Wolfgang Amadeus Mozart - Symphony No. 39
The Symphony No. 39 in E♭ major of Wolfgang Amadeus Mozart, K. 543, was completed on 26 June 1788.
The Symphony No. 39 is the first of a set of three (his last symphonies) that Mozart composed in rapid succession during the summer of 1788. No. 40 was completed on 25 July and No. 41 on 10 August. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 39 has a grand introduction (in the manner of an overture) but no coda.
Around the time that he composed the three symphonies, Mozart was writing his piano trios in E major and C major (K. 542 and K. 548), his sonata facile (K. 545), and a violin sonatina (K. 547). Mozart biographer Alfred Einstein has suggested that Mozart took Michael Haydn's Symphony No. 26, in the same key, as a model.
1. Adagio - Allegro
2. Andante con moto
3. Menuetto: Allegro
4. Finale: Allegro
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Wolfgang Amadeus Mozart - Exultate, Jubilate - K 165
This religious solo motet was composed when Mozart was staying in Milan during the production of his opera Lucio Silla which was being performed there in the Teatro Regio Ducal. It was written for the castrato Venanzio Rauzzini, who had sung the part of the primo uomo Cecilio in Lucio Silla the previous year. While waiting for the end of the run (from 26 December 1772 to 25 January 1773), Mozart composed the motet for his singer, whose technical excellence he admired. Its first performance took place at the Theatine Church on 17 January 1773, while Rauzzini was still singing in Mozart's opera at night. Mozart made some revisions around 1780. On 30 May 1779, a Trinity Sunday, a revised version was performed by Francesco Ceccarelli at the Holy Trinity Church, Salzburg. Another revised version was intended for Christmas. The manuscripts of the two Salzburg versions were discovered in 1978 in St. Jakob, Wasserburg am Inn. In modern times, the motet is usually sung by a female soprano.
1. Exultate, Jubilate 4:53
2. Fuget amica dies 0:54
3. Tu virginum corona 8:23
4. Alleluja 2:39
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Ludwig van Beethoven - Missa Solemnis: Opus 123
The Missa solemnis in D major, Op. 123, is a solemn mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period.
Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olomouc, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!")
1. I Kyrie 9:54
2. II Gloria 5:01
3. Qui Tollis 6:19
4. Quoniam 6:40
5. III Credo 4:29
6. El Incarnatus est 6:09
7. Et Resurrexit 10:42
8. IV Sanctus 5:39
9. Benedictus 11:05
10. V Angus Dei 6:44
11. Dona nobis pacem 9:21
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Serguei Prokofiev - Symphony No. 1 (Classical)
Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10. It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself,[1] and has become one of his most popular works.
The symphony is composed in a style based on that of Joseph Haydn, but does not follow Haydn strictly (for example, its use of modulation is much freer), and it does not contain any quotations from Haydn. Thus it can be considered to be one of the first neoclassical compositions. The work was partly inspired by his conducting studies at the Saint Petersburg Conservatory, where the instructor, Nikolai Tcherepnin, taught his students about conducting Haydn, among other composers.
Prokofiev wrote the symphony on holiday in the country, using it as an exercise in composing away from the piano.
1. Allegro 4:24
2. Larghetto 4:24
3. Gavotta - Non Troppo - Allegro 1:50
4. Finale - Molto Vivace 4:12
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