Beethoven - Moonlight Sonata Op. 27 No. 2 - Music | History
The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", Op. 27, No. 2, popularly known as the Moonlight Sonata, is a piano sonata by Ludwig van Beethoven. It was completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi.
The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favorite even in his own day. Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.
The first edition of the score is headed Sonata quasi una fantasia, a title this work shares with its companion piece, Op. 27, No. 1. Grove Music Online translates the Italian title as "sonata in the manner of a fantasy". The title could also be interpreted to imply "...as though improvised".
The name "Moonlight Sonata" comes from remarks made by the German music critic and poet Ludwig Rellstab. In 1832, five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. Within ten years, the name "Moonlight Sonata" ("Mondscheinsonate" in German) was being used in German and English publications. Later in the nineteenth century, the sonata was universally known by that name.
Many critics have objected to the subjective, romantic nature of the title "Moonlight", which has at times been called "a misleading approach to a movement with almost the character of a funeral march" and "absurd". Other critics have approved of the sobriquet, finding it evocative or in line with their own interpretation of the work. Gramophone founder Compton Mackenzie found the title "harmless", remarking that "it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor Rellstab", and adding, "what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this music Rellstab's remark would long ago have been forgotten."
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Haydn - Keyboard Sonata in G major, Hob. XVI27 - Music | History
Franz Joseph Haydn was among the creators of the fundamental genres of classical music, and his influence upon later composers is immense. Haydn’s most celebrated pupil was Ludwig van Beethoven, and his musical form casts a huge shadow over the music of subsequent composers such as Schubert, Mendelssohn and Brahms.
Early Life
Franz Joseph Haydn was recruited at age 8 to the sing in the choir at St. Stephen's Cathedral in Vienna, where he went on to learn to play violin and keyboard. After he left the choir, he supported himself by teaching and playing violin, while studying counterpoint and harmony.
Haydn soon became an assistant to composer Nicola Porpora in exchange for lessons, and in 1761 he was named Kapellmeister, or "court musician," at the palace of the influential Esterházy family, a position that would financially support him for nearly 30 years. Isolated at the palace from other composers and musical trends, he was, as he put it, "forced to become original."
The Mature Artist
While Haydn rose in the Esterházy family's esteem, his popularity outside the palace walls also increased, and he eventually wrote as much music for publication as for the family. Several important works of this period were commissions from abroad, such as the Paris symphonies (1785-1786) and the original orchestral version of "The Seven Last Words of Christ" (1786). Haydn came to feel sequestered and lonely, however, missing friends back in Vienna, such as Wolfgang Amadeus Mozart, so in 1791, when a new Esterházy prince let Haydn go, he quickly accepted an invitation to go to England to conduct new symphonies with German violinist and impresario Johan Peter Salomon. He would return to London again in 1794 for another successful and lucrative season.
Already well known and appreciated in England, Haydn's concerts drew huge crowds, and during his time in England the composer created some of his most popular works, including the "Rider" quartet and the Surprise, Military, Drumroll and London symphonies.
Later Years
Haydn returned to Vienna in 1795 and took up his former position with the Esterházys, although only part-time. At this point, he was a public figure in Vienna, and when he wasn't at home composing, he was making frequent public appearances. With his health failing, his creative spirit outlasted his ability to harness it, and he died at age 77.
Haydn is remembered as the first great symphonist and the composer who essentially invented the string quartet. The principal engineer of the classical style, Haydn exerted influence on the likes of Mozart, his student Ludwig van Beethoven and scores of others.
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Chopin - Etude Op. 25 - 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."
Chopin's Études are not without modern influence as well. Several of the études have lodged themselves in popular music, movies, or television shows.
Chopin's second set of Études was published in 1837, and dedicated to Franz Liszt's mistress, Marie d'Agoult, the reasons for which are a matter of speculation.
The date of composition of all opus 25 Etudes is before June 30 1835 , the date of a contract between Chopin and Breitkopf & Hartel (awarding the publisher the rights for Germany) ( Krystyna Kobylanska )
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Beethoven - Sonata No. 21 Op. 53 in C Major - Music | History
Beethoven's Piano Sonata No. 21 in C major, Op. 53, known as the Waldstein, is one of the three most notable sonatas of his middle period (the other two being the Appassionata, Op. 57, and Les Adieux, Op. 81a). Completed in summer 1804 and surpassing Beethoven's previous piano sonatas in its scope, the Waldstein is a key early work of Beethoven's "Heroic" decade (1803–1812) and set a standard for piano composition in the grand manner.
The sonata's name derives from Beethoven's dedication to his close friend and patron Count Ferdinand Ernst Gabriel von Waldstein of Vienna. Like the Archduke Trio (one of many pieces dedicated to Archduke Rudolph), it is named for Waldstein even though other works are dedicated to him. It is also known as L'Aurora (The Dawn) in Italian, for the sonority of the opening chords of the third movement, thought to conjure an image of daybreak.
It is considered one of Beethoven's greatest and most technically challenging piano sonatas. The first section of the rondo requires a simultaneous pedal trill, high melody and rapid left hand runs while its coda's glissando octaves, written in dialogue between the hands, compel even advanced performers to play in a simplified version since it is more demanding to play on the heavier action of a modern piano than on an early 19th-century instrument.
An average performance of the entire Waldstein lasts about twenty-five minutes.
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Haydn - String Quartets, Hob. III - Lark - Music | History
Franz Joseph Haydn was among the creators of the fundamental genres of classical music, and his influence upon later composers is immense. Haydn’s most celebrated pupil was Ludwig van Beethoven, and his musical form casts a huge shadow over the music of subsequent composers such as Schubert, Mendelssohn and Brahms.
Early Life
Franz Joseph Haydn was recruited at age 8 to the sing in the choir at St. Stephen's Cathedral in Vienna, where he went on to learn to play violin and keyboard. After he left the choir, he supported himself by teaching and playing violin, while studying counterpoint and harmony.
Haydn soon became an assistant to composer Nicola Porpora in exchange for lessons, and in 1761 he was named Kapellmeister, or "court musician," at the palace of the influential Esterházy family, a position that would financially support him for nearly 30 years. Isolated at the palace from other composers and musical trends, he was, as he put it, "forced to become original."
The Mature Artist
While Haydn rose in the Esterházy family's esteem, his popularity outside the palace walls also increased, and he eventually wrote as much music for publication as for the family. Several important works of this period were commissions from abroad, such as the Paris symphonies (1785-1786) and the original orchestral version of "The Seven Last Words of Christ" (1786). Haydn came to feel sequestered and lonely, however, missing friends back in Vienna, such as Wolfgang Amadeus Mozart, so in 1791, when a new Esterházy prince let Haydn go, he quickly accepted an invitation to go to England to conduct new symphonies with German violinist and impresario Johan Peter Salomon. He would return to London again in 1794 for another successful and lucrative season.
Already well known and appreciated in England, Haydn's concerts drew huge crowds, and during his time in England the composer created some of his most popular works, including the "Rider" quartet and the Surprise, Military, Drumroll and London symphonies.
Later Years
Haydn returned to Vienna in 1795 and took up his former position with the Esterházys, although only part-time. At this point, he was a public figure in Vienna, and when he wasn't at home composing, he was making frequent public appearances. With his health failing, his creative spirit outlasted his ability to harness it, and he died at age 77.
Haydn is remembered as the first great symphonist and the composer who essentially invented the string quartet. The principal engineer of the classical style, Haydn exerted influence on the likes of Mozart, his student Ludwig van Beethoven and scores of others.
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Chopin - Nocturne in D flat major Op. 27 No. 2 - Music | History
The Nocturnes, Op. 27 are two solo piano pieces composed by Frédéric Chopin. The pieces were composed in 1836 and published in 1837. Both nocturnes in this opus are dedicated to Countess d'Appony.
This publication marked the transition from triplets of nocturnes to contrasting pairs.
David Dubal feels that the pieces are "more aptly described as ballades in miniature". Blair Johnson states that these two nocturnes are "two of the most powerful—and famous—nocturnes [Chopin] has ever penned" and that these nocturnes are "virtually unrecognizable" to the nocturne tradition of John Field.
The Nocturne in D-flat major is initially marked as lento sostenuto and is in 6/8 meter. It consists of two strophes, repeated in increasingly complex variations. The piece is 77 measures long.
Blair Johnston calls the main cadence, near the end of the piece, "one of the most glorious moments in Chopin's entire output". Johnston also calls the piece "one of [Chopin's] most graceful essays in fioritura ornamental practices". Huneker states that the piece "really contains but one subject, and is a song of the sweet summer of two souls, for there is obviously meaning in the duality of voices." He also claims that the piece is "harmonically most interesting". Friskin states that the piece contains "broken rhythms and slurs which require a delicate hand touch".
The piece occasionally has been featured in popular culture, such as in the 1977 film The Spy Who Loved Me, the 1998 Russian film The Barber of Siberia, and the webcomic Saturday Morning Breakfast Cereal.
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Chopin - Nocturne in B major Op. 9 No. 3 - Music | History
The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832, published that year, and dedicated to Madame Marie Pleyel. The second nocturne of the work is regarded as Chopin's most famous piece.
It is in ternary form A-B-A. The first section is marked allegretto. The main theme is chromatic, but filled with nostalgic energy. The second contrasting section, Agitato in B minor, is a very dramatic one with a combined melody and counter-melody in the right hand and continuous 8th note arpeggios in the left, which requires an amount of virtuosity. The piece is full of coloratura ornaments, and ends with a wide chord in the left hand accompanied with right hand triplets in a high octave to lead to a legatissimo smorzando adagio (senza tempo).
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Anton Rubinstein - The Demon Opera - Music | History
Demon is an opera in three acts (six scenes) by Russian composer Anton Rubinstein. The work was composed in 1871. The libretto was by Pavel Viskovatov, based on the poem of the same name by Mikhail Lermontov.
Lermontov's poem was banned as sacrilegious until 1860. Its popularity and its lurid story made it an excellent candidate for an opera libretto, and Rubinstein himself worked out the scenario from which Viskovatov produced the final text. The opera was premiered at the Mariinsky Theatre, St. Petersburg, on 25 January [O.S. 13 January] 1875, conducted by Eduard Nápravník. The stage design was by Mikhayil Bocharov, Matvey Shishkov, and Lagorio. The Moscow premiere was in 1879 at the Bolshoi Theatre, conducted by Enrico Bevignani.
The opera was published by V. Bessel and Co., St. Petersburg, in 1876. A further edition was in 1968 by Muzgiz, Moscow.
Rubinstein invited several musicians of the group known as The Five, including César Cui, Modest Mussorgsky and Nikolai Rimsky-Korsakov, as well as the critic Vladimir Stasov to a private hearing of the opera in September 1871, where the guests did not regard the work favourably. However, melodic motifs from The Demon inspired comparable motifs in Mussorgsky's Khovanshchina and Tchaikovsky's Eugene Onegin.
The opera received 100 performances in the first decade following its premiere. Its first performance in Paris was in May 1911, where the critics considered the opera to be old-fashioned.
Whilst it is still quite frequently performed in Russia, the opera has become a rarity in the West.
Demon was performed in a semi-staged version at the Tchaikovsky Concert Hall in Moscow in 2015 with Dmitry Hvorostovsky in the title role and Asmik Grigoryan as Tamara. The performance was directed by Dmitry Bertman of Helikon Opera and broadcast live on Russian television. The final scene of the opera also appears on his 2016 CD Dmitri Hvorostovsky Sings of Love, Peace, War and Sorrow. A fully staged production of the opera, also directed by Bertman, was performed in the original Russian at the Gran Teatre del Liceu in Barcelona in April–May 2018. The Liceu production was originally intended for Hvorostovsky, who died from a brain tumor in 2017. In his stead the role of the Demon was taken the Latvian bass-baritone Egils Siliņš.
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Vivaldi - Concerto for 2 Violins in A minor, RV 522 - I. Allegro - Music | History
L'estro armonico (The Harmonic Inspiration), Op. 3, is a set of 12 concertos for stringed instruments by Italian composer Antonio Vivaldi, first published in Amsterdam in 1711. Vivaldi's Twelve Trio Sonatas, Op. 1, and Twelve Violin Sonatas, Op. 2, only contained sonatas, thus L'estro armonico was his first collection of concertos appearing in print. It was also the first time he chose a foreign publisher, Estienne Roger, instead of an Italian. Each concerto was printed in eight parts: four violins, two violas, cello and continuo. The continuo part was printed as a figured bass for violone and harpsichord.
The concertos belong to the concerto a 7 format, that is: for each concerto there are seven independent parts. In each consecutive group of three concertos, the first is a concerto for four violins, the second for two violins, and the third a solo violin concerto. The cello gets solistic passages in several of the concertos for four and two violins, so that a few of the concertos conform to the traditional Roman concerto grosso format where a concertino of two violins and cello plays in contrast to a string orchestra. L'estro armonico pioneered orchestral unisono in concerto movements.
Vivaldi composed a few concertos specifically for L'estro armonico, while other concertos of the set had been composed at an earlier date. Vivaldi scholar Michael Talbot described the set as "perhaps the most influential collection of instrumental music to appear during the whole of the eighteenth century".
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Vivaldi - Four Seasons - Music | History
The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. They were written around 1716–1717 and published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).
The Four Seasons is the best known of Vivaldi's works. Though three of the concerti are wholly original, the first, "Spring", borrows motifs from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.
Unusually for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—i.e., music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.
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