Dvorak Biography - Music Collection - Music | History
Dvořák was born, the first of nine children, in Nelahozeves, a Bohemian (now Czech) village on the Vltava River north of Prague. He came to know music early, in and about his father’s inn, and became an accomplished violinist as a youngster, contributing to the amateur music-making that accompanied the dances of the local couples. Though it was assumed that he would become a butcher and innkeeper like his father (who also played the zither), the boy had an unmistakable talent for music that was recognized and encouraged. When he was about 12 years old, he moved to Zlonice to live with an aunt and uncle and began studying harmony, piano, and organ. He wrote his earliest works, polkas, during the three years he spent in Zlonice. In 1857 a perceptive music teacher, understanding that young Antonín had gone beyond his own modest abilities to teach him, persuaded his father to enroll him at the Institute for Church Music in Prague. There Dvořák completed a two-year course and played the viola in various inns and with theatre bands, augmenting his small salary with a few private pupils.
The 1860s were trying years for Dvořák, who was hard-pressed for both time and the means, even paper and a piano, to compose. In later years he said he had little recollection of what he wrote in those days, but about 1864 two symphonies, an opera, chamber music, and numerous songs lay unheard in his desk. The varied works of this period show that his earlier leanings toward the music of Ludwig van Beethoven and Franz Schubert were becoming increasingly tinged with the influence of Richard Wagner and Franz Liszt.
Among the students Dvořák tutored throughout the 1860s were the sisters Josefina and Anna Čermáková. The musician fell in love with the elder sister, Josefina, but she did not reciprocate his feelings. The anguish of his unrequited love is said to be expressed in Cypresses (1865), a number of songs set to texts by Gustav Pfleger-Moravský. In November 1873 he married the younger sister, Anna, a pianist and singer. The first few years of the Dvořáks’ marriage were challenged by financial insecurity and marked by tragedy. Anna had given birth to three children by 1876 but by 1877 had buried all of them. In 1878, however, she gave birth to the first of the six healthy children the couple would raise together. The Dvořáks maintained a close relationship with Josefina and the man she eventually married, Count Václav Kounic. After several years of regular visits, they bought a summer house in the small village of Vysoká, where Josefina and the count had settled, and spent every summer there from that point onward. Dvořák composed some of his best-known works there.
In 1875 Dvořák was awarded a state grant by the Austrian government, and this award brought him into contact with Johannes Brahms, with whom he formed a close and fruitful friendship. Brahms not only gave him valuable technical advice but also found him an influential publisher in Fritz Simrock, and it was with his firm’s publication of the Moravian Duets (composed 1876) for soprano and contralto and the Slavonic Dances (1878) for piano duet that Dvořák first attracted worldwide attention to himself and to his country’s music. The admiration of the leading critics, instrumentalists, and conductors of the day continued to spread his fame abroad, which led naturally to even greater triumphs in his own country. In 1884 he made the first of 10 visits to England, where the success of his works, especially his choral works, was a source of constant pride to him, although only the Stabat Mater (1877) and Te Deum (1892) continue to hold a position among the finer works of their kind. In 1890 he enjoyed a personal triumph in Moscow, where two concerts were arranged for him by his friend Pyotr Ilyich Tchaikovsky. The following year he was made an honorary doctor of music of the University of Cambridge.
Dvořák accepted the post of director of the newly established National Conservatory of Music in New York in 1892, and, during his years in the United States, he traveled as far west as Iowa. Though he found much to interest and stimulate him in the New World environment, he soon came to miss his own country, and he returned to Bohemia in 1895. The final years of his life saw the composition of several string quartets and symphonic poems and his last three operas.
Tracklist:
1 - Dvorak - Czech Suite, Op. 39 - I. Praeludium
2 - Dvorak - Legends, Op.59 - 2. Molto moderato (G major) (Orchestral version, B.122)
3 - Dvorak - Sonatina for Violin and Piano, Op. 100 - I. Allegro risoluto
4 - Dvorak - Symphony no. 8, Op. 88 - II. Adagio
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Mendelssohn Biography - Music Collection - Music | History
German Romantic composer, pianist and conductor Felix Mendelssohn wrote Overture to a Midsummer Night's Dream and founded the Leipzig Conservatory of Music.
Synopsis
Felix Mendelssohn was born on February 3, 1809, in Hamburg, Germany. At age 9, he made his public debut in Berlin. In 1819, he joined the Singakademie music academy and began composing non-stop. At Singakademie, he also became a conductor, but continued to compose prolifically. Mendelssohn founded the Leipzig Conservatory of Music in 1843. He died on November 4, 1847, in Leipzig.
Pianist, composer and conductor Felix Mendelssohn was born Jakob Ludwig Felix Mendelssohn-Bartholdy in Hamburg, Germany, on February 3, 1809. His parents were Jewish, but converted to Christianity before he, his brother and two sisters were born. When Mendelssohn was 2 years old, he moved to Berlin with his parents and siblings. In Berlin, the young Mendelssohn began taking piano lessons with Ludwig Berger. Mendelssohn also studied composition under composer K.F. Zelter as a child. In 1816, he broadened his lessons, studying under pianist Marie Bigot during an extended stay in Paris, France.
Mendelssohn was quick to establish himself as a musical prodigy. During his childhood, he composed a handful of operas and 11 symphonies. At just 9 years old, he made his public debut in Berlin.
In 1819, Felix Mendelssohn joined the Singakademie music academy and began composing non-stop. In 1820 alone, he wrote a violin sonata, two piano sonatas, multiple songs, a cantata, a brief opera and a male quartet. In 1826, Mendelssohn produced one of his best known works, Overture to a Midsummer Night's Dream. He presented his opera The Marriage of the Camacho, the following year in Berlin. It was the only opera of his performed in public during his life.
At Singakademie, Mendelssohn also became a conductor. In 1829, he conducted a performance of Bach's St. Matthew Passion. The performance's success led to other great opportunities, including a chance to conduct the London Philharmonic Society that same year. Inspired by his visit to England and Scotland, Mendelssohn began composing his Symphony No. 3; it took more than a decade to complete. Known as his Scottish Symphony, the work commemorated his visit to Holyrood Chapel in Edinburgh and the highlands.
Mendelssohn continued to compose prolifically while working as a conductor. He wrote the Reformation Symphony in 1830, and followed that accomplishment with a three-year European tour. During that time, he published his first book of songs, entitled Songs without Words (1832). Italian Symphony (1833), another of Mendelssohn's best known works, was also born of this period. In 1835, Mendelssohn was granted an illustrious role: conductor of the Gewandhaus Orchestra in Leipzig.
In 1836, a year after his father died, Mendelssohn met Cécile Jeanrenaud, a clergyman's daughter, in Frankfurt. Mendelssohn was 10 years Jeanrenaud's senior. She was just 16 when they got engaged. The couple married on March 28, 1837. Over the course of their marriage, they had five children.
The same year that he married, Mendelssohn composed his Piano Concerto No. 2 in D Minor. From 1838 to 1844, he toiled away on his Violin Concerto in E Minor. Prior to the piece's completion, Mendelssohn founded the Leipzig Conservatory of Music and became its director. In so doing, he put Leipzig on the map as the musical center of Germany. After finishing Violin Concerto in E Minor, Mendelssohn conducted a string of concerts for the Philharmonic. In 1846 he presented his newly written Elijah at the Birmingham Festival.
In May 1847, Mendelssohn's sister, Fanny, who was a lifelong inspiration to him, died suddenly. Her death left him so devastated that he soon lost his own zest for life. His health, already compromised by his strenuous career, began to deteriorate rapidly. Six months later, on November 4, 1847, Felix Mendelssohn died of a ruptured blood vessel in Leipzig, Germany. He had recently returned from a brief visit to Switzerland, where he'd completed composition of his String Quartet in F Minor.
Although he was only 38 when he died, Mendelssohn managed to distinguish himself as one of the first significant Romantic composers of the 1800s.
Tracklist:
1- Mendelssohn - Songs Without Words - No.12 in F Sharp Minor, Op.30
2- Mendelssohn - Violin Sonata, Op.4 - I. Adagio, Allegro moderato
3- Mendelssohn - Violin Sonata, Op.4 - II. Poco adagio
4- Mendelssohn - Violin Sonata, Op.4 - III. Allegro agitato
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Liszt Biography - Music Collection - Music | History
Franz Liszt was a Hungarian pianist and composer of enormous influence and originality. He was renowned in Europe during the Romantic movement.
By the time Franz Liszt was 9 years old, he was performing in concert halls. As an adult, he toured extensively throughout Europe. He had an affair and children with Marie díAgoult and later lived with Princess Carolyne zu Sayn-Wittgenstein. By his death, he had written more than 700 compositions.
Liszt was born on October 22, 1811, in Raiding, Hungary. His father, Adam, played the cello, as well as several other instruments, and passionately taught Franz how to play piano. By the age of 6, young Liszt was recognized as a child prodigy; by the age of 8, he was composing elementary works; and by the age of 9, he was appearing in concerts. His father worked as a secretary for Prince Nicholas Esterhazy, and, after the boy played for a group of wealthy sponsors, he asked the prince for extended leave so he could devote his time to enriching his son's musical education.
Father and son traveled to Vienna, and Antonio Salieri, Mozart's old rival, quickly became a proponent of Liszt's genius. Upon hearing the boy play at a private home, he offered to train him in composition free of charge. For several months, the young pianist held performances for both musicians and kings. His most impressive talent was his uncanny ability to improvise an original composition from a melody suggested by an audience member. At the age of 12, Liszt traveled with his father to Paris to seek admittance to the Paris Conservatory. The admissions council denied him a place in the school on the grounds that he was a foreigner. His father, ever determined, turned to Ferdinando Paer to teach his son advanced composition. It was during this time that Liszt wrote his first and only opera, Don Sanche.
In 1826, Adam Liszt passed away. The event proved to be extremely traumatic for the 15- year-old Franz Liszt, and it necessitated that he shares their one-bedroom Parisian apartment with his mother. In the years that followed, Franz Liszt lost interest in music to such a degree that he began to question his profession. He turned away from performing and started to read profusely, delving into books on the subjects of art and religion. What he read during that time would greatly influence his later musical works.
In 1833, at the age of 22, Liszt met the Comtesse Marie d'Agoult. Inspired by love and nature, he composed several impressions of the Swiss countryside in "Album d'un voyageur," which would later surface as the "Années de Pèlerinage" ("Years of Pilgrimage"). In 1834, Liszt debuted his piano compositions "Harmonies poétiques et religieuses" and a set of three "Apparitions."
Strengthened by new works and several public performances, Liszt began to take Europe by storm. His reputation was bolstered even further by the fact that he gave away many of his concert proceeds to charities and humanitarian causes. For example, when in 1842 he found out about the Great Fire of Hamburg, which had destroyed much of the city, he gave concerts to create aid for its thousands of homeless. On a personal level, however, matters were less than glorious for Liszt. His relationship with Marie d'Agoult, which by that point had produced three children, finally ended. In 1847, while in Kiev, Liszt met Princess Carolyne zu Sayn-Wittgenstein. Her influence on him was dramatic; she encouraged him to stop touring and, instead, teach and compose, so he could have a more domestic life with her. Liszt gave his final concert for pay at Elisavetgrad in September, and then spent the winter with the princess at her estate in Woronince.
In 1865, Liszt received the tonsure, the traditional haircut kept by monks during that period, and was from then on sometimes called "the Abbé Liszt." On July 31, 1865, he received the four minor orders in the Catholic Church. He continued, however, to work on new compositions, and in later years, he established the Royal National Hungarian Academy of Music in Budapest. Liszt's works in his later years were simpler in form, yet more extreme in harmony. He died on July 31, 1886, in Bayreuth, Germany.
Tracklist:
1 - Liszt - Grand Paganini Etude No. 1 - Gm
2- Liszt - Grand Paganini Etude No. 6 - Am
3- Liszt - Transcendental Etudes, S. 139 - 11. Harmonies du Soir
4- Liszt - Grand duo concertant sur le 'Le marin', S.128
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Chopin - Etude Op. 25 No. 4 - Music | History
The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number.
Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation.
All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student.
The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces.
Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."
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Bach - Chorale Preludes BWV 662. Allein Gott in der Hoh' Sei Ehr - Music | History
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.
Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and Konzertmeister (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and liturgical organ works in all forms, in what was to be his most productive period for organ composition. As his son Carl Philipp Emanuel Bach mentions in his obituary or nekrolog: "His grace's delight in his playing fired him to attempt everything possible in the art of how to treat the organ. Here he also wrote most of his organ works." During Bach's time at Weimar, the chapel organ there was extensively improved and enlarged; occupying a loft at the east end of the chapel just below the roof, it had two manual keyboards, a pedalboard and about a dozen stops, including at Bach's request a row of tuned bells. It is probable that the longer chorale preludes composed then served some ceremonial function during the services in the court chapel, such as accompanying communion.
When Bach moved to his later positions as Kapellmeister in Köthen in 1717 and cantor at the Thomaskirche in Leipzig in 1723, his obligations did not specifically include compositions for the organ. The autograph manuscript of the Great Eighteen, currently preserved as P 271 in the Berlin State Library, documents that Bach began to prepare the collection around 1740, after having completed Part III of the Clavier-Übung in 1739. The manuscript is made up of three parts: the six trio sonatas for organ BWV 525–530 (1727–1732); the Canonic Variations on "Vom Himmel hoch da komm' ich her" BWV 769 added at the same time as the chorale preludes (1739–1750); and an early version of Nun komm' der heiden Heiland (1714–1717), appended after Bach's death.
The first thirteen chorale preludes BWV 651–663 were added by Bach himself between 1739 and 1742, supplemented by BWV 664 and 665 in 1746–7. In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann Christoph Altnikol and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the Art of the Fugue, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear").
There have been various accounts of the circumstances surrounding the composition of this chorale. The biographical account from 1802 of Johann Nicolaus Forkel that Altnikol was copying the work at the composer's deathbed has since been discounted: in the second half of the eighteenth century, it had become an apocryphal legend, encouraged by Bach's heirs, Carl Philipp Emmanuel Bach and Wilhelm Friedmann Bach. The piece, however, is now accepted as a planned reworking of the shorter chorale prelude Wenn wir in höchsten Nöthen sein (BWV 641) from the Orgelbüchlein (c 1715).
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Brahms - Violin Sonata No. 3 - Op. 108 - Adagio - Music | History
Johannes Brahms's Violin Sonata No. 3 in D minor, Op. 108 is the last of his violin sonatas, composed between 1886 and 1888. Unlike the two previous violin sonatas, it is in four movements (the others are in three movements). The sonata is dedicated to Brahms' friend and colleague Hans von Bülow, and was premiered in Budapest in 1888 with Jenő Hubay on violin and the composer at the piano.
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Chopin - Etude Op. 25 No. 3 - Music | History
The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."
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Bach - Chorale Preludes - BWV 659. Nun Komm Der - Music | History
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ. Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and Konzertmeister (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and liturgical organ works in all forms, in what was to be his most productive period for organ composition. As his son Carl Philipp Emanuel Bach mentions in his obituary or nekrolog: "His grace's delight in his playing fired him to attempt everything possible in the art of how to treat the organ. Here he also wrote most of his organ works." During Bach's time at Weimar, the chapel organ there was extensively improved and enlarged; occupying a loft at the east end of the chapel just below the roof, it had two manual keyboards, a pedalboard and about a dozen stops, including at Bach's request a row of tuned bells. It is probable that the longer chorale preludes composed then served some ceremonial function during the services in the court chapel, such as accompanying communion. When Bach moved to his later positions as Kapellmeister in Köthen in 1717 and cantor at the Thomaskirche in Leipzig in 1723, his obligations did not specifically include compositions for the organ. The autograph manuscript of the Great Eighteen, currently preserved as P 271 in the Berlin State Library, documents that Bach began to prepare the collection around 1740, after having completed Part III of the Clavier-Übung in 1739. The manuscript is made up of three parts: the six trio sonatas for organ BWV 525–530 (1727–1732); the Canonic Variations on "Vom Himmel hoch da komm' ich her" BWV 769 added at the same time as the chorale preludes (1739–1750); and an early version of Nun komm' der heiden Heiland (1714–1717), appended after Bach's death. The first thirteen chorale preludes BWV 651–663 were added by Bach himself between 1739 and 1742, supplemented by BWV 664 and 665 in 1746–7. In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann Christoph Altnikol and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the Art of the Fugue, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear"). There have been various accounts of the circumstances surrounding the composition of this chorale. The biographical account from 1802 of Johann Nicolaus Forkel that Altnikol was copying the work at the composer's deathbed has since been discounted: in the second half of the eighteenth century, it had become an apocryphal legend, encouraged by Bach's heirs, Carl Philipp Emmanuel Bach and Wilhelm Friedmann Bach. The piece, however, is now accepted as a planned reworking of the shorter chorale prelude Wenn wir in höchsten Nöthen sein (BWV 641) from the Orgelbüchlein (c 1715).
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Bach - 18 Chorale Preludes - BWV 661. Nun Komm Der - Music | History
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ. Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and Konzertmeister (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and liturgical organ works in all forms, in what was to be his most productive period for organ composition. As his son Carl Philipp Emanuel Bach mentions in his obituary or nekrolog: "His grace's delight in his playing fired him to attempt everything possible in the art of how to treat the organ. Here he also wrote most of his organ works." During Bach's time at Weimar, the chapel organ there was extensively improved and enlarged; occupying a loft at the east end of the chapel just below the roof, it had two manual keyboards, a pedalboard and about a dozen stops, including at Bach's request a row of tuned bells. It is probable that the longer chorale preludes composed then served some ceremonial function during the services in the court chapel, such as accompanying communion. When Bach moved to his later positions as Kapellmeister in Köthen in 1717 and cantor at the Thomaskirche in Leipzig in 1723, his obligations did not specifically include compositions for the organ. The autograph manuscript of the Great Eighteen, currently preserved as P 271 in the Berlin State Library, documents that Bach began to prepare the collection around 1740, after having completed Part III of the Clavier-Übung in 1739. The manuscript is made up of three parts: the six trio sonatas for organ BWV 525–530 (1727–1732); the Canonic Variations on "Vom Himmel hoch da komm' ich her" BWV 769 added at the same time as the chorale preludes (1739–1750); and an early version of Nun komm' der heiden Heiland (1714–1717), appended after Bach's death. The first thirteen chorale preludes BWV 651–663 were added by Bach himself between 1739 and 1742, supplemented by BWV 664 and 665 in 1746–7. In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann Christoph Altnikol and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the Art of the Fugue, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear"). There have been various accounts of the circumstances surrounding the composition of this chorale. The biographical account from 1802 of Johann Nicolaus Forkel that Altnikol was copying the work at the composer's deathbed has since been discounted: in the second half of the eighteenth century, it had become an apocryphal legend, encouraged by Bach's heirs, Carl Philipp Emmanuel Bach and Wilhelm Friedmann Bach. The piece, however, is now accepted as a planned reworking of the shorter chorale prelude Wenn wir in höchsten Nöthen sein (BWV 641) from the Orgelbüchlein (c 1715).
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Chopin - Etude Op. 25 No. 2 in F minor - 'The Bees'- Music | History
The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."
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