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Tag Archives: YouTube
Watch "Otis Redding – I Got Dreams To Remember" on YouTube
I've got dreams, dreams to remember
Honey, I saw you there last night
Another man's arms holding you tight
Nobody knows what I feel inside
All I know, I walked away and cried
I've got dreams
(I've got dreams) rough dreams (dreams to remember)
I know you said he was just a friend
But I saw him kiss you again and again
These eyes of mine, they don't fool me
Why did he hold you so tenderly?
Listen, honey
I still want you to stay
I still love you anyway
I don't want you to ever leave
Girl, you just satisfy me, ooh-wee
But I saw you kiss him again and again
Listen to me, mama
(I've got dreams) bad dreams, rough dreams, oh (dreams to remember)
Don't make me suffer, don't let me
(I've got dreams, dreams, dreams to remember) rough dreams, bad dreams, rough dreams
Songwriters: Joe Rock / Otis Redding / Zelma Redding
I've Got Dreams to Remember lyrics © Universal Music Publishing Group, Spirit Music Group
Posted in ARTISTS AND ARTS - Music, Educational, Lyrics, MEMORIES, MUSIC, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, Special Interest, SPIRITUALITY, Uncategorized, YouTube/SoundCloud: Music
Tagged I've got dreams to remember, otis redding, YouTube
Watch "Prokofiev-Romeo and Juliet ☆The World Orchestra ☆Josep Vicent" on YouTube

Disclaimers

Romeo and Juliet(Prokofiev)
This article is about Sergei Prokofiev's ballet. For other uses, see Romeo and Juliet (disambiguation).
Romeo and Juliet (Russian: Ромео и Джульетта), Op. 64, is a ballet by Sergei Prokofiev based on William Shakespeare's play Romeo and Juliet. Prokofiev reused music from the ballet in three suites for orchestra and a solo piano work.
Commemorative coin depicting a scene from the ballet
Ivo Váña-Psota
Mahen Theatre, Brno
Original ballet company
Ballet of the National Theatre, Brno
Ivo Váña-Psota as Romeo
Zora Šemberováas Juliet
Drambalet
Background and premiereEdit
Based on a synopsis created by Adrian Piotrovsky (who first suggested the subject to Prokofiev)[1]and Sergey Radlov, the ballet was composed by Prokofiev in September 1935 to their scenario which followed the precepts of "drambalet" (dramatised ballet, officially promoted at the Kirov Ballet to replace works based primarily on choreographic display and innovation).[2] Following Radlov's acrimonious resignation from the Kirov in June 1934, a new agreement was signed with the Bolshoi Theatre in Moscow on the understanding that Piotrovsky would remain involved.[3]
However, the ballet's original happy ending (contrary to Shakespeare) provoked controversy among Soviet cultural officials.[4] The ballet's production was then postponed indefinitely when the staff of the Bolshoi was overhauled at the behest of the chairman of the Committee on Arts Affairs, Platon Kerzhentsev.[5]The ballet's failure to be produced within Soviet Russia until 1940 may also have been due to the increased fear and caution in the musical and theatrical community in the aftermath of the two notorious Pravda editorials criticising Shostakovich and other "degenerate modernists" including Piotrovsky.[6] The conductor Yuri Fayermet with Prokofiev frequently during the writing of the music, and he strongly urged the composer to revert to the traditional ending. Fayer went on to conduct the first performance of the ballet at the Bolshoi Theatre.
Suites of the ballet music were heard in Moscow and the United States, but the full ballet premiered in the Mahen Theatre, Brno (then in Czechoslovakia, now in the Czech Republic), on 30 December 1938.[7] This version was a single-act production with music mainly from the first two suites. Prokofiev was not able to attend the premiere due to his status of outbound restriction.
1940 Kirov productionEdit
Galina Ulanova and Yuri Zhdanov in the ballet
It is better known today from the significantly revised version that was first presented at the Kirov Theatre(now Mariinsky Theatre) in Leningradon 11 January 1940, with choreography by Leonid Lavrovskyand with Galina Ulanova and Konstantin Sergeyev in the leading roles. Despite the objections of Prokofiev, Lavrovsky significantly changed the score of the ballet. This production received international acclaim and was awarded the Stalin Prize.
In 1955, Mosfilm made the film version of this production with Galina Ulanova as Juliet and Yuri Zhdanov as Romeo. This film won the Best Lyrical Film and nominated as Palme d'Or in the 1955 Cannes Film Festival.
Galina Ulanova, Juliet
Konstantin Sergeyev, Romeo
Robert Gerbek, Tybalt
Andrei Lopukhov, Mercutio
Revivals and other productionsEdit
In 1955, Frederick Ashtonchoreographed a production of Romeo and Juliet for the Royal Danish Ballet.
In 1962, John Cranko's choreography of Romeo and Juliet for the Stuttgart Ballet helped the company achieve a worldwide reputation. It had its American premiere in 1969.
In 1965, choreographer Sir Kenneth MacMillan's version for the Royal Ballet premiered at the Royal Opera House, Covent Garden. Margot Fonteyn and Rudolf Nureyev danced the title roles. Fonteyn, considered to be near retirement, embarked upon a rejuvenated career with a partnership with Nureyev. Also in 1965, Oleg Vinogradov stages a version in Russia while serving as assistant ballet master to Pyotr Gusev.
In 1971, John Neumeier, partly inspired by John Cranko, created another version of the ballet in Frankfurt. In 1974, Neumeier's Romeo and Juliet premiered in Hamburg as his first full-length ballet with the company.
In 1977, Rudolf Nureyev created a new version of Romeo and Juliet for the London Festival Ballet, today's English National Ballet. He performed the lead role of Romeo with British ballerina Patricia Ruanne creating the role of Juliet. As a partnership, they toured the production internationally, and it continues to be a popular ballet in the ENB repertoire, with its most recent revival in 2010 staged by Patricia Ruanne and Frederic Jahn of the original 1977 cast. This production was also staged by La Scala Theater Ballet in 1980 and Paris Opera Balletin 1984 and has been a renowned performance in the POB repertoire.
In 1979, Yuri Grigorovich created a new version for the Bolshoi, "which did away with most of the stage properties and stylized the action into an all-danced text." This was revived in 2010 and remains in the Bolshoi repertory.[8]
A 2010 production at the Royal Swedish Opera
In 1985, choreographer László Seregi's production premiered at the Hungarian National Ballet, Budapest.
A 2014 Krzysztof Pastor's production at the Polish National Ballet, dancers: Vladimir Yaroshenko and Maria Żuk
In 1996, choreographer Jean-Christophe Maillot premiered his version of Roméo et Juliette at Les Ballets de Monte Carlo. Taking formal inspiration from the episodic character of Sergei Prokofiev's classic score, Maillot structured the action in a manner akin to cinematic narrative. Rather than focusing on themes of political-social opposition between the two feuding clans, this Romeo and Juliet highlights the dualities and ambiguities of adolescence.
In 2007, Peter Martins made Romeo + Juliet on New York City Ballet to the Prokofiev music.
In 2008, Krzysztof Pastor presented his version by the Scottish Ballet at the Edinburgh Festival Theatre. The Polish premiere of this version was by the Polish National Ballet in Warsaw, and the United States premiere was by the Joffrey Ballet in 2014.
On July 4, 2008, with the approval of the Prokofiev family and permission from the Russian State Archive, the original Prokofiev score was given its world premiere. Musicologist Simon Morrison, author of The People's Artist: Prokofiev's Soviet Years, unearthed the original materials in the Moscow archives, obtained permissions, and reconstructed the entire score. Mark Morris created the choreography for the production. The Mark Morris Dance Group premiered the work at the Fisher Center for the Performing Arts at Bard College in New York state. The production subsequently began a year-long tour to include Berkeley, Norfolk, London, New York, and Chicago.
In 2011, the National Ballet of Canadapremiered a new choreography of Romeo and Juliet by Alexei Ratmanskyin Toronto, with plans to take it on tour in Western Canada in early 2012.
ScoreEdit
InstrumentationEdit
In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d'amore and mandolins in the ballet, adding an Italianate flavor to the music.
Full instrumentation is as follows:
1 piccolo
2 oboes (2nd doubling on 2nd English horn)
2 clarinets (2nd doubling on sopranino clarinet)
1 bass clarinet
1 tenor saxophone
Posted in ARTISTS AND ARTS - Music, MUSIC, YouTube/SoundCloud: Music
Tagged Josep Vicent", Prokofiev, Romeo And Juliet, The World Orchestra, YouTube
Watch "*FULL VERSION* TEOTFW – Walking All Day – Graham Coxon" on YouTube
Walking All Day
This song is a part of the soundtrack for Netflix's 2018 series The End Of The F***ing World. It… read more »
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WALKING ALL DAY LYRICS
Walkin' all day with my mouth on fire, tryin' to get talkin' to you
Walkin' all day with my mouth on fire, that's what I've gotta do
Tryin' to get talkin' to you
Walkin' all day with my feet on fire, tryin' to get closer to you
Walkin' all day with my feet on fire, that's what I've gotta do
Tryin' to get closer to you
Walkin' all day with my mind on fire, I can't stop thinking of you
Walkin' all day with my mind on fire, that's what I've gotta do
I can't stop thinkin' of you
Walkin' all day with my hands on fire, wanna get to touch you
Walkin' all day with my hands on fire, that's what I've gotta do
Wanna get to touch you
Walkin' all day with my heart on fire, falling in love with you
Walkin' all day with my heart on fire, that's what I've gotta do
Falling in love with you
Murder me
Make me happy
It's so crappy
I'm being sappy, over me
What's this power?
Gonna tell you once more
Posted in ARTISTS AND ARTS - Music, Educational, Lyrics, MUSIC, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Special Interest, Uncategorized, YouTube/SoundCloud: Music
Tagged FULL VERSION, TEOTFW, Walking All Day Graham Coxon", YouTube
Watch "Leonard Cohen – Sound Of Silence" on YouTube
Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dare
Disturb the sound of silence
"Fools" said I, "You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed
In the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, "The words of the prophets
Are written on the subway walls
And tenement halls"
And whisper'd in the sounds of silence
Songwriters: Paul Simon
The Sound of Silence lyrics © Universal Music Publishing Group
Posted in ARTISTS AND ARTS - Music, MEMORIES, MY TAKE ON THINGS, Poetry, Poetry, Poets, Writers, Poets, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged Hello darkness, I've come to talk with you again, Leonard Cohen, my old friend, recitation, simon and garfunkel, Sound of Silence, YouTube
The best pianist of our generation, YouTube generation: Valentina Lisitsa
https://en.m.wikipedia.org/wiki/Valentina_Lisitsa
Valentina Lisitsa (Ukrainian: Валенти́на Євге́нівна Лиси́ця, romanized: Valentýna Jevhénivna Lysýcja, IPA: [wɐlenˈtɪnɐ jeu̯ˈɦɛn⁽ʲ⁾iu̯nɐ lɪˈsɪtsʲɐ]; Russian: Валентина Евгеньевна Лисица, romanized: Valentina Evgen'evna Lisica, IPA: [vɐlʲɪnˈtʲinə jɪvˈɡʲenʲɪvnə lʲɪˈsʲitsə]; born 25 March 1973) is a Ukrainian-American[1] pianist. She previously resided in North Carolinabefore moving to Canada, and then to France.[2][3]
Background informationBorn25 March 1973(age 46)
Kiev, Ukrainian SSR, Soviet UnionGenresClassicalOccupation(s)Classical pianistInstrumentsPianoYears active1977-presentWebsitevalentinalisitsa.com
Lisitsa is among the most frequently viewed pianists on YouTube – particularly her renderings of Romantic Era virtuoso piano composers, including Franz Liszt, Frédéric Chopin and Sergei Rachmaninoff.[4][5] Lisitsa independently launched her career on social media, without initially signing with a tour promoter or record company.[4][5]
Lisitsa was born in Kiev, Ukraine, in 1973. Her mother, also named Valentina, is a seamstress and her father, Evgeny, was an engineer.[4] Her older brother Eugene died in 2009.[6][4]
She started playing the piano at the age of three, performing her first solo recital at the age of four.[7] She is of Russian and Polish descent.[8]
Despite her early aptitude for music, her dream at that point was to become a professional chess player.[9]Lisitsa attended the Lysenko music school and, later, the Kiev Conservatory,[10] where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko.[11]When Lisitsa met Kuznetsoff, she began to take music more seriously.[12] In 1991, they won the first prize in The Murray Dranoff Two Piano Competition in Miami, Florida.[10][13]That same year, they moved to the United States to further their careers as concert pianists.[4] In 1992 the couple married.[4] Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995.[11]
Lisitsa posted her first YouTube video in 2007. Her set of Chopin etudes reached the number-one slot on Amazon's list of classical video recordings, and became the most-viewed online collection of Chopin etudes on YouTube.[14][15]
To advance her career, in 2010 Lisitsa and her husband put their life savings into recording a CD of Rachmaninoff concertos with the London Symphony Orchestra.[4] In the spring of 2012, before her Royal Albert Hall debut, Lisitsa signed with Decca Records, who later released her Rachmaninoff CD set.[4] By mid-2012 she had logged nearly 50 million views of her YouTube videos.[5]
Lisitsa has performed in various venues around the world, including Carnegie Hall, David Geffen Hall, Benaroya Hall, Musikverein and the Royal Albert Hall. She is well known for her online recitals and practicing streams. She has also collaborated with violinist Hilary Hahn at various recital engagements.[10]
Lisitsa has received criticism for her opposition to the Ukrainian government and support of pro-Russian separatists since the 2014 pro-Russian unrest in Ukraine and the ensuing armed conflict.[16] In April 2015, the Toronto Symphony Orchestra cancelled concerts with Lisitsa, citing her "provocative" online remarks on her Twitter account; the orchestra initially did not specify which tweets or other commentary it believed crossed a line.[17][18] Later, on 8 April 2015, the CEO of Toronto Symphony, Jeff Melanson provided a PDF document of seven pages listing the most "offensive" tweets. Melanson alleged that the document would "help people understand why we made this decision, and understand as well how this is not a free speech issue, but rather an issue of someone practicing very intolerant and offensive expression through Twitter."[19]
In response, the Toronto Star criticized the orchestra's decision in an editorial, noting that, "Lisitsa was not invited to Toronto to discuss her provocative political views. She was scheduled to play the piano. And second, banning a musician for expressing "opinions that some believe to be offensive" shows an utter failure to grasp the concept of free speech."[20] Lisitsa said that the orchestra threatened her if she spoke about the cancellation.[21]
According to Paul Grod, then president of the Ukrainian Canadian Congress: "Ms. Lisitsa has been engaged in a long campaign on social media belittling, insulting and disparaging the people of Ukraine as they face direct military aggression at the hands of the Russian Federation". Grod elaborated that "Most disturbing are Ms. Lisitsa's false allegations that the government of Ukraine is "Nazi", and stating that the Government of Ukraine is setting up 'filtration camps.'" The New Jersey-based Ukrainian Weekly has described her postings as "anti-Ukraine hate speech."[8][17] In response she commented that "satire and hyperbole [are] the best literary tools to combat the lies".[8][17]
Lisitsa has recorded six CDs for Audiofon Records, including three solo CDs and two discs of duets with her husband Alexei Kuznetsoff; a Gold CD for CiscoMusic label with cellist DeRosa; a duet recital on VAI label with violinist Ida Haendel; and DVDs of Frédéric Chopin's 24 Études and Schubert-Liszt Schwanengesang.[22]
Her recording of the four sonatas for violin and piano by composer Charles Ives, made with Hilary Hahn, was released in October 2011 on Deutsche Grammophon label. Her album Valentina Lisitsa Live at the Royal Albert Hall (based on her debut performance at that venue 19 June 2012) was released 2 July 2012.
Lisitsa has reproduced several compositions by various artists, including Sergei Rachmaninoff, Franz Liszt, Frédéric Chopin and Ludwig van Beethoven. Decca Records released her complete album of Rachmaninoff concertos in October 2012.[23] An album of Liszt works was released in October 2013 on Decca label in 2 formats – CD and 12″ LP which was cut unedited from analog tape. An even more recent album comprises a number of works of the composer and pianist Philip Glass.[24] As of July 2019, her latest release on Decca records is a 10CD set titled Tchaikovsky: The Complete Solo Piano Works.
^ Everett-Green, Robert (7 December 2012). "Valentina Lisitsa: Playing the odds – by way of Rachmaninoff". The Globe and Mail. Toronto. Retrieved 8 April 2015.
^ "Valentina Lisitsa and Alexei Kuznetsoff". Southern Arts Federation. Retrieved 12 July2009.
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MUSIC, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, Special Interest, Uncategorized, YouTube/SoundCloud: Music
Tagged pianist, Ucrainian-American, Valentina Lisitsa, YouTube
Watch "Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 – Andrew Davis" on YouTube, painting Isle of the Dead, by Arnold Böecklin
Isle of the De (Rchmaninoff)
For other uses, see Isle of the Dead (disambiguation).
A black and white reproduction of Isle of the Dead by Arnold Böcklin was the inspiration for the piece.
Isle of the Dead (Russian: Остров мёртвых), Op. 29, is a symphonic poem composed by Sergei Rachmaninoff, written in the key of A minor. He concluded the composition while staying in Dresden in 1908.[1] It is considered a classic example of Russian late-Romanticism of the beginning of the 20th century.
The piece was inspired by a black and white reproduction of Arnold Böcklin's painting, Isle of the Dead, which Rachmaninoff saw in Paris in 1907. Rachmaninoff was disappointed by the original painting when he later saw it, saying, "If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white."[2]
The music begins by suggesting the sound of the oars as they meet the waters on the way to the Isle of the Dead. The slowly heaving and sinking music could also be interpreted as waves. Rachmaninoff uses a recurring figure in 5/8 time to depict what may be the rowing of the oarsman or the movement of the water, and as in several other of his works, quotes the Dies Irae plainchant, an allusion to death. In contrast to the theme of death, the 5/8 time also depicts breathing, creating a holistic reflection on how life and death are intertwined.
In 1929, Rachmaninoff conducted the Philadelphia Orchestra in a recording of the music for the Victor Talking Machine Company, which was purchased by RCA that same year and became known as RCA Victor. This recording was made in the Academy of Music in Philadelphia, using one microphone, and was later reissued on LP and CD by RCA Victor.
^ Wehrmeyer (2006:51)
^ Tarasti, Eero (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. Berlin/Boston: Walter de Gruyter GmbH & Co., KG. p. 385. ISBN .
Norris, Geoffrey. "Rachmaninoff, Serge". In Deane L. Root (ed.). Grove Music Online. Oxford Music Online. Oxford University Press.(subscription required)
Rodda, Richard E. "Mellon Grand Classics: Sublime & Spectacular". Archived from the original on 2005-12-19. Retrieved 2007-07-07.
Wehrmeyer, A. (2006), Rakhmaninov, London: Haus Publishing.
Toteninsel.net: an encyclopedia in progress dedicated to A.Bocklin's Isle of the Dead: copies, parodies, inspirations…
Posted in ARTISTS AND ARTS - Music, Arts, Educational, Painting, Special Interest, Uncategorized, YouTube/SoundCloud: Music
Tagged by Arnold Böecklin, painting Isle of the Dead, Rachmaninov, Symphonic poem Op. 29 - Andrew Davis, The Isle of the Dead, wikipedia, YouTube
Watch "Immortal Music: Schubert Piano Quintet D667/The Trout/Jacqueline du Pré, Barenboim, Perlman, Pinchas" on YouTube
Posted on November 11, 2019 | Comments Off on Watch "Immortal Music: Schubert Piano Quintet D667/The Trout/Jacqueline du Pré, Barenboim, Perlman, Pinchas" on YouTube
From WIKIMEDIA
Trout Quintet
The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819,[1] when he was 22 years old; it was not published, however, until 1829, a year after his death.[2]
Rather than the usual piano quintet lineup of piano and string quartet, the Trout Quintet is written for piano, violin, viola, cello and double bass. The composer Johann Nepomuk Hummel had rearranged his own Septet for the same instrumentation,[3]and the Trout was actually written for a group of musicians coming together to play Hummel's work.
The piece is known as the Troutbecause the fourth movement is a set of variations on Schubert's earlier Lied "Die Forelle" ("The Trout"). The quintet was written for Sylvester Paumgartner, of Steyr in Upper Austria, a wealthy music patron and amateur cellist, who also suggested that Schubert include a set of variations on the Lied.[1] Sets of variations on melodies from his Lieder are found in four other works by Schubert: the Death and the Maiden Quartet, the "Trockne Blumen" Variations for Flute and Piano (D. 802), the Wanderer Fantasy, and the Fantasia for Violin and Piano in C major (D. 934, on "Sei mir gegrüßt").
The quintet consists of five movements:
Allegro vivace (A major)
Andante (F major)
Scherzo: Presto (A major)
Andantino – Allegretto (D major)
Allegro giusto (A major)
The rising sextuplet figure from the song's accompaniment is used as a unifying motif throughout the quintet, and related figures appear in four out of the five movements – all but the Scherzo. As in the song, the figure is usually introduced by the piano, ascending.[1]
I. Allegro vivace
The first movement is in sonata form. As is commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert's harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flatted submediant) in the eleventh bar.
The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones.
The recapitulation begins in the subdominant, making any modulatorychanges in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert.[1] It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.
This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Tonal layout (with some intermediate keys of lower structural significance omitted) as follows:
III. Scherzo: Presto
This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).
IV. Andantino – Allegretto
The fourth movement is a theme and variations on Schubert's Lied "Die Forelle". As typical of some other variation movements by Schubert (in contrast to Beethoven's style),[4] the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In each of the first few variations, the main theme is played by a different instrument or group. In the fifth variation, Schubert begins in the flat submediant (B♭ major), and creates a series of modulations eventually leading back to the movement's main key, at the beginning of the final sixth variation.
A similar process is heard in three of Schubert's later compositions: the Octet in F major, D. 803 (fourth movement); the Piano Sonata in A minor, D. 845 (second movement); and the Impromptu in B♭ major, D. 935 No. 3. The concluding variation is similar to the original Lied, sharing the same characteristic accompaniment in the piano.
V. Allegro giust
The Finale is in two symmetrical sections, like the second movement. However, the movement differs from the second movement in the absence of unusual chromaticism, and in the second section being an exact transposition of the first (except for some changes of octave register). A repeat sign is written for the first section: if one adheres meticulously to the score, the movement consists of three lengthy, almost identical repeats of the same musical material. Performers sometimes choose to omit the repeat of the first section when playing.
Although this movement lacks the chromaticism of the second movement, its own harmonic design is also innovative: the first section ends in D major, the subdominant. This is contradictory to the aesthetics of the Classical musical style, in which the first major harmonic event in a musical piece or movement, is the shift from tonic to dominant (or, more rarely, to mediant or submediant – but never to the subdominant).[5][6]
Musical significance
Compared to other major chamber works by Schubert, such as the last three string quartets and the string quintet, the Trout Quintet is a leisurely work, characterized by lower structural coherence, especially in its outer movements and the Andante. These movements contain unusually long repetitions of previously stated material, sometimes transposed, with little or no structural reworking, aimed at generating an overall unified dramatic design ("mechanical" in Martin Chusid's words[1]).
The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble). Such writing also occurs in other chamber works by Schubert, such as the piano trios, but to a much lesser extent,[1][3] and is characteristic of Schubert's works for piano four-hands,[3] one of his most personal musical genres. Such timbral writing may have influenced the works of Romantic composers such as Frédéric Chopin, who admired Schubert's music for piano four-hands.[7]
The quintet forms the basis of Christopher Nupen's 1969 film The Trout, in which Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim and Zubin Mehtaperform it at Queen Elizabeth Hall in London.[8]
The song, in MIDI format, is used on modern Samsung washers and dryers to indicate that the wash or dry cycle is complete. [9]
^ a b c d e f Chusid, Martin (April 1997). "Schubert's chamber music: before and after Beethoven". In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert . Cambridge Companions to Music . United Kingdom: Cambridge University Press. pp. 174–192. ISBN 978-0-521-48424-4 .
^ Gibbs, Christopher H. (April 1997). "German reception: Schubert's 'journey to immortality ' ". In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert . Cambridge Companions to Music. United Kingdom: Cambridge University Press. pp. 241–253. ISBN 978-0-521-48424-4.
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Posted in ARTISTS AND ARTS - Music, Educational, FILM, Special Interest, Uncategorized, YouTube/SoundCloud: Music
Tagged Barenboim, Immortal Music, Jacqueline du Pre, lied die forelle, Perlman, Pinchas", Schubert Piano Quintet D667/The Trout/, wikipedia, YouTube
Watch "Leonard Cohen – Famous Blue Raincoat (Live in Dublin)" on YouTube
It's four in the morning, the end of December
I'm writing you now just to see if you're better
New York is cold, but I like where I'm living
There's music on Clinton Street all through the evening
I hear that you're building your little house deep in the desert
You're living for nothing now, I hope you're keeping some kind of record
Yes, and Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear
Did you ever go clear?
Ah, the last time we saw you you looked so much older
Your famous blue raincoat was torn at the shoulder
You'd been to the station to meet every train, and
You came home without Lili Marlene
And you treated my woman to a flake of your life
And when she came back she was nobody's wife
Well I see you there with the rose in your teeth
One more thin gypsy thief
Well, I see Jane's awake
She sends her regards
And what can I tell you my brother, my killer
What can I possibly say?
I guess that I miss you, I guess I forgive you
I'm glad you stood in my way
If you ever come by here, for Jane or for me
Well, your enemy is sleeping, and his woman is free
Yes, and thanks, for the trouble you took from her eyes
I thought it was there for good so I never tried
And Jane came by with a lock of your hair
Sincerely, L Cohen
Songwriters: Leonard Cohen
Famous Blue Raincoat lyrics © Sony/ATV Music Publishing LLC
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Watch "Miles Davis – Smoke gets in your eyes" on YouTube
Posted in Educational, FILM, Uncategorized
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Watch "The Blacklist ( Best of Raymond Reddington ) part 2" on YouTube
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Tagged Best of Raymond Reddington, Part 2, The Blacklist, YouTube
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Watch "Lady Diana – Candle in the wind (Goodbye Englands rose) – Elton John – Lyrics in text" on YouTube
Goodbye Norma Jean
Though I never knew you at all
You had the grace to hold yourself
While those around you crawled
They crawled out of the woodwork
And they whispered into your brain
They set you on the treadmill
And they made you change your name
And it seems to me you lived your life
Like a candle in the wind
Never knowing who to cling to
When the rain set in
And I would have liked to have known you
But I was just a kid
Your candle burned out long before
Your legend ever did
Loneliness was tough
The toughest role you ever played
Hollywood created a superstar
And pain was the price you paid
Even when you died
Oh the press still hounded you
All the papers had to say
Was that Marilyn was found in the nude
From the young man in the twenty second row
Who sees you as something more than sexual
More than just our Marilyn Monroe
Songwriters: Elton John / Bernie Taupin
Candle in the Wind lyrics © Universal Music Publishing Group, BMG Rights Management
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Tagged (Goodbye Englands rose), Candle in the wind, Elton John Lyrics in text, Lady Diana, YouTube
Watch "Susan Boyle Wins GOLDEN BUZZER on AGT The Champions | Got Talent Global" on YouTube
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Tagged "Susan Boyle, GOLDEN BUZZER on AGT, Got Talent Global", The Champions, Watch, Wins, YouTube
Watch "Chicago The Musical – "All That Jazz"" on YouTube
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Watch "Rachmaninov/Respighi: 5 Études-tableaux (P. 160) (1930)" on YouTube
Études-Tableaux, Op. 33
This article is about the first set of études-tableaux by Rachmaninoff, Op. 33. For the second set, see Études-Tableaux, Op. 39.
The Études-Tableaux ("study pictures"), Op. 33, is the first of two sets of piano études composed by Sergei Rachmaninoff.
They were intended to be "picture pieces", essentially "musical
evocations of external visual stimuli". But Rachmaninoff did not
disclose what inspired each one, stating: "I do not believe in the
artist that discloses too much of his images. Let [the listener] paint
for themselves what it most suggests."[1] However, he willingly shared sources for a few of these études with the Italian composer Ottorino Respighi when Respighi orchestrated them in 1930.
Étude-Tableau No. 5 in E-flat minor
Oksana Yevsyukova performing (1:49)
Étude-Tableau No. 6 in E-flat major
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Rachmaninoff composed the Op. 33 Études-Tableaux at his Ivanovka estate in Tambov, Russia between August and September 1911, the year after completing his second set of preludes, Op. 32. While the Op. 33 Études-Tableaux
share some stylistic points with the preludes, they are actually not
very similar. Rachmaninoff concentrates on establishing well-defined
moods and developing musical themes in the preludes. There is also an
academic facet to the preludes, as he wrote 24 of them, one in each of
the 24 major and minor keys.
Rachmaninoff biographer Max Harrison calls the Études-Tableaux
"studies in [musical] composition"; while they explore a variety of
themes, they "investigate the transformation of rather specific climates
of feeling via piano textures and sonorities. They are thus less
predictable than the preludes and compositionally mark an advance" in
technique.[2]
initially wrote nine pieces for Op. 33 but published only six in 1914.
One étude, in A minor, was subsequently revised and used in the Op. 39 set;
the other two appeared posthumously and are now usually played with the
other six. Performing these eight études together could be considered
to run against the composer's intent, as the six originally published
are unified through "melodic-cellular connections" in much the same way
as in Robert Schumann's Symphonic Studies.[3]
Differing
from the simplicity of the first four études, Nos. 5–8 are more
virtuosic in their approach to keyboard writing, calling for
unconventional hand positions, wide leaps for the fingers and
considerable technical strength from the performer. Also, "the
individual mood and passionate character of each piece" pose musical
problems that preclude performance by those lacking strong physical
Numbering and characterEdit
Études-Tableaux No. 7, Moderato in G minor

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Performed in June 2013 by Olga Borowski (4:22)
Rachmaninoff wrote nine études-tableaux at his Ivanovka estate in 1911. Six of them, the original Nos. 1–2 and 6–9, were published that year.[4] The original No. 4 is lost; the piece was revised and published as Op. 39, No. 6.[4] The original Nos. 3 and 5 were published posthumously within Op. 33.[4] Probably best identified by their tempo markings and keys, the 1911 pieces are numbered by the International Music Score Library Project (IMSLP) as follows,[5] leaving aside the piece that is now part of Op. 39:
Allegro non troppo in F minor — No. 1
This study has a martial character. Rachmaninov adored the music of Frédéric Chopin, and there are often parallels between the music of the two composers. This study recalls the Étude Op. 25, No. 4 of Chopin.
Allegro in C major — No. 2
This study is characterized by a marked lyricism and a very expressive melody. Notice the similarity to Rachmaninoff's Prelude op. 32 no. 12, which was composed the year before, in 1910.
Grave in C minor — No. 3 (published posthumously)
This study was re-used in the Largo of Rachmaninov's Fourth Concerto, which was completed in 1926.
Moderato in D minor — No. 4 (published posthumously, originally No. 5)
This study is similar to the Prelude op. 23 No. 3 composed by Rachmaninoff in 1903, both in tone and character.
Non allegro—Presto in E-flat minor — No. 5 (published as No. 3, originally No. 6)
study ranks among the most difficult of the opus, to play. The right
hand runs constantly throughout the whole keyboard with numerous octave
leaps and chromatic scales. Note some similarity to the Prelude op. 28 No. 16 and the Op. Study 25 No. 6 by Chopin. In Russia, this piece is nicknamed The Snow Storm.
Allegro con fuoco in E-flat major — No. 6 (published as No. 4, originally No. 7)
This study has primarily a military aspect. The study concludes with a particularly virtuosic coda.
Moderato in G minor — No. 7 (published as No. 5, originally No. 8)
This study parallels the finale of the First Ballade in G minor by Chopin.
Grave in C-sharp minor — No. 8 (published as No. 6, originally No. 9)
This study was one of the three in this opus that were famously recorded in the Melodiya studios by Sviatoslav Richter, the other two being Moderato in D minor and Non allegro—Presto in E-flat minor.[6]
Last edited 2 months ago by an anonymous user
set of piano pieces by Sergei Rachmaninoff
Preludes, Op. 23 (Rachmaninoff)
Miscellaneous solo piano compositions (Rachmaninoff)
group of piano pieces by Sergei Rachmaninoff that were either lost, unpublished, or not assigned an opus number
Posted in ARTISTS AND ARTS - Music, Educational, MUSIC, ONE OF MY FAVORITE THINGS, Uncategorized, YouTube/SoundCloud: Music
Tagged (1930)", 5 Études-tableaux (P. 160), Rachmaninov/Respighi, Watch, YouTube
Watch "Bob Seger- Night Moves" on YouTube
OTHER RECORDINGS
I was a little too tall
Could've used a few pounds
Tight pants points hardly reknown
She was a black haired beauty with big dark eyes
And points all her own sitting way up high
Way up firm and high
Out past the cornfields where the woods got heavy
Out in the back seat of my '60 Chevy
Workin' on mysteries without any clues
Workin' on our night moves
Trying' to make some front page drive-in news
Workin' on our night moves in the summertime
In the sweet summertime
We weren't in love oh no far from it
We weren't searching for some pie in the sky summit
We were just young and restless and bored
Living by the sword
And we'd steal away every chance we could
To the backroom, the alley, the trusty woods
I used her she used me
But neither one cared
We were getting our share
Trying to lose the awkward teenage blues
Workin' on out night moves
And oh the wonder
Felt the lightning
And we waited on the thunder
Waited on the thunder
I woke last night to the sound of thunder
How far off I sat and wondered
Started humming a song from 1962
Ain't it funny how the night moves
When you just don't seem to have as much to lose
Strange how the night moves
With autumn closing in
Source: Musixmatch
Songwriters: SEGER ROBERT CLARK
Night Moves lyrics © Gear Publishing, Gear Publishing Company Inc, GEAR PUBLISHING CO., INC., HIDEOUT RECORDS/DISTRIBTRS INC (GEAR PUBLISHING DI, HIDEOUT RECORDS DIST. INC.
Posted in Lyrics, MEMORIES, Special Interest, Uncategorized, YouTube/SoundCloud: Music
Tagged Bob Seger, Night Moves, YouTube
Watch "Gordon Lightfoot – Sundown {HD}" on YouTube
Gordon Lightfoot,
I can see her lyin' back in her satin dress
In a room where ya do what ya don't confess
Sundown you better take care
If I find you beenn creepin' 'round my back stairs
Sundown ya better take care
If I find you been creepin' 'round my back stairs
She's been lookin' like a queen in a sailor's dream
And she don't always say what she really means
Sometimes I think it's a shame
When I get feelin' better when I'm feelin' no pain
I can picture every move that a man could make
Getting lost in her lovin' is your first mistake
Sometimes I think it's a sin
When I feel like I'm winnin' when I'm losin' again
I can see her lookin' fast in her faded jeans
She's a hard lovin' woman, got me feelin' mean
Songwriters: Gordon Lightfoot
Sundown lyrics © Warner Chappell Music, Inc
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Tagged Gordon Lightfoot, Lyrics, sundown, video, YouTube
Do you believe in…chocolate??? Watch "Hot Chocolate (I Believe in Miracles)" on YouTube
I believe in miracles
Where you from
You sexy thing, sexy thing you
Since you came along
You sexy thing
Where did you come from, baby?
How did you know I needed you?
How did you know I needed you so badly?
How did you know I'd give my heart gladly?
Yesterday I was one of the lonely people
Now you're lying close to me, making love to me
Where you from, you sexy thing? (Sexy thing, you)
Since you came along, you sexy thing
Where did you come from, angel?
How did you know I'd be the one?
Did you know you're everything I prayed for?
Did you know, every night and day for?
Every day, needing love and satisfaction
Now you're lying next to me, giving it to me
Oh! Kiss me, you sexy thing
Touch me baby, you sexy thing
I love the way you touch me, darling, you sexy thing
Oh! It's ecstasy, you sexy thing
Now you're lying close to me, giving it to me
Oh, touch me
Kiss me, darling
I love the way you hold me, baby
Oh, it's ecstasy
Oh! It's ecstasy (Sexy thing, you sexy thing, you)
Kiss me, baby (Sexy thing, you sexy thing, you)
I love the way you kiss me, darling (Sexy thing, you sexy thing, you)
Oh, yeah (Sexy thing, you sexy thing, you)
Love the way you hold me (Sexy thing, you sexy thing, you)
Keep on lovin' me, darling (Sexy thing, you sexy thing, you)
Keep on lovin' me, baby (Sexy thing, you sexy thing, you)
Songwriters: Brown Wilson
You Sexy Thing lyrics © Kobalt Music Publishing Ltd., Music & Media Int'l, Inc
Posted in Educational, FOOD AND HEALTH, good foods, IN THE SPOTLIGHT, MEMORIES, MUSIC, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged Chocolate, i believe in miracles, YouTube
Something is wrong with WordPress!
There is a glich: when you try to publish a new post… The YouTube linked video disappears and the post is published void of content, only with its generic title.
It is important to view every post by checking out the content of your posts, as one cannot expect everything to be taken care of by some force in the universe, virtual or real…
Solution: copy the link to your video on the clipboard before pressing the linking of the video you are uploading to WordPress. When you check your post see that your video exists…and if it doesn't: paste the copied link in the content of your post, then view the post to make sure that the video is there and functional.
Note: If in the process the applicaton fails report it, don't just OK it…because it really isn't okay for these things to happen! No sir it is not!
No Sir, it is not okay!
And bring back "CAPTION" to images and allow larger size pics to be installed: Allow full width pics….PLEASE!
By, Euzicasa (GeorgeB)
Posted in Facebook, Gougle+, IN THE SPOTLIGHT, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, SITE DEVELOPMENT, Social Media, SoundCloud, Special Interest, This Pressed (Press this), Twitter, Uncategorized
Tagged crash, Editing, erasing. video, WordPress, YouTube
Watch Valentina Lisitsa: F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa Another exceptional interpretation, from the unequaled Valentina Lisitsa
F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa
ValentinaLisitsa
Does it seem to you that the world has gone mad? Wars, bombings, killings, hate….
I can offer but a little remedy, an escape rather. Music equivalent of "slow TV", something created not to excite our over-driven nerves, but to soothe, to lull, to put in ultimate trance, to make the time stand still and the troubles of outside world fade away, if only for a few minutes.
Nobody has done it better than my beloved Franz Schubert.
There is a famous quip about two musicians arguing over the merits ( or weaknesses) of Schubert late piano sonatas, one describing the unusual time span of the pieces as "the heavenly lengths", another – replying "they aren't that heavenly, they are just plain LENGTHS".
Yes, Schubert is unique in a sense that he's dispensed not only with customary time restrains established by the need to keep the listener "interested", but also with the medley of rather theatrical "action heroes" prerequisite for a virtuoso performer to feel adequate 🙂 His music is not about heroes and villains, gods and devils.
His music is about you and I, about regular people living their lives, loving, longing, suffering, dying….all without the world taking notice and without the headlines.That's the real charm and beguiling spell of his music – this is about us, the regular human beings, whom he understood better than any other composer.
You might not be able to fully enjoy this piece from the first try, or if you have your thoughts wondering around, thinking of million little things, looking for easy gratification of virtuoso finger-work and thunderous chords.
You will enjoy it if you allow yourself to surrender to this music, to its flow, as slow, smooth and spellbinding neurasthenia waters of mythical river Lethe, the river of forgetfulness and oblivion.
"J'ai trop vu,
trop senti,
trop aimé dans ma vie;
Je viens chercher vivant le calme du Léthé."
"I have seen too much,
felt too much,
loved too much in my life;
I come to seek, still living,
the calm of Lethe."
A.de Lamartine
00:00 1. Allegro
17:17 2. Andantino
26:14 3. Scherzo: Allegro vivace – Trio: Un poco più lento
31:20 4. Rondo: Allegretto – Presto.
Standard YouTube License
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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
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)
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]
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.
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:
Allegro (in D minor)
Romanze (in B-flat major)
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.
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.
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MEMORIES, MUSIC, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged art, entertainment, EUZICASA, Fabulous rendition: Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Great Compositions/Performances, Make Music Part of Your Life Series, Michael Erren, Music, Piano, Valentina Lisitsa, wikipedia, Wolfgang Amadeus Mozart, YouTube
great compositions/performances: Beethoven's Piano Concerto No. 3, in C minor, Op. 37, Daniel Barenboim / Dresden Staatskapelle 2007
Beethoven : Piano Concerto No. 3 in C minor, Op. 37 Daniel Barenboim / Dresden Staatskapelle 2007
Adagio fukax2
Beethoven : Piano Concerto No. 3 in C Minor, Op. 37 : Daniel Barenboim / Dresden Staatskapelle 2007
Piano Concerto No. 3 (Beethoven)
Title page, first edition
The Piano Concerto No. 3 in C minor, Op. 37, was composed by Ludwig van Beethoven in 1800 and was first performed on 5 April 1803, with the composer as soloist. The year for which the concerto was composed (1800) has however been questioned by contemporary musicologists.[1] It was published in 1804. During that same performance, the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered.[2] The composition was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart's 24th Piano Concerto.
The concerto is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in E-flat, 2 trumpets in C, timpani, strings and piano soloist.
As is standard for Classical/Romantic-era concertos, the work is in three movements:
Rondo. Allegro
I. Allegro con brio
Cadenza of the first movement
This movement is known to make forceful use of the theme (direct and indirect) throughout.
Orchestral exposition: In the orchestral exposition, the theme is introduced by the strings, and used throughout the movement. It is developed several times. In the third section (second subject), the clarinet and violin 1 introduce the second main theme, which is in the relative major key, E-flat major.
Second exposition: The piano enters with an ascending scale motif. The structure of the exposition in the piano solo is similar to that of the orchestral exposition.
Development: The piano enters, playing similar scales used in the beginning of the second exposition, this time in D major rather than C minor. The music is generally quiet.
Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. For the return of the second subject, Beethoven modulates to the tonic major, C major. A dark transition to the cadenza occurs, immediately switching from C major to C minor.
Cadenza: Beethoven wrote one cadenza for this movement. The cadenza Beethoven wrote is at times stormy and ends on a series of trills that calm down to pianissimo. Many other composers and pianists have written alternative cadenzas.
Coda: Beethoven subverts the expectation of a return to the tonic at the end of the cadenza by prolonging the final trill and eventually arriving on a dominant seventh. The piano plays a series of arpeggios before the music settles into the home key of C minor. Then the music intensifies before a full tutti occurs, followed by the piano playing descending arpeggios, the ascending scale from the second exposition, and finally a resolute ending on C.
II. Largo
Second movement
Third movement
The second movement is in the key of E major, in this context a key relatively remote from the concerto's opening key of C minor (another example being Brahms's first symphony.). If the movement adhered to traditional form, its key would be E-flat major (the relative key) or A-flat major (the submediant key). The movement opens with the solo piano and the opening is marked with detailed pedalling instructions.
III. Rondo – Allegro
The finale is in sonata rondo form. The movement begins in C minor with an agitated theme played only by the piano. The movement ends with a C major coda marked presto.
The score was incomplete at its first performance. Beethoven's friend, Ignaz von Seyfried, who turned the pages of the music for him that night, later wrote:[2]
"I saw almost nothing but empty pages; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all the solo part from memory since, as was so often the case, he had not had time to set it all down on paper."
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Tagged art, Beethoven, Daniel Barenboim / Dresden Staatskapelle 2007, entertainment, EUZICASA, Great Compositions/Performances, great compositions/performances: Beethoven's Piano Concerto No. 3, in C Minor, Ludwig van Beethoven, Make Music Part of Your Life Series, Op. 37, Piano, wikipedia, YouTube
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
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
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/
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MEMORIES, MUSIC, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged art, entertainment, EUZICASA, Great Compositions/Performances, great compositions/performances: Mozart - Horn Concerto No. 2 in E flat, K. 417 [complete], Make Music Part of Your Life Series, Music, wikipedia, Wolfgang Amadeus Mozart, YouTube
historic Musical Bits: Wilhelm Kempff plays Chopin Impromptu No. 3 in G flat Op. 51 (rec.1958)
Wilhelm Kempff plays Chopin Impromptu No. 3 in G flat Op. 51 (rec.1958)
gullivior
Uploaded on Jul 28, 2011
rec. 1958
Tagged art, entertainment, EUZICASA, Great Compositions/Performances, historic Musical Bits: Wilhelm Kempff plays Chopin Impromptu No. 3 in G flat Op. 51 (rec.1958), Make Music Part of Your Life Series, Music, Piano, YouTube
historic musical bits: Koeckert-Quartett · Antonín Dvořák · String Quartet F major op. 96 "American" (rec ~1953)
Koeckert-Quartett · Antonín Dvořák · String Quartet F major op. 96 "American"
childrenscorner
Rudolf Koeckert (1. Violine)
Willi Buchner (2. Violine)
Oskar Riedl (Viola)
Josef Merz (Violoncello)
rec. date unknown, appr. 1953. The label and cover date from the earliest after-war DG releases (No. 16001 LP).
I don't stop to hope, that DG will awake from anaesthesia and re-release the Koeckerts' unique symphonic-folkloric interpretations, on contemporary media. In my transfer I tried to keep the typical superior golden-red monaural High Fidelity of that remarkable period.
String Quartet No. 12 (Dvořák)
The last page of the autograph score with Dvořák's inscription: "Finished on 10 June 1893 in Spillville. Thanks God. I'm satisfied. It went quickly"
The String Quartet in F major Op. 96, nicknamed American Quartet, is the 12th string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire.
Performance of the quartet by the Seraphina quartet (Caeli Smith and Sabrina Tabby, violins; Madeline Smith, viola; Genevieve Tabby, cello)
I. Allegro ma non troppo
II. Lento
III. Molto vivace
IV. Finale: vivace ma non troppo
Dvořák composed the Quartet in 1893 during a summer vacation from his position as Director (1892-1895) of the National Conservatory in New York. He spent his vacation in the town of Spillville, Iowa, which was home to a Czech immigrant community. Dvořák had come to Spillville through Josef Jan Kovařík who had finished violin studies at the Prague Conservatory and was about to return to Spillville, his home in the United States, when Dvořák offered him a position as secretary, which Josef Jan accepted, so he came to live with the Dvořák family in New York.[1] He told Dvořák about Spillville, where his father Jan Josef was a schoolmaster, which led to Dvořák deciding to spend the summer of 1893 there.[2]
In that environment, and surrounded by beautiful nature, Dvořák felt very much at ease.[3] Writing to a friend he described his state of mind, away from hectic New York: "I have been on vacation since 3 June here in the Czech village of Spillville and I won't be returning to New York until the latter half of September. The children arrived safely from Europe and we're all happy together. We like it very much here and, thank God, I am working hard and I'm healthy and in good spirits."[4] He composed the quartet shortly after the New World Symphony, before that work had been performed.[5]
Dvořák sketched the quartet in three days and completed it in thirteen more days, finishing the score with the comment "Thank God! I am content. It was fast."[3] It was his second attempt to write a quartet in F major: his first effort, 12 years earlier, produced only one movement.[6] The American Quartet proved a turning point in Dvořák's chamber music output: for decades he had toiled unsuccessfully to find a balance between his overflowing melodic invention and a clear structure. In the American Quartet it finally came together.[3] Dvořák defended the apparent simplicity of the piece: "When I wrote this quartet in the Czech community of Spillville in 1893, I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it's good that it did."[7]
For his symphony Dvořák gave the subtitle himself: "From the New World". To the Quartet he gave no subtitle himself, but there is the comment "The second composition written in America."[8]
Negro, American or other influences?
For the London premiere of his New World symphony, Dvořák wrote: "As to my opinion I think that the influence of this country (it means the folk songs as are Negro, Indian, Irish etc.) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in couleur as in character,…"[9][10]
Dvořák's appreciation of African-American music is documented: Harry T. Burleigh, a baritone and later a composer, who knew Dvořák while a student at the National Conservatory, said, "I sang our Negro songs for him very often, and before he wrote his own themes, he filled himself with the spirit of the old Spirituals."[11] Dvořák said: "In the Negro melodies of America I discover all that is needed for a great and noble school of music."[12] For its presumed association with African-American music, the quartet was referred to with nicknames such as Negro and Nigger, before being called the American Quartet.[13][14] Such older nicknames, without negative connotations at the time, were used until the 1950s.[15][16]
Dvořák wrote (in a letter he sent from America shortly after composing the quartet): "As for my new Symphony, the F major String Quartet and the Quintet (composed here in Spillville) – I should never have written these works 'just so' if I hadn't seen America."[17] Listeners have tried to identify specific American motifs in the quartet. Some have claimed that the theme of the second movement is based on a Negro spiritual, or perhaps on a Kickapoo Indian tune, which Dvořák heard during his sojourn at Spillville.[18]
Pentatonic scale (info)
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A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America.[19]
On the whole, specific American influences are doubted: "In fact the only American thing about the work is that it was written there," writes Paul Griffiths.[20] "The specific American qualities of the so-called "American" Quartet are not easily identifiable, writes Lucy Miller, "…Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour."[21]
Dvořák's transcription of the song of the scarlet tanager (top) and the appearance of the song in the third movement of the quartet.
Some have heard suggestions of a locomotive in the last movement, recalling Dvořák's love of railroads.[22]
The one confirmed musical reference in the quartet is to the song of the scarlet tanager, an American songbird. Dvořák was annoyed by this bird's insistent chattering, and transcribed its song in his notebook. The song appears as a high, interrupting strain in the first violin part in the third movement.[23]
The Quartet is scored for the usual complement of two violins, viola, and cello, and comprises four movements:[24] A typical performance lasts around 30 minutes.
First theme of the first movement, played by the Seraphina Quartet.
The opening theme of the quartet is purely pentatonic, played by the viola, with a rippling F major chord in the accompanying instruments. This same F major chord continues without harmonic change throughout the first 12 measures of the piece. The movement then goes into a bridge, developing harmonically, but still with the open, triadic sense of openness and simplicity.
Second theme of the first movement.
The second theme, in A major, is also primarily pentatonic, but ornamented with melismatic elements reminiscent of Gypsy or Czech music. The movement moves to a development section that is much denser harmonically and much more dramatic in tempo and color.
Fugato at end of development
The development ends with a fugato section that leads into the recapitulation.
Cello bridge in recapitulation
After the first theme is restated in the recapitulation, there is a cello solo that bridges to the second theme.
Theme of the second movement
The theme of the second movement is the one that interpreters have most tried to associate with a Negro spiritual or with an American Indian tune. The simple melody, with the pulsing accompaniment in second violin and viola, does indeed recall spirituals or Indian ritual music. It is written using the same pentatonic scale as the first movement, but in the minor (D minor) rather than the major. The theme is introduced in the first violin, and repeated in the cello. Dvořák develops this thematic material in an extended middle section, then repeats the theme in the cello with an even thinner accompaniment that is alternately bowed and pizzicato.
First section of the Scherzo movement. Listen for the song of the scarlet tanager high in the first violin
The third movement is a variant of the traditional scherzo. It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. The song of the scarlet tanager appears high in the first violin.
Second section of the scherzo
The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.
Main theme of the last movement
The final movement is in a traditional rondo form, ABACABA. Again, the main melody is pentatonic.
"B" section of the rondo
The B section is more lyrical, but continues in the spirit of the first theme.
"C" section of the rondo
The C section is a chorale theme.
Performance and influence
In a first "private" performance of the quartet, in Spillville, June 1893, Dvořák himself played first violin, Jan Josef Kovařík second violin, daughter Cecilie Kovaříková viola, and son Josef Jan Kovařík the cello.[8]
The first public performance of the quartet was by the Kneisel quartet in Boston in January 1894.[25] Burghauser mentions press notices in New York as well as Boston, the first New York Herald, 18 December 1893.[8]
While the influence of American folk song is not explicit in the quartet, the impact of Dvořák's quartet on later American compositions is clear. Following Dvořák, a number of American composers turned their hands to the string quartet genre, including John Knowles Paine, Horatio Parker, George Whitefield Chadwick, and Arthur Foote. "The extensive use of folk-songs in 20th century American music and the 'wide-open-spaces' atmosphere of 'Western' film scores may have at least some of their origins" in Dvořák's new American style, writes Butterworth.[26]
Koeckert Quartet
The Koeckert Quartet was a well-known German string quartet. [1]
1 formation and work
2 Cast [3]
3 Discography (selection, published by Deutsche Grammophon GmbH)
6 Web Links
Formation and interaction
It was first established in 1939 under the name Sudetendeutsches Quartet, later renamed the Prague String Quartet. It consisted of members of the German Philharmonic in Prague (1939-1945), who on the orders of Joseph Goebbels was founded. 1947 took the name Koeckert Quartet, after its first violinist Rudolf Koeckert (1913-2005). Since 1949 the quartet resided in Munich, and the members were soloists of the Bavarian Radio Symphony Orchestra. It coined in the 1950s and 1960s, among other ensembles, the musical life of the city of Munich, from where it concert tours to North America, South Africa [2] undertook and all major European cities. It was thus one of Germany's leading string quartets of international standing. The quartet was under the name Koeckert quartet until 1982. successors the Joachim-Koeckert Quartet was; whose first violinist, Rudolf Joachim Koeckert, is the son of Rudolf Koeckert; the place of the 2nd violin was occupied by Antonio Spiller. Since 1982, this ensemble brought the most important chamber music works of Karl Höller premiered, also works by Günter Bialas, Alberto Ginastera, Paul Hindemith, Ernst Krenek and Winfried Zillig. The Joachim-Koeckert quartet existed until 1992nd
Rudolf Koeckert (1st violin) (until 1982)
Willi Buchner (* October 14, 1910 Schwarzau / Lower Austria), after his death (1965) Rudolf Joachim Koeckert (* April 10, 1941 Prague) (2nd violin)
Oskar Riedl (* July 4, 1912 Graslitz / Bohemia) (until 1975), Franz Schessl (Viola)
Josef Merz (* August 20, 1911 Gumplitz / Bohemia) (until 1976), Helmar Stiehler (Cello)
Discography (selection, published by Deutsche Grammophon GmbH)
Anton Bruckner, String Quintet in F major (with Georg Schmid, Viola), mono (DGG 18,042)
Robert Schumann, String Quartet op. 41 Nr. 2 and Bedrich Smetama, String Quartet no. 1 (1959)
Felix Mendelssohn, String Quartet, Op. 12 (1960)
Franz Schubert, Trout Quintet D 667, with Christoph Eschenbach, piano (1964)
. Joseph Haydn, String Quartet Hob III: 72 (1969)
Carl Orff, Carmina Catulli, with choir and orchestra of the Deutsche Oper Berlin, conducted by Eugen Jochum (1970)
Robert Schumann, String Quartets op. 41 Nr. 1 and 3 (1985)
Edvard Grieg, String Quartet (1990 and 1992)
Alain Paris in the 20th Century Classical DTV, Munich 1997. ISBN 3-423-32501-1.
Violinist and quartet founder Rudolf Koeckert died. In: New music newspaper. 7. September 2005 (http://www.nmz.de/kiz/nachrichten/violinist-und-quartettgruender-rudolf-koeckert-gestorben, accessed 29 April 2010).
A. Schmitt: 25 years Koeckert Quartet In:.. Musica 18, 1964, p.86.
J. Creighton: Discopaedia of the Violin, 1889-1971 Toronto 1974. ISBN 0-8020-1810-6.
The music in history and present. (MGG), vol 10, Bärenreiter Verlag, Kassel / Basel 2003 ISBN 3-7618-1120-9.
Drie acclaimed tours of South Africa in 1961, 1969, 1976
Honegger / Massenkeil: The Great Encyclopedia of Music Volume 4, Herder Verlag, Freiburg / Basel / Vienna 1981. ISBN 3-451-18054-5.
Sound recordings of Koeckert Quartet in the catalog of the German National Library
Koeckert Quartet at Discogs (English)
Standard data (corporation): GND: 3021204-2
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Tagged Antonín Dvořák, art, entertainment, EUZICASA, Great Compositions/Performances, historic musical bits: Koeckert-Quartett · Antonín Dvořák · String Quartet F major op. 96 "American" (rec ~1953), Koeckert Quartet (AKA Prague String Quartet), Make Music Part of Your Life Series, Music, United States, wikipedia, YouTube
great compositions/performances: Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet
Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet
Arionia Tellus
Ludwig van Beethoven String Quartet No 4 Op 18 No 4 in C minor
Alban Berg Quartet:
– Günter Pichler 1 violin,
– Gerhard Schulz 2 violin,
– Thomas Kakuska viola,
– Valentin Erben cello
Movements:
1. Allegro ma non tanto 0:00
2. Andante scherzoso quasi allegretto 8:58
4. Allegro – Prestissimo 18:16
String Quartet No. 4 (Beethoven)
The opening measures of the first movement from a 19th-century publication
Ludwig van Beethoven's String Quartet No. 4, Op. 18, No. 4 in C minor (1798–1800) was published in 1801. It consists of four movements:
Allegro ma non tanto
Andante scherzoso quasi allegretto
Menuetto: Allegretto
Allegro – Prestissimo
It is thought that this quartet may be in part based upon earlier material.[1]
Tagged - Gerhard Schulz 2 violin, - Thomas Kakuska viola, - Valentin Erben cello, Alban Berg Quartet: - Günter Pichler 1 violin, art, Beethoven, entertainment, EUZICASA, Great Compositions/Performances, great compositions/performances: Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet, Ludwig van Beethoven, Make Music Part of Your Life Series, Music, wikipedia, YouTube
Fabulous Renditions: Beethoven "Für Elise" Valentina Lisitsa Seoul Philharmonic
Beethoven "Für Elise" Valentina Lisitsa Seoul Philharmonic
Uploaded on Dec 7, 2008
Live in Seoul. Encore #4 Please come to London on June 19th of 2012 if you want to hear this piece live ! I am making my debut at Royal Albert Hall 🙂
Валентина Лисица
Valentina Lisitsa Live at the Royal Albert Hall
US iTunes – http://bit.ly/iTunesUSVal
US Amazon – http://bit.ly/ValRAH
"Für Elise", opening
First edition, 1867
Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as "Für Elise" or "Fuer Elise" (German: [fyːʁ eːˈliːzə] ( listen), English: "For Elise", sometimes written without the German umlaut mark as "Fur Elise"), is one of Ludwig van Beethoven's most popular compositions.[1][2][3] It is usually classified as a bagatelle, but it is also sometimes referred to as an Albumblatt.
The score was not published until 1867, 40 years after the composer's death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript, now lost, was dated 27 April 1810.[4]
The version of "Für Elise" heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles.[citation needed]
Therese Malfatti, widely believed to be the dedicatee of "Für Elise"
The pianist and musicologist Luca Chiantore (es) argued in his thesis and his 2010 book Beethoven al piano that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.[5] On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version.[6]
Identity of "Elise"
It is not certain who "Elise" was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",[7] a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.[8] Note that the piano sonata no.24, dedicated to Countess Thérèse von Brunswick, is also referred to sometimes as "für Therese".
According to a 2010 study by Klaus Martin Kopitz (de), there is evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife of Johann Nepomuk Hummel. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friend of Beethoven's since 1808.[9] In the meantime, the Austrian musicologist Michael Lorenz[10] has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the son of Babette Bredl, born out of wedlock. Babette in 1865 let Nohl copy the autograph in her possession. Thus the autograph must have come to Babette Bredl from Therese von Droßdik's estate and Kopitz's hypothesis is refuted.
In 2012, the Canadian musicologist Rita Steblin suggested that Juliane Katharine Elisabet Barensfeld (de), who used "Elise" as a variant first name, might be the dedicatee. Born in Regensburg and treated for a while as child prodigy, she first travelled on concert tours with Beethoven's friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna, where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel's and Barensfeld's residence and who might have given her piano lessons.[11] Steblin admits that question marks remain for her hypothesis.[12]
Bagatelle in A minor ("Für Elise")
The piece is in A minor and is set in 3/8 time. It begins with an A minor theme marked Poco moto (little movement), with the left hand playing arpeggios alternating between A minor and E major. It then moves into a brief section based around C major and G major, before returning to the original theme. It then enters a lighter section in the subdominant key of the relative major of A minor (C major), F major. It consists of a similar texture to the A section, where the right hand plays a melody over left hand arpeggios. It then enters a 32nd note C major figure before returning to the A section. The piece then moves to an agitated theme in D minor[citation needed] with an A pedal point, as the right hand plays diminished chords. This section then concludes with an ascending A minor arpeggio before beginning a chromatic descent over two octaves, and then returning to the A section. The piece ends in its starting key of A minor with an authentic cadence. Despite being called a bagatelle, the piece is in rondo form. The structure is A–B–A–C–A. The first theme is not technically difficult and is often taught alone as it provides a good basic exercise for piano pedalling technique. However, much greater technique is required for the B section as well as the rapid rising A minor figure in the C section.
Kopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E♭ is called an Es in German and is pronounced as "S", that makes E–(L)–(I)–S–E: E–(L)–(I)–E♭–E, which by enharmonic equivalents sounds the same as the written notes E–(L)–(I)–D♯–E.[10][13]
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Fabulous renditions: Valentina Lisitsa – Paganini-Liszt La Campanella (two Separate musical events)
Paganini-Liszt La Campanella
Live from Seoul. Encore #1. Liszt "La Campanella"
Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Al…
Performed by Romuald Greiss on an 1850 Budynowicz piano
"La campanella" (Italian for "The little bell") is the nickname given to the third of Franz Liszt's six Grandes études de Paganini ("Grand Paganini Études"), S. 141 (1851). It is in the key of G-sharp minor. This piece is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.[1][2][3]
The étude is played at a brisk allegretto tempo and studies right hand jumping between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the thirtieth and thirty-second measures.
The two red notes are 35 half-steps apart, which is about 46cm apart on a piano.
However, the left hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.
The work has been arranged by other composers and pianists, most notably Ferruccio Busoni and Marc-André Hamelin.
Valentina Lisitsa performed Liszt La Campanella from Paganini Etude No 3 at Concert hall, Seoul Art Center, 25th November, 2013 under Masters Series which Composer Jeajoon Ryu present.(Encore after 3 hours recital.)
Valentina Lisitsa – Liszt La Campanella – from Paganini Etude No. 3
OPUSChannel
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fabulous Renditions: Valentina Lisitsa – Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)
Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)- Valentina Lisitsa
Live from Seoul. Seoul Philharmonic/James Judd
The concerto is in three movements:[2]
Allegro molto moderato (A minor)
Adagio (D-flat major)
Allegro moderato molto e marcato – Quasi presto – Andante maestoso (A minor → F major → A minor → A major)
Piano Concerto (Grieg)
"Piano Concerto in A minor" redirects here. For the concerto by Schumann, see Piano Concerto (Schumann).
The famous flourishing introduction to the concerto.
The Piano Concerto in A minor, Op. 16, composed by Edvard Grieg in 1868, was the only concerto Grieg completed. It is one of his most popular works[1] and among the most popular of all piano concerti.
The main theme of the allegro molto moderato.
The first movement is noted for the timpani roll in the first bar that leads to a dramatic piano flourish. The movement is in the Sonata form. The movement finishes with a virtuosic cadenza and a similar flourish as in the beginning.
The second movement is a lyrical movement in D-flat major, which leads directly into the third movement.
The third movement opens in A minor 4/4 time with an energetic theme (Theme 1), which is followed by a lyrical theme in F major (Theme 2). The movement returns to Theme 1. Following this recapitulation is the 3/4 A major Quasi presto section, which consists of a variation of Theme 1. The movement concludes with the Andante maestoso in A major, which consists of a dramatic rendition of Theme 2 (as opposed to the lyrical fashion with which Theme 2 is introduced).
Performance time of the whole concerto is usually just under 30 minutes.[3]
The concerto was originally scored for 2 flutes, 2 oboes, 2 clarinets in A and B flat, 2 bassoons, 2 horns in E and E flat, 2 trumpets in C and B flat, 2 trombones, tuba, timpani and strings (violins, violas, cellos and double basses). He later added 2 horns and changed the tuba to a third trombone.[4]
History and influences
The work is among Grieg's earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate.
Grieg's concerto is often compared to the Piano Concerto of Robert Schumann — it is in the same key, the opening descending flourish on the piano is similar, and the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both wrote only one concerto for piano. Grieg had heard Schumann's concerto played by Clara Schumann in Leipzig in 1858 (1859 is given by alternative sources), and was greatly influenced by Schumann's style generally, having been taught the piano by Schumann's friend, Ernst Ferdinand Wenzel.
Additionally, Grieg's work provides evidence of his interest in Norwegian folk music; the opening flourish is based on the motif of a falling minor second (see interval) followed by a falling major third, which is typical of the folk music of Grieg's native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling[5] (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected.
The theme of the third movement of the concerto, which is influenced by the Norwegian Halling dance.
The work was premiered by Edmund Neupert on April 3, 1869 in Copenhagen, with Holger Simon Paulli conducting. Some sources say that Grieg himself, an excellent pianist, was the intended soloist, but he was unable to attend the premiere owing to commitments with an orchestra in Christiania (now Oslo). Among those who did attend the premiere were the Danish composer Niels Gade and the Russian pianist Anton Rubinstein, who provided his own piano for the occasion.[6] Neupert was also the dedicatee of the second edition of the concerto (Rikard Nordraak was the original dedicatee), and James Huneker said that he himself composed the first movement cadenza.[7]
The Norwegian premiere in Christiania followed on August 7, 1869, and the piece was later heard in Germany in 1872 and England in 1874. At Grieg's visit to Franz Liszt in Rome in 1870, Liszt played the notes a prima vista before an audience of musicians and gave very good comments on Grieg's work, which influenced him later. The work was first published in Leipzig in 1872, but only after Johan Svendsen intervened on Grieg's behalf.[8]
The concerto is the first piano concerto ever recorded — by pianist Wilhelm Backhaus in 1909.[9] Due to the technology of the time, it was heavily abridged at only six minutes.[9]
Grieg revised the work at least seven times, usually in subtle ways, but amounting to over 300 differences from the original orchestration. In one of these revisions, he undid Franz Liszt's suggestion to give the second theme of the first movement (as well as the first theme of the second) to the trumpet rather than to the cello. The final version of the concerto was completed only a few weeks before Grieg's death, and it is this version that has achieved worldwide popularity. The original 1868 version has been recorded, by Love Derwinger, with the Norrköping Symphony Orchestra under Jun'ichi Hirokami.[10]
Grieg worked on a transcription of the concerto for two solo pianos, which was completed by Károly Thern.[11] The premiere recording of this version was by the British two-piano team of Anthony Goldstone and Caroline Clemmow.[12]
On April 2, 1951, Russian-born American pianist Simon Barere collapsed while playing the first few bars of the concerto, in a performance with conductor Eugene Ormandy and the Philadelphia Orchestra at Carnegie Hall in New York. He died backstage shortly afterwards.[13] It was to have been Barere's first performance of the work.[14]
In 1882–83 Grieg worked on a second piano concerto in B minor, but it was never completed. The sketches for the concerto have been recorded by pianist Einar Steen-Nøkleberg. In 1997, the Belgian composer Laurent Beeckmans elaborated a full piano concerto from these sketches, which was first performed in London on 3 May 2003.[15]
The enduring popularity of Grieg's Piano Concerto has ensured its use in a wide variety of contexts.
The first movement's coda features in the film Intermezzo (1939) starring Leslie Howard and Ingrid Bergman.
The Concerto was featured in the film The Seventh Veil (1945) as the piece played by the young concert pianist (Ann Todd; the uncredited pianist was Eileen Joyce).
It was famously parodied in Franz Reizenstein's Concerto Popolare of 1959 (written for Gerard Hoffnung's music festival).
The opening theme of the first movement was used in the song "Asia Minor", a top-ten pop hit from 1961. The title of the song was also based on the key of the concerto, A minor.[16]
Excerpts from the first movement are incorporated into the number "Rosemary", in the Broadway musical How to Succeed in Business Without Really Trying (1961).
The concerto was used in a sketch by the British comedians Morecambe and Wise in their 1971 Christmas show. Conducted by André Previn, with Eric Morecambe as soloist, Morecambe claims he is playing "all the right notes, but not necessarily in the right order". In fact, he was playing a simplified version of the correct music, but in a completely inappropriate style.
The comedian Bill Bailey is a skilled musician, and has used Grieg's piano concerto for comic effect; in the TV Series Black Books it is played by his character Manny Bianco, and it is cited as an example in his solo mock-scholarly sketch on cockney music.
The introductory motif opens "Make the Most of Your Music", in the 1987 revised version of Follies.
The following performance is by the University of Washington Symphony Orchestra, conducted by Peter Eros. The piano soloist is Neal O'Doan.
3. Allegro moderato molto e marcato – Andante quasi – Presto
Problems listening to the files? See media help.
The following performance is by the Skidmore College Orchestra. It is courtesy of Musopen.
3. Allegro moderato molto e marcato
Tagged art, Edvard Grieg, entertainment, EUZICASA, fabulous Renditions: Valentina Lisitsa - Grieg Concerto (two videos), Great Compositions/Performances, Make Music Part of Your Life Series, Music, Op. 16(two videos), The Piano Concerto in A minor, YouTube
historic music bits: BEETHOVEN Piano Trio No.7 'Archduke' | E.Gilels, L.Kogan, M.Rostropovich | 1956
BEETHOVEN Piano Trio No.7 'Archduke' | E.Gilels, L.Kogan, M.Rostropovich | 1956
Emilio Pessina
Uploaded on Feb 11, 2012
Ludwig van BEETHOVEN: Piano Trio No.7 in B-flat major, Op.97 "Archduke" (1811)
0:10 / I. Allegro moderato [12'36"]
12:46 / II. Scherzo. Allegro [11'35"]
24:22 / III. Andante cantabile ma però con moto [12'06"]
36:28 / IV. Allegro moderato [6'56"]
Emil Gilels, piano
Leonid Kogan, violin
Mstislav Rostropovich, cello
(rec: Moscow, 1956)
5CDs: Doremi DHR-7921-5 – ℗2007
5CDs set: http://www.youtube.com/playlist?list=…
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Tagged 2012 Ludwig van BEETHOVEN: Piano Trio No.7 in B-flat major, art, Beethoven, BEETHOVEN Piano Trio No.7 'Archduke' - E.Gilels, cello (rec: Moscow, entertainment, EUZICASA, Great Compositions/Performances, L.Kogan, Ludwig van Beethoven, M.Rostropovich | 1956, Make Music Part of Your Life Series, Music, Op.97 "Archduke" (1811) 0:10 / I. Allegro moderato [12'36''] 12:46 / II. Scherzo. Allegro [11'35''] 24:22 / III. Andante cantabile ma però con moto [12'06''] 36:28 / IV. Allegro moderato [6'56''] Emi, piano Leonid Kogan, Uploaded on Feb 11, violin Mstislav Rostropovich, YouTube
great compositions/performances: Franz Schubert: String Quartet No. 13 in A minor (the Rosamunde Quartet), D. 804, Op. 29
Franz Schubert: String Quartet No. 13 in A minor (the Rosamunde Quartet), D. 804, Op. 29
Michel Camille
Sini Simonen, Benjamin Bowman, Steven Dann, Richard Lester at the 15th Esbjerg International Chamber Music Festival 2013. 25th August at South Denmark's Music Academy, SMKS, Esbjerg http://www.eicmf.dk EICMF is unique in Denmark as it invites artists to collaborate in new constellations, form new relationships, establish a foundation for exchange and annually act as a host for an international community of artists.
String Quartet No. 13 (Schubert)
"Rosamunde Quartet" redirects here. For the German musical quartet, see Rosamunde Quartett.
The String Quartet No. 13 in A minor (the Rosamunde Quartet), D 804, Op. 29, was written by Franz Schubert between February and March 1824. It dates roughly to the same time as his monumental Death and the Maiden Quartet, emerging around three years after his previous attempt to write for the string quartet genre, the Quartettsatz, D 703, that he never finished.
Starting in 1824, Schubert largely turned away from the composition of songs to concentrate on instrumental chamber music. In addition to the A-minor String Quartet, the Quartet in D minor, the Octet, the Grand Duo and Divertissement a la Hongroise (both for piano duet), and the Sonata for Arpeggione and Piano all date from that year. With the exception of the Grand Duo, all of these works display cyclic elements—that is, two or more movements in each work are deliberately related in some way to enhance the sense of unity. In the case of the A-minor Quartet, a motive from the third-movement Minuet becomes the most important melodic figure for the following finale (Chusid 1964, 37).
Schubert dedicated the work to Schuppanzigh, who served as the first violinist of the string quartet appointed by Beethoven. Schuppanzigh himself played in the premiere performance which took place on 14 March 1824.
The quartet consists of four movements which last around 30 minutes in total.
Allegro ma non troppo
Menuetto: Allegretto – Trio
Allegro moderato
The first movement opens with a texture reminiscent of the melancholic theme from one of Schubert's earliest songs, Gretchen am Spinnrade and also quotes "Schöne Welt, wo bist du?" The reference to Gretchen am Spinnrade is not a direct quotation, but rather is a similarity in the second violin's restless accompanimental figuration, hovering around the mediant and underpinned by a repeated figure in cello and viola, which precedes the first thematic entrance. This also recalls the accompaniment to the first subject of the "Unfinished" Symphony (Westrup 1969, 31; Taylor 2014, 49). It is the second movement, however, which has lent the Quartet its nickname, being based on a theme from the incidental music for Rosamunde (a similar theme appears in the Impromptu in B-flat written three years later). The dactyl–spondee rhythm pervading this movement unmistakably shows the influence of Beethoven's Seventh Symphony (Temperley 1981, 149). The form of this slow movement uses the same modified exposition-recapitulation form found in the slow movement of Schubert's "Great" C-major Symphony, where an ambiguity of formal deŽfinition is created by the introduction of a developmental passage shortly after the return of the primary theme in the recapitulation (Shamgar 2001, 154). The minuet quotes the melody of another song by Schubert, Die Götter Griechenlands, D. 677, from November 1819, a connection only first noticed more than a century after the work's composition by Willi Kahl (1930, 2:358). The opening of this melody recurs in inversion at the beginning of the trio, and is later echoed in the opening of the finale (Wollenberg 2011, 201–202, n11).
Tagged art, D. 804, entertainment, EUZICASA, Great Compositions/Performances, great compositions/performances: Franz Schubert: String Quartet No. 13 in A minor (the Rosamunde Quartet), Make Music Part of Your Life Series, Music, Op. 29, wikipedia, YouTube
fabulous musical renditions: Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
Cadenzas by Mozart's favorite student – and billiards pal, Jan Nepomuk Hummel
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
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Tagged art, entertainment, EUZICASA, fabulous musical renditions: Freiburger Mozart-Orchester, Great Compositions/Performances, Make Music Part of Your Life Series, Michael Erren, Music, Piano, Valentina Lisitsa, wikipedia, Wolfgang Amadeus Mozart, YouTube
FABULOUS MUSICAL RENDITIONS: Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa
Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa
Watch at your own risk – I warned you 🙂
Live from Paris, Salle Gaveau , May 21, 2014.
Sonata No. 17, Op 31 No.2 D Minor
The Piano Sonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. The British music scholar Donald Francis Tovey says in A Companion to Beethoven's Pianoforte Sonatas:
With all the tragic power of its first movement the D minor Sonata is, like Prospero, almost as far beyond tragedy as it is beyond mere foul weather. It will do you no harm to think of Miranda at bars 31–38 of the slow movement… but people who want to identify Ariel and Caliban and the castaways, good and villainous, may as well confine their attention to the exploits of Scarlet Pimpernel when the Eroica or the C minor Symphony is being played (pg. 121).
The piece consists of three movements and takes approximately twenty-five minutes to perform:
Largo – Allegro
Each of the movements is in sonata form, though the second lacks a substantial development section.
The first movement alternates brief moments of seeming peacefulness with extensive passages of turmoil, after some time expanding into a haunting "storm" in which the peacefulness is lost. This musical form is unusual among Beethoven sonatas to that date. Concerning the time period and style, it was thought of as an odd thing to write; a pianist's skills were demonstrated in many ways, and showing changes in tone, technique and speed efficiently many times in one movement was one of them. The development begins with rolled, long chords, quickly ending to the tremolo theme of the exposition. There is a long recitative section at the beginning of this movement's recapitulation, again ending with fast and suspenseful passages.
The second movement in B-flat major is slower and more dignified. The rising melodic ideas in the opening six measures are reminiscent of the first movement's recitative. Other ideas in this movement mirror the first, for instance, a figure in the eighth measure and parallel passages of the second movement are similar to a figure in the sixth measure of the first.
The third movement is a sonata-rondo hybrid in the key of D minor. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169–173. The recapitulation, which is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. The refrain undergoes phrase expansion to build tension for the climax of the movement at measure 381, a fortissimo falling chromatic scale.
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Best musical Interpretations: Beethoven Sonata Op 57 "Appassionata" Mov1, ,3, Valentina Lisitsa, piano
Beethoven Sonata Op 57 "Appassionata" Mov1
Uploaded on Jan 10, 2009
Rehearsal run before recital in Musikverein, Vienna
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Tagged 3, art, Beethoven, Best musical Interpretations: Beethoven Sonata Op 57 "Appassionata" Mov1, entertainment, EUZICASA, Great Compositions/Performances, Ludwig van Beethoven, Make Music Part of Your Life Series, Music, Piano, Valentina Lisitsa, YouTube
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
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
IV. Allegro con spirito – 40:42
Symphony No.35 in D major, K.385 "Haffner":
I. Allegro con spirito – 45:56
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
Symphony No.38 in D major, K.504 "Prague":
I. Adagio – Allegro – 01:36:16
III. Presto – 01:58:58
Symphony No.39 in E flat major, K.543:
II. Andante con moto – 02:19:02
III. Menuetto. Allegretto – Trio – 02:28:23
IV. Finale. Allegro – 02:32:29
I. Molto allegro – 02:40:35
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
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Tagged 29, 35, 36, 38, 39, 40, 41 (Bernstein), art, Best musical collections: Mozart - Symphonies No. 25, entertainment, EUZICASA, Great Compositions/Performances, Make Music Part of Your Life Series, Music, Wiener Philharmoniker Leonard Bernstein, Wolfgang Amadeus Mozart, YouTube
historic musical bits: Claudio Arrau Beethoven Piano Sonata No. 30
Claudio Arrau Beethoven Piano Sonata No. 30
Farookhq17
Piano Sonata No. 30 in E major, Op. 109
I. Vivace ma non troppo – Adagio espressivo
II. Prestissimo
III. Gesangvoll, mit innigster Empfindung.
Andante molto cantabile ed espressivo
Claudio Arrau (1903-1991)
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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
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):
Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2
*****Leonard Bernstein (conductor)
*****Boston Symphony Orchestra
Symphony No. 40 (Mozart)
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]
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]
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 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):
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.
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 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]
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.
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historic musical bits: Franz Schubert Symphony No.8 "Unfinished" D 759, Leonard Bernstein
Franz Schubert Symphony No.8 "Unfinished" D 759, Leonard Bernstein
HarpsichordA6
Franz Schubert Symphony No.8 "Unfinished" D 759
1. Allegro Moderato
2. Andante con moto
Concertgebouw Orchestra
Leonard Bernstein Conductor
"Schubert" redirects here. For the other composer of the same name, see François Schubert. For other uses, see Schubert (disambiguation).
Franz Peter Schubert (German pronunciation: [ˈfʁant͡s ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer. Schubert died at 31 but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the most frequently performed composers of the early nineteenth century.
Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth (Vietz), was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage. Of Franz Theodor's fourteen children (one of them illegitimate, born in 1783),[1] nine died in infancy.
Their father was a well-known teacher, and his school in Lichtental (in Vienna's ninth district) had numerous students in attendance.[2] Though he was not recognized or even formally trained as a musician, he passed on certain musical basics to his gifted son.[3]
The house in which Schubert was born, today Nussdorfer Strasse 54
At age six, Franz began to receive regular instruction from his father, and a year later was enrolled at his father's school. His formal musical education started around the same time. His father taught him basic violin technique,[3] and his brother Ignaz gave him piano lessons.[4] At age seven, he was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental; the lessons may have largely consisted of conversations and expressions of admiration.[5] The boy seemed to gain more from an acquaintance with a friendly joiner's apprentice who took him to a neighboring pianoforte warehouse where Franz could practice on better instruments.[6] He also played viola in the family string quartet, with brothers Ferdinand and Ignaz on first and second violin and his father on the violoncello. Franz wrote his earliest string quartets for this ensemble.[7]
Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized.[7] In October 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, and the symphonies of Joseph Haydn and his younger brother Michael.[8] His exposure to these and lesser works, combined with occasional visits to the opera, laid the foundation for a broader musical education.[9] One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important Lieder composer of the time. The precocious young student "wanted to modernize" them, as reported by Joseph von Spaun, Schubert's friend.[10] Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper.[9]
In the meantime, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to start training him privately in music theory and even in composition.[11] It was the first orchestra he wrote for, and he devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother),[12] the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82).[13]
Mass No. 2 in G major, D 167 (1815)