The work was not published until about 1827, long after Mozart’s death, by Johann André in Offenbach am Main.^[2] It had been sold to this publisher in 1799 by Mozart’s widow Constanze, part of a large bundle of her husband’s compositions.

Today the serenade is widely performed and recorded; indeed both Jacobson (2003, 38) and Hildesheimer (1992, 215) opine that the serenade is the most popular of all Mozart’s works. Of the music, Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.”^[8]

Movements

The work has four movements:

1. Allegro
2. Romanze: Andante
3. Menuetto: Allegretto
4. Rondo: Allegro

Adaptations

• The opening of the video game Mario Bros. features the start of Eine Kleine Nachtmusik before the start of the game.
• A promo for Looney Tunes on Nickelodeon was sung to Eine Kleine Nachtmusik.

 

Johann Sebastian Bach – Aria: Bist Du bei mir (“be, thou, with me) BWV 508 , great compositions/performances

Johann Sebastian Bach – Aria: Bist Du bei mir “be, thou, with me”, BWV 508

ArcosOrchestra

Published on Feb 16, 2014

Johann Sebastian Bach (1685-1750)
Aria: Bist Du bei mir BWV 508
(Arrangement for Alto Saxophone and String Orchestra by J. Kelly)

John-Edward Kelly, alto saxophone
North Czech Symphony Orchestra, Teplice
Charles Olivieri-Munroe, conductor

Recorded live in concert, 16 October 2003

Happy Birthday Mozart – Week: Mozart – Piano Sonatas – Classical Music (COMPLETE)

Mozart – Piano Sonatas – Classical Music (COMPLETE)

sadeq Ghanem

SONATAS
1. Sonata in C, K279
2. Sonata in F, K280
3. Sonata in B flat, K281
4. Sonata in E flat, K282
5. Sonata in G, K283
6. Sonata in D, K284 “Durnitz”
7. Sonata in C, K309
8. Sonata in A minor, K310
9. Sonata in D, K311
10. Sonata in C, K330
11. Sonata in A, K331
12. Sonata in F, K332
13. Sonata in B flat, K333
14. Fantasia in C minor, K475
15. Sonata in C minor, K457
16. Sonata in C, K545 “fur Anfanger”
17. Sonata in B flat, K570
18. Sonata in D, K576
19. Sonata in F, K533 & 494

Wolfgang Amadeus Mozart (27 January 1756 — 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.

Wolfgang Amadeus Mozart, cuyo nombre completo era Johannes Chrysostomus Wolfgangus Theophilus Mozart,1 (Salzburgo, 27 de enero de 1756 – Viena, 5 de diciembre de 1791), fue un compositor y pianista austriaco, maestro del Clasicismo, considerado como uno de los músicos más influyentes y destacados de la historia.

Classical Music: Piano Sonatas – Mozart
Musique classique: Sonates pour piano – Mozart
Música Clásica: Piano Sonatas – Mozart
Klassische Musik: Klaviersonaten – Mozart
Musica classica: Piano Sonatas – Mozart
Música clássica: Sonatas para Piano – Mozart

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Happy Birthday Mozart: Requiem Mass in D minor (K. 626), Heerbert von Karajan, Wiener Philharmoniker, Wiener Singverein, great compositions/performances

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Uploaded on Apr 16, 2011/2,736,005 views

Wolfgang Amadeus Mozart
Requiem in D minor, k 626
Herbert von Karajan
Wiener Philharmoniker
Wiener Singverein
1986
Anna Tomowa Sintow
Helga Muller Molinari
Vinson Cole
Paata Burchuladze

2:05 I. Introitus
7:34 II. Kyrie
III. Sequentia
10:16 1. Dies irae
12:09 2. Tuba mirum
16:01 3. Rex tremendae
18:22 4. Recordare
23:32 5. Confutatis
25:54 6. Lacrimosa
IV. Offertorium
29:29 1. Domine Jesu
33:22 2. Hostias
38:00 V. Sanctus
39:50 VI. Benedictus
45:30 VII. Agnus Dei
49:13 VIII. Communio

From Wikipedia, the free encyclopedia

 

Title in Mozart’s autograph

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer’s death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife’s death.

The autograph manuscript (acquired by the Austrian National Library in 1831–1838) shows the finished and orchestrated Introit in Mozart’s hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first eight bars of the “Lacrymosa” movement, and the Offertory. It cannot be shown to what extent Süssmayr may have depended on now lost “scraps of paper” for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart’s widow Constanze. A modern contribution to the mythology is Peter Shaffer‘s 1979 play Amadeus, in which a mysterious messenger orders Mozart to write a requiem mass, giving no explanation for the order; Mozart (in the play) then comes to believe that the piece is meant to be the requiem mass for his own funeral.

The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and an SATB mixed choir.

Happy Birthday Mozart: Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music

Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music )

Classical Tunes

Published on Mar 1, 2014/ 112,966 views

Piano Concerto No.9 K 271
1 I Allegro 0:02
2 II Andantino 10:04
3 III Rondo 21:12

Piano Concerto No.17 K 453
4 I Allegro 32:48
5 II Andante 44:42
6 III Allegretto 54:49

Piano Concerto No.20 K 466
7 I Allegro 1:02:50
8 II Romance 1:16:40
9 III Rondo 1:27:28

Piano Concerto No. 21 K 467
10 I Allegro maestoso 1:34:51
11 II Andante 1:49:20
12 III Allegro vivace 1:56:58

Wolfgang Amadeus Mozart wrote 27 concertos for piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held a special place for him; indeed, Mozart’s father apparently interrupted him composing a “harpsichord concerto” at age 4.
For a long time relatively neglected, they have come to be seen as containing some of his greatest achievements. Tovey championed them in his Essay on the Classical Concerto in 1903, and later came the famous books by Cuthbert Girdlestone and Arthur Hutchings in 1940 (originally published in French) and 1948, respectively. Hans Tischler published a structural and thematic analysis of the concertos in 1966, followed by the works by Charles Rosen, and Leeson and Robert Levin.[1] In recent years, two of the concertos have also been covered in the Cambridge Music Handbook series. The first complete edition was not until that of Richault from around 1850; and since then the scores and autographs have become widely available through the publications of, among others, Norton, Eulenberg and Dover.

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Happy Birthday Mozart: Mozart piano sonata # 9 K.311 – DANIEL BARENBOIM , great compositions/perfoemances

DANIEL BARENBOIM ~ Mozart piano sonata # 9 ; K.311 1989

GreatPerformers1

Published on Jan 27, 2014

Daniel Barenboim plays Mozart’s piano sonata # 9 in D major, K.311 with wonderful vigor and delicacy as only he can do. These recordings were made in Germany in 1989 and are part of a full DVD set of all of Mozart’s piano sonatas. The idea of orchestral writing is evident in the K.311 sonata, especially the 3rd movement, because of the contrast in texture and tonal colour.However, it is the 2nd. movement that gives off a distinctly beautiful
sonata movement without a development. Its song-like eleven-bar theme, with a concluding note at the 12th measure, is followed by an episode and a wonderfully varied return of the theme in D major (measure 25) instead of a contrasting second subject. The recapitulation starts in measure 39. One of Mozart’s most memorable piano sonatas.

From Wikipedia, the free encyclopedia

Wolfgang Amadeus Mozart‘s Piano Sonata No. 9 in D major, K. 311 (284c) was written on the composer’s stay in Augsburg and Mannheim in November-December 1777, and is contemporaneous with his Sonata K. 309 (Mozart wrote his Sonata K. 310 in the summer of the following year, in Paris). The three sonatas K. 309-311 were published as a set ‘Opus IV’ in about 1782, by Franz Joseph Heina in Paris.

The work has three movements:

1. Allegro con spirito
2. Andante con espressione
3. Rondeau (allegro)

A typical performance takes about 15 to 17 minutes.

The first movement is in sonata form. Its first subject has a quasi orchestral opening, and its second subject in the dominant key (A major) is quieter. The development section is almost entirely based on the last four bars of the exposition.

The second movement has an episodic structure A-B-A-B-A-coda. The second theme’s melody is gently decorated with syncopation, accompanied by broken chords in the left hand.

Lastly, the most technically demanding movement of the three is a sonata rondo, with a short central episode in F sharp minor (the main key’s relative minor). A slow cadenza-like passage containing a rapid ascending chromatic scale leads back to the first theme.

The piece displays mature thematic development.

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