Antonio Vivaldi - Introduzione al Dixit
An introduzione is a motet for solo voice intended to be sung before certain choral settings of liturgical texts. Eight introduzioni by Antonio Vivaldi survive, each in three or four movements. The texts of introduzioni are non-liturgical, but sometimes paraphrases of liturgical texts. In the Ryom Verzeichnis, Vivaldi's introduzioni are numbered from RV 635–642.
Vivaldi's introduzioni are written for a solo singer, either alto or soprano, accompanied by instruments. The musical structure seems to derive from the text: four of the eight (RV 635, 636, 637, and 642) consist of two arias in da capo form surrounding a central recitative. One (RV 638) has a central aria flanked by two recitatives; another (RV 640) has just two movements – recitative then aria – and a third (RV 641) has four movements (two recitatives, aria, recitative). The remaining one (RV 639) has the structure 'aria-recitative-aria' but Vivaldi interwove the second aria into the first movement of the liturgical work which followed it - the Gloria (RV 588).
1. Allegro: Canta in prato 4:34
2. Recitativo: Sacra fulgescit nobis 0:49
3. Allegro: Avenae restrictae sinceri 0:52
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The Gloria by Francis Poulenc, FP 177, scored for soprano solo, large orchestra, and chorus, is a setting of the Gloria text from the mass ordinary. One of Poulenc's most celebrated works, it was commissioned by the Koussevitsky Foundation in honor of Sergei Koussevitzky and his wife Natalia, the namesakes of the foundation.
Gloria was premiered on 21 January 1961 in Boston, Massachusetts by the Boston Symphony Orchestra and the Chorus Pro Musica under conductor Charles Münch with Adele Addison as soloist. The first recording (also in 1961), for EMI, was conducted by Georges Prêtre, under the supervision of the composer, with Rosanna Carteri as the soloist. Among later recordings of the music, the RCA Victor recording by the Robert Shaw Chorale in 1965 won a Grammy Award for the "Best Choral Performance."
Francis Poulenc
Gloria
1. I Gloria 2:57
2. II Laudamus te 3:07
3. III Domine Deus 4:35
4. IV Domine Fili Unigenite 1:20
5. V Domine Deus, Agnus Dei 6:27
6. VI Qui sades ad dexteram Patris 6:37
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Ludwig van Beethoven - Sonata N°7 for violin and piano
Ludwig van Beethoven's Piano Sonata No. 7 in D major, Op. 10, No. 3, was dedicated to the Countess Anne Margarete von Browne, and written in 1798. This makes it contemporary with his three Op. 9 string trios, his three Op. 12 violin sonatas, and the violin and orchestra romance that became his Op. 50 when later published. The year also saw the premiere of a revised version of his second piano concerto, whose original form had been written and heard in 1795.
1. Allegro con brio
2. Adagio cantabile
3. Scherzo, Allegro
4. Finale, Allegro
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Gabriel Fauré - Messe Basse
The Messe des pêcheurs de Villerville (Mass of the fishermen of Villerville) is a missa brevis written by Gabriel Fauré in collaboration with his former pupil André Messager. A later version, published as Messe basse contained only movements composed by Fauré.
In 1907, Heugel & Cie. published a version of the mass, removing Messager's sections and the Gloria (apart from a part of its music that was reused for the added Benedictus), and incorporating a new Kyrie by Fauré; this version, produced by Fauré in 1906, appeared under the title Messe basse.
1. Kyrie 1:59
2. Sanctus 2:10
3. Benedictus 2:22
4. Agnus Dei 2:46
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Ludwig van Beethoven - Sonata N. 4 for violin and piano Op. 23
Ludwig van Beethoven's Piano Sonata No. 4, in E♭ major, Op. 7, sometimes nicknamed the Grand Sonata, is dedicated to his student Babette, the Countess Keglevics. This piano sonata was composed in Bratislava, in 1796, in November, during his visit of Keglevich Palace in Bratislava. Beethoven named it Great Sonata, because it was published alone, which was unusual for the time.
Along with the Hammerklavier Sonata, it is one of the longest piano sonatas of Beethoven. A typical performance lasts about 28 minutes.
1. Presto 5:25
2. Andante scherzozo, più allegretto 6:39
3. Allegro molto 4:13
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Felix Mendelssohn Bartholdy - Concerto for violin and orchestra Op. 64
Felix Mendelssohn's Violin Concerto in E minor, Op. 64, is his last large orchestral work. It holds an important place in the violin repertoire and is one of the most popular and most frequently performed violin concertos in history. A typical performance lasts just under half an hour.
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.
Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one without any pauses).(citation needed)
The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions.
Mendelssohn also wrote a virtuoso Concerto for Violin and String Orchestra in D minor between 1821 and 1823, when he was 12 to 14 years old, at the same time that he produced his twelve string symphonies. This work was "rediscovered" and first recorded in 1951 by Yehudi Menuhin.
1. Allegro molto appassionato 13:29
2. Andante 8:06
3. Allegro molto vivace 7:06
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