Ludwig van Beethoven - Mass In C Flat Opus 86
Ludwig van Beethoven composed the Mass in C major, Op. 86, to a commission from Prince Nikolaus Esterházy II in 1807. The mass, scored for four vocal soloists, choir and orchestra, was premiered that year by the Prince's musical forces in Eisenstadt. Beethoven performed parts of it in his 1808 concert featuring the premieres of four major works including his Fifth Symphony. The mass was published in 1812 by Breitkopf & Härtel.
While the Prince who commissioned the mass was not pleased, the contemporary critic E. T. A. Hoffmann appreciated the "expression of a childlike serene mind", and Michael Moore notes the music's "directness and an emotional content".
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Beethoven
Johann Strauss - Annen Polka Op. 117
Johann Strauss I (German: Johann Baptist Strauß, Johann Strauss (Vater); also Johann Baptist Strauss, Johann Strauss Sr., the Elder, the Father; March 14, 1804 – September 25, 1849) was an Austrian Romantic composer. He was famous for his waltzes, and he popularized them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musical dynasty. He is perhaps best known for his composition of the Radetzky March (named after Joseph Radetzky von Radetz).
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Strauss
Franz Schubert - Mass in E flat major D 950
Mass No. 6 in E-flat major, D 950, is a mass composed by Franz Schubert. It is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis.
The first date to appear on the score is June 1828, although evidence exists that Schubert had begun to sketch it earlier than this. It was completed by July. It was composed in response to a commission or request from Michael Leitermayer, choirmaster of the Church of the Holy Trinity (Alserkirche) in Alsergrund, Vienna. The mass was not performed until after Schubert's death, with a premiere in the Alserkirche on October 4, 1829. Ferdinand Schubert conducted the premiere, as well as a second performance in the Church of Maria Trost on November 15, 1829.
The influence of Beethoven is felt in the mass, particularly in the "ambitious Beethovenian architecture". Schubert had been a torchbearer at Beethoven's funeral, which had been held in the Alserkirche. References to Bach's fugues are present in the Gloria and Agnus Dei, as well as Mozart's Requiem and Haydn's Heiligmesse.
This setting and the earlier Mass in A-flat major are regarded as Schubert's "late masses". These are distinguished from his four early masses by their "musically interpretive stance to the words"; Schubert began to take advantage of an overall maturation in his technical capabilities and knowledge of harmony, coupled with his experience in composing both sacred and secular music, to add further meaning to the standard text. Already known for consistently omitting certain passages from the text, Schubert took even greater freedoms in the late masses, adding and removing text in a bid to "deepen expression or enhance a particular aspect of meaning".
The Schubert scholar Brian Newbould opined that the late masses were the composer's "two finest and most substantial settings",calling the Mass in E-flat "the triumph and swansong of [Schubert's] career (as far as the composition of masses is concerned)", although he also admits that it has "unevenness". Schubert's biographer Kreissle von Hellborn wrote that the Mass in E-flat "takes rank with the foremost compositions of the kind written at the time".
The late masses may have influenced the composition of Bruckner's Mass in F minor.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Schubert
Wolfgang Amadeus Mozart
Violin Concerto No. 2 in D major K. 211 was composed by Wolfgang Amadeus Mozart in 1775. The concerto has the usual fast-slow-fast structure.
Violin Concerto No. 2 K 211
1. Allegro moderato 8:32
2. Andante 7:13
3. Rondeau, Allegro 4:30
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Georg Friedrich Händel
George Frideric (23 February 1685 (O.S.) [(N.S.) 5 March] – 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.
Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Dean writes that his operas show that "Handel was not only a great composer; he was a dramatic genius of the first order." As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honours, and he was buried in Westminster Abbey in London.
Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining steadfastly popular. One of his four coronation anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Another of his English oratorios, Solomon (1748), has also remained popular, with the Sinfonia that opens act 3 (known more commonly as "The Arrival of the Queen of Sheba") featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty opera serias in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel's operas has grown.
Laudate Pueri (Psalm 112)
1. Laudate Pueri 3:39
2. Sit Nomen Domini 2:29
3. A Solis Ortu 1:39
4. Excelsus Super Omnes 2:30
5. Quis Sicut 1:27
6. Suscitans a Terra 3:04
7. Qui Habitare 2:22
8. Gloria Patri 4:03
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Handel
Johann Strauss - Love Songs Op. 114
Liebeslieder op. 114 is a waltz by Johann Strauss II written in 1852 (not to be confused with Brahms's similarly titled Liebeslieder Walzer and Neue Liebeslieder). At the time it was conceived, the waltz was titled 'Liebesgedichte' or "Love Poems" and during its first performance, it was even announced as 'Liebesständchen' or "Love Serenade". The first performance was at the famed Vienna Volksgarten on 18 June 1852 under the composer's direction.
'Liebeslieder' stands among the master works of the Strauss Jr., who had, since 1849 an enduringly difficult time convincing the Viennese that his works deserve the attention it sought. The fierce and uncompromising Viennese critic Eduard Hanslick was even captivated by this waltz by writing in the journal "Wiener Zeitung" the following extract "Those bad-tempered old-fashioned people, whose narrow-mindedness goes far as to call today's dance music contemptible should be serenaded with ashaming generosity by the 'Liebeslieder' of the young Johann Strauss."
By essence, the waltz is a love serenade of sorts in 3/4 time. The waltz starts quietly with pizzicato on the strings section of the orchestra before a full-bodied 'forte' signals the beginning of the waltz sections. The first theme is that of a yearning feeling, before accelerating into a strong melody. The mood of the rest of the piece alternates between lushly romantic moods as well as light-heartedness, with the flute gently serenading the waltz sections 4 and 5. The piece ends dramatically, with a sense of anticipation, on a timpani drumroll and brass flourish.
The waltz also features on many arrangements with a string orchestra as well as a quintet of strings. Curiously, many of these arrangements are labelled as 'Music of the Old Vienna' when played with such an arrangement, as it could be possible that Strauss' melodies in this waltz invokes the feeling of the romance of the Old Vienna.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Strauss
Johann Strauss - Vienna Blood Op. 354
Wiener Blut ('Viennese Blood', 'Vienna Blood' or 'Viennese Spirit') Op. 354 is a waltz by Johann Strauss II first performed by the composer on 22 April 1873. The new dedication waltz was to celebrate the wedding of the Emperor Franz Joseph I's daughter Archduchess Gisela Louise Maria and Prince Leopold of Bavaria. However, the waltz was also chiefly noted by Strauss' biographers as the début of Strauss with the Vienna Philharmonic Orchestra where for many years, the Philharmonic had dismissed any association with the 'Waltz King' as it had not wished to be associated with mere 'light' or 'pops' music. The festival ball celebrating the event was held at the Musikverein Hall which is the venue for the present day Neujahrskonzert.
'Wiener Blut' is one of a handful of late works by Strauss that were not composed for the stage; at this point in his career he was concentrating on writing for the performing stage, and not for the ballroom, and had written at least two operettas before penning this waltz, with Die Fledermaus still to come.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Strauss
Johann Sebastian Bach
Johannes Passion BWV 245
Primeira parte
1. 10:14 Coro: Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!
2. 3:02
2a. Evangelista, Jesus: Jesus ging mit seinen Jüngern über den Bach Kidron
2b. Coro: Jesum von Nazareth
2c. Evangelista, Jesus: Jesus spricht zu ihnen
2d. Coro: Jesum von Nazareth
2e. Evangelista, Jesus: Jesus antwortete: Ich hab's euch gesagt, daß ich's sei
3. 1:09 Coral: O große Lieb, o Lieb ohn alle Maße
4a.1:28 Evangelista, Jesus: Auf daß das Wort erfüllet würde
5. 1:00 Coral: Dein Will gescheh, Herr Gott, zugleich
6. 0:42 Evangelista: Die Schar aber und der Oberhauptmann
7. 6:04 Aria (alto, oboes): Von den Stricken meiner Sünden
8. 0:12 Evangelista: Simon Petrus aber folgete Jesu nach
9. 3:31 Aria (soprano, flautas): Ich folge dir gleichfalls mit freudigen Schritten
10. 3:38 Evangelista, Empregada, Pedro, Jesus e um Servo: Derselbige Jünger war dem Hohenpriester bekannt
11. 2:17 Coral: Wer hat dich so geschlagen
12. 2:18
12a. Evangelista: Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas
12b. Coro: Bist du nicht seiner Jünger einer?
12c. Evangelista, Pedro, Servo: Er leugnete aber
13. 3:13 Aria (tenor): Ach, mein Sinn
14. 1:48Coral: Petrus, der nicht denkt zurück
Segunda parte
15. 1:02 Coral: Christus, der uns selig macht
16. 4:52
16a. Evangelist, Pilate: Da führeten sie Jesum von Kaiphas vor das Richthaus
16b. Coro: Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.
16c. Evangelist, Pilate: Da sprach Pilatus zu ihnen
16d. Coro: Wir dürfen niemand töten.
16e. Evangelist, Pilate, Jesus: Auf daß erfüllet würde das Wort Jesu
17. 2:44 Coral: Ach großer König, groß zu allen Zeiten
18. 2:20
18a. Evangelista, Pilatus, Jesus: Da sprach Pilatus zu ihm
18b. Coro: Nicht diesen, sondern Barrabam!
18c. Evangelista, Pilatus, Jesus: Barrabas aber war ein Mörder.
19. 2:28 Arioso (baixo, viola d'amore, lute): Betrachte, meine Seel, mit ängstlichem Vergnügen
20. 8:17 Aria (tenor, viole d'amore): Erwäge, wie sein blutgefärbter Rücken
21. 6:20
21a. Evangelista: Und die Kriegsknechte flochten eine Krone von Dornen
21b. Coro: Sei gegrüßet, lieber Jüdenkönig!
21c. Evangelista, Pilate: Und gaben ihm Backenstreiche.
21d. Coro: Kreuzige, kreuzige!
21e. Evangelista, Pilatus: Pilatus sprach zu ihnen
21f. Coro: Wir haben ein Gesetz, und nach dem Gesetz soll er sterben
21g. Evangelista, Pilatus, Jesus: Da Pilatus das Wort hörete, fürchtet' er sich noch mehr
22. 0:51 Coral: Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen
23. 4:40
23a. Evangelista: Die Jüden aber schrieen
23b. Coro: Lässest du diesen los, so bist du des Kaisers Freund nicht
23c. Evangelista, Pilate: Da Pilatus da Wort hörete, führete er Jesum heraus
23d. Coro: Weg, weg mit dem, kreuzige ihn!
23e. Evangelista, Pilatus: Spricht Pilatus zu ihnen
23f. Coro: Wir haben keinen König denn den Kaiser.
23g. Evangelista: Da überantwortete er ihn daß er gekreuziget würde.
24. 4:15 Aria (baixo) e coro: Eilt, ihr angefochtnen Seelen
25. 2:06
25a. Evangelista: Allda kreuzigten sie ihn
25b. Coro: Schreibe nicht: der Jüden König
25c. Evangelista, Pilate: Pilatus antwortet
26. 1:23 Coral: In meines Herzens Grunde
27. 4:22
27a. Evangelista: Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider
27b. Coro: Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.
27c. Evangelista, Jesus: Auf daß erfüllet würde die Schrift
28. 1:29 Coral: Er nahm alles wohl in acht
29. 1:44 Evangelista, Jesus: Und von Stund an nahm sie der Jünger zu sich.
30. 7:14 Aria (contralto, viola da gamba): Es ist vollbracht!
31. 0:29 Evangelista: Und neiget das Haupt und verschied.
32. 4:39 Aria (baixo e coro]]: Mein teurer Heiland, laß dich fragen
33. 0:39 Evangelista: Und siehe da, der Vorhang im Tempel zeriß in zwei Stück
34. 0:51 Arioso (tenor, flutes, oboes): Mein Herz, in dem die ganze Welt bei Jesu Leiden gleichfalls leidet
35. 6:32 Aria (soprano, flute, oboe da caccia): Zerfließe, mein Herze, in Fluten der Zähren
36. 2:07 Evangelista: Die Jüden aber, dieweil es der Rüsttag war
37. 1:22 Coral: O hilf, Christe, Gottes Sohn
38. 2:18 Evangelista: Darnach bat Pilatum Joseph von Arimathia
39. 8:49 Coro: Ruht wohl, ihr heiligen Gebeine
40. 2:54 Coral: Ach Herr, lass dein lieb Engelein
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Bach
Johann Sebastian Bach
Ein feste Burg ist unser Gott ("A Mighty Fortress Is Our God"), BWV 80 (also: BWV 80.3), is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a (also: BWV 80.1). The first Leipzig version of the church cantata, BWV 80b (also: BWV 80.2), may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn.
Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani.
Ein feste Burg ist unser Gott was published in 1821, the first of Bach's cantatas published after his death. The Bach Gesellschaft edition appeared half a century later, and included an extended instrumentation by Wilhelm Friedemann.
Kantate BWV 80
1. Ein feste Burg ist unser Gott 5:32
2. Alles, was von Gott geboren 4:10
3. Erwage doch, Kind Gottes 2:18
4. Komm in mein Herzenshaus 3:47
5. Und wenn die Welt volt Teufel war 3:59
6. So stehe denn bei Christi Blutgefarbter Fahne 1:39
7. Wie selig sind doch die 4:15
8. Das Wort sie sollen lassen stahn 1:27
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Bach
Johann Sebastian Bach
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he is generally regarded as one of the greatest composers of all time.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at age 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar, where he expanded his organ repertory, and Köthen, where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer, a situation that was little remedied when he was granted the title of court composer by his sovereign, Augustus, Elector of Saxony and King of Poland, in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including, for instance, the Air on the G String, and of recordings, such as three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Oboe Concerto
1. Allegro 4:36
2. Larghetto 4:58
3. Allegro ma non tanto 4:44
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Bach