The Polonaise in C major, Op. 89, by Ludwig van Beethoven is a polonaise for solo piano, published in 1815. He composed it in December 1814, at a time when the polonaise was becoming a popular dance and class marker among the European nobility.[1] Beethoven was presented as a prominent artist at the ongoing Congress of Vienna, where he met the visiting Russian Empress Elizabeth Alexeievna. He dedicated the polonaise to the Empress, and was compensated with a sum of 50 ducats. The piece is Beethoven's first and only published standalone polonaise, and is notable as a precursor to Chopin's more well-known polonaises. Ludwig van Beethoven Polonaise in C Op 89 - Alla polacca vivace For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Beethoven
Ludwig van Beethoven; baptised 17 December 1770 – 26 March 1827) was a German composer and pianist; his music is amongst the most performed of the classical repertoire, and he is one of the most admired composers in the history of Western music. His works span the transition from the classical period to the romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The "early" period in which he forged his craft, is typically seen to last until 1802. His "middle" period, (sometimes characterised as "heroic") showing an individual development from the "classical" styles of Joseph Haydn and Wolfgang Amadeus Mozart, covers the years 1802 to 1812, during which he increasingly suffered from deafness. In the "late" period from 1812 to his death in 1827, he extended his innovations in musical form and expression. Beethoven was born in Bonn. His musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. He was later taught by the composer and conductor Christian Gottlob Neefe, under whose tuition he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795. His first major orchestral work, the First Symphony, appeared in 1800, and his first set of string quartets was published in 1801. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the 'Emperor'), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1810, but not with Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his "Heiligenstadt Testament" (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812). In the years from 1810, increasingly less socially involved, Beethoven composed many of his most admired works including his later symphonies and his mature chamber music and piano sonatas. His only opera, Fidelio, which had been first performed in 1805, was revised to its final version in 1814. He composed his Missa Solemnis in the years 1819–1823, and his final, Ninth, Symphony, one of the first examples of a choral symphony, in 1822–1824. Written in his last years, his late string quartets of 1825–26 are amongst his final achievements. After some months of bedridden illness he died in 1827. Beethoven's works remain mainstays of the classical music repertoire. Ludwig van Beethoven Cello Sonata No. 4 in C Op. 102 No. 1 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Beethoven
Leroy Anderson (/ləˈrɔɪ/ lə-ROY); (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, of which many were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music." Born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music. In 1925 Anderson entered Harvard College, where he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, orchestration with Edward B. Hill and Walter Piston, composition, also with Piston, and double bass with Gaston Dufresne. He also studied organ with Henry Gideon. He graduated with a Bachelor of Arts, magna cum laude in 1929 and was elected to Phi Beta Kappa. In Harvard University Graduate School, he studied composition with Walter Piston and George Enescu and received a Master of Arts in Music in 1930. Leroy Anderson The Syncopated Clock For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #LeroyAnderson
Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'), BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins. The text and tune of the three stanzas of the hymn appears unchanged in three of seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera. Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce the soprano), two oboes, taille, violino piccolo, strings and basso continuo including bassoon. Bach used the central movement of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it "a cantata without weakness, without a dull bar, technically, emotionally and spiritually of the highest order". Johann Sebastian Bach Awake calls the voice to us BWV 140 For more: http://www.melhoresmusicasclassicas.b... #MusicHistory #ClassicalMusic #Bach
Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, of which many were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music." Born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music. In 1925 Anderson entered Harvard College, where he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, orchestration with Edward B. Hill and Walter Piston, composition, also with Piston, and double bass with Gaston Dufresne. He also studied organ with Henry Gideon. He graduated with a Bachelor of Arts, magna cum laude in 1929 and was elected to Phi Beta Kappa. In Harvard University Graduate School, he studied composition with Walter Piston and George Enescu and received a Master of Arts in Music in 1930. In 1975, Anderson died of cancer in Woodbury, Connecticut and was buried there. Leroy Anderson Sleigh Ride For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #LeroyAnderson
Violin Sonata No. 18 in G Major (K 301/293a) was composed by Wolfgang Amadeus Mozart in March 1778 in Mannheim, Germany and was first published in the same year as part of Mozart's Opus 1 collection, which was dedicated to Maria Elisabeth, Electress of the Palatinate and are consequently known as the Palatine Sonatas. The work consists of two movements: 1. Allegro con Spirito 2. Allegro Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized. He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years". Wolfgang Amadeus Mozart Violin Sonata No. 18 K 301 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Mozart
Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, of which many were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music." Born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music. In 1925 Anderson entered Harvard College, where he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, orchestration with Edward B. Hill and Walter Piston, composition, also with Piston, and double bass with Gaston Dufresne. He also studied organ with Henry Gideon. He graduated with a Bachelor of Arts, magna cum laude in 1929 and was elected to Phi Beta Kappa. In Harvard University Graduate School, he studied composition with Walter Piston and George Enescu and received a Master of Arts in Music in 1930. In 1975, Anderson died of cancer in Woodbury, Connecticut and was buried there. Leroy Anderson Forgotten Dreams For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #LeroyAnderson
Symphony No. 17 in G major, K. 129, is the second of three symphonies completed by Wolfgang Amadeus Mozart in May 1772, when he was 16 years old, but some of its sections may have been written earlier. Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized. He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years". Wolfgang Amadeus Mozart Symphony No. 17 in G K 129 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Mozart
Frank Pelleg Concerto No. 13 in F major For more: http://www.melhoresmusicasclassicas.blogspot.com
Fantasia No. 3 in D minor, K. 397/385g (Fantasy in English, Fantasie in German) is a piece of music for solo piano composed by Wolfgang Amadeus Mozart in 1782. Despite being unfinished at Mozart's death, the piece is nonetheless one of his more popular compositions for the piano. The original manuscript has not survived and the final measures of the piece have been lost or were never completed by Mozart. The ending as it currently exists (the last 10 measures) is believed to have been written by August Eberhard Müller, one of the composer's admirers.[1] For her Philips Records recording, pianist Mitsuko Uchida has written her own ending that is similar to the piece's beginning, rather than using Müller's. The Fantasia runs to just over 100 measures, in a single multi-tempo movement marked Andante – Adagio – Presto – Tempo primo – Presto – Tempo primo – Allegretto, and a full performance takes approximately five minutes. The Austrian composer and academic Gerhard Präsent has published an extensive analysis of the Fantasia that reveals highly interesting structural correlations between the different parts of the composition.[2] He has also made an arrangement for string quartet in four movements, called the Fantasy Quartet in D, in which this piece is the first movement. Wolfgang Amadeus Mozart Fantasia in Dm K 397 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Mozart