Claude Debussy (22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.
Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.
Debussy's orchestral works include Prélude à l'après-midi d'un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his "symphonic sketches", La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.
With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.
Claude Debussy - The Best of Debussy - Part I - Greatest Works
Tracklist:
1 - Debussy - Danse sacrée et danse profane - 2 Danse Profane
2 - Debussy - La damoiselle élue
3 - Debussy - La plus que lente
4 - Debussy - Sonata for Cello and Piano
5 - Debussy - Rêverie
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n the period of Muscovy (1283–1547), a distinct line was formed between the sacred music of the Orthodox Church and that of secular music used for entertainment. The former draws its tradition from the Byzantine Empire, with key elements being used in Russian Orthodox bell ringing, as well as choral singing. Neumes were developed for musical notation, and as a result several examples of medieval sacred music have survived to this day, among them two stichera composed by Tsar Ivan IV[1] in the 16th century.
One of Russia's earliest music theorists was the Ukrainian Nikolay Diletsky (c. 1630, Kiev – after 1680, Moscow). Although several of his compositions survive, Diletsky's fame rests chiefly on his composition treatise, Grammatika musikiyskago peniya (A Grammar of Music[al Singing]), which was the first of its kind in Russia; there are three surviving versions of this work, of which the earliest dates from 1677. Diletsky's followers included Vasily Titov, whose most enduring composition was the prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие), which was sung well beyond his time possibly because its relatively simple polyphony was more in line with the ideals of Classical music era. It was sung in Russian churches up to the October Revolution.[2]
In the 18th century, Peter I brought in reforms introducing western music fashions to Russia. During the subsequent reign of Empresses Elisabeth and Catherine, the Russian imperial court attracted many prominent musicians, many from Italy.[3] They brought with them Italian traditions of opera and classical music in general, to inspire future generations of Russian composers. A number of composers received training in Italy or from these recent Italian emigres and composed vocal and instrumental works in the Italian Classical tradition popular in the day. These include ethnic Ukrainian composers Dmitri Bortniansky, Maksim Berezovsky and Artem Vedel who not only composed masterpieces of choral music but also included operas, chambers works and symphonic works.
The first great Russian composer to exploit native Russian music traditions into the realm of Secular music was Mikhail Glinka (1804–1857), who composed the early Russian language operas Ivan Susanin and Ruslan and Lyudmila. They were neither the first operas in the Russian language nor the first by a Russian, but they gained fame for relying on distinctively Russian tunes and themes and being in the vernacular.
Russian folk music became the primary source for the younger generation composers. A group that called itself "The Mighty Five", headed by Mily Balakirev (1837–1910) and including Nikolai Rimsky-Korsakov (1844–1908), Modest Mussorgsky (1839–81), Alexander Borodin (1833–87) and César Cui (1835–1918), proclaimed its purpose to compose and popularize Russian national traditions in classical music. Among the Mighty Five's most notable compositions were the operas The Snow Maiden (Snegurochka), Sadko, Boris Godunov, Prince Igor, Khovanshchina, and symphonic suite Scheherazade. Many of the works by Glinka and the Mighty Five were based on Russian history, folk tales and literature, and are regarded as masterpieces of romantic nationalism in music.
This period also saw the foundation of the Russian Musical Society (RMS) in 1859, led by composer-pianists Anton (1829–94) and Nikolay Rubinstein (1835–81). The Mighty Five was often presented as the Russian Music Society's rival, with the Five embracing their Russian national identity and the RMS being musically more conservative. However the RMS founded Russia's first Conservatories in St Petersburg and in Moscow: the former trained the great Russian composer Peter Ilyich Tchaikovsky (1840–93), best known for ballets like Swan Lake, Sleeping Beauty, and The Nutcracker. He remains Russia's best-known composer outside Russia. Easily the most famous successor in his style is Sergei Rachmaninoff (1873–1943), who studied at the Moscow Conservatory (where Tchaikovsky himself taught). Alexander Glazunov also took this romantic style.
The late 19th and early 20th century saw the third wave of Russian classics: Igor Stravinsky (1882–1971), Alexander Scriabin (1872–1915), Sergei Prokofiev (1891–1953) and Dmitri Shostakovich (1906–1975). They were experimental in style and musical language. Some of them emigrated after the Russian revolution, though Prokofiev eventually returned and contributed to Soviet music as well.
Russian Classical Music - Great Russian Composers
1 - Korsakov - Capriccio Espagnol Op. 34
2 - Tchaikovsky - 1812 Overture
3 - Rachmaninoff - 14 Romances, Op. 34
4 - Korsakov - Russian Easter Festival Overture, Op. 36
5 - Rachmaninoff - Prélude Op. 23 No. 4
6 - Prokofiev - Violin Concerto No. 2
7 - Rachmaninoff - Piano Sonata No. 2 Op 36
8 - Tchaikovsky - Concerto for Piano No. 1 Op. 23
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Antonín Leopold Dvořák (8 September 1841 – 1 May 1904) was a Czech composer, one of the first to achieve worldwide recognition. Following the Romantic-era nationalist example of his predecessor Bedřich Smetana, Dvořák frequently employed rhythms and other aspects of the folk music of Moravia and his native Bohemia. Dvořák's own style has been described as "the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them".
Dvořák displayed his musical gifts at an early age, being an apt violin student from age six. The first public performances of his works were in Prague in 1872 and, with special success, in 1873, when he was aged 31. Seeking recognition beyond the Prague area, he submitted a score of his First Symphony to a prize competition in Germany, but did not win, and the unreturned manuscript was lost until rediscovered many decades later. In 1874 he made a submission to the Austrian State Prize for Composition, including scores of two further symphonies and other works. Although Dvořák was not aware of it, Johannes Brahms was the leading member of the jury and was highly impressed. The prize was awarded to Dvořák in 1874[a] and again in 1876 and in 1877, when Brahms and the prominent critic Eduard Hanslick, also a member of the jury, made themselves known to him. Brahms recommended Dvořák to his publisher, Simrock, who soon afterward commissioned what became the Slavonic Dances, Op. 46. These were highly praised by the Berlin music critic Louis Ehlert in 1878, the sheet music (of the original piano 4-hands version) had excellent sales, and Dvořák's international reputation was launched at last.
Dvořák's first piece of a religious nature, his setting of Stabat Mater, was premiered in Prague in 1880. It was very successfully performed in London in 1883, leading to many other performances in the United Kingdom and United States.[2] In his career, Dvořák made nine invited visits to England, often conducting performances of his own works. His Seventh Symphony was written for London. Visiting Russia in March 1890, he conducted concerts of his own music in Moscow and Saint Petersburg.[3] In 1891 Dvořák was appointed as a professor at the Prague Conservatory. In 1890–91, he wrote his Dumky Trio, one of his most successful chamber music pieces. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City. While in the United States, Dvořák wrote his two most successful orchestral works: the Symphony From the New World, which spread his reputation worldwide,[4] and his Cello Concerto, one of the most highly regarded of all cello concerti. He also wrote his most appreciated piece of chamber music, the American String Quartet, during this time. But shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness, led him to leave the United States and return to Bohemia in 1895.
All of Dvořák's nine operas but his first have librettos in Czech and were intended to convey Czech national spirit, as were some of his choral works. By far the most successful of the operas is Rusalka. Among his smaller works, the seventh Humoresque and the song "Songs My Mother Taught Me" are also widely performed and recorded. He has been described as "arguably the most versatile... composer of his time".
The Best of Dvorak - Part I - Greatest Works
Tracklist:
1. Carnival Overture, Op. 92
2. Humoresque no. 7 in Gb Op. 1017
3. Legends, Op.59 - 2. Molto moderato
4. Nature, Life and Love - I. Amid Nature Op. 91 - Allegro ma non troppo
5. Piano Quartet no. 1, Op. 23
6. Rusalka, Op. 114 - 'Song to the Moon'
7. Slavonic Dances, Op. 46 - no. 4
8. Slavonic Dances, Op. 46 - no. 6
9. Slavonic Dances, Op. 46 - no. 8
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Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the classical era.
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 traveled 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 acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
The Best of Mozart Part IV - Greatest Works
1. Mozart - Oboe Quartet in F K 370
2. Mozart - Piano Quartet in E flat major K 493
3. Mozart - Piano Quartet in Gm K 478
4. Mozart - Piano Sonata No. 3 K 281
5. Mozart - Quintet for Clarinet and String Quartet in A major K 581
6. Mozart - Sonata for Bassoon and Cello in B flat major
7. Mozart - String Quartet No. 15 In D Minor K 421
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Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.
Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later.
The Best of Vivaldi - Part II - Greatest Works
Tracklist:
1. Concerto for flute and orchestra No. 6
2. Concerto for flute Op. 10
3. Concerto for guitar and orchestra in C Major
4. Concerto for guitar and orchestra
5. Concerto Grosso D minor
6. Concerto in C major Op. 8 No. 12
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Robert Schumann8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
In 1840, after a long and acrimonious legal battle with Wieck, who opposed the marriage, Schumann married Wieck's daughter Clara. Before their marriage, Clara—also a composer—had substantially supported her father through her considerable career as a pianist. Together, Clara and Robert encouraged, and maintained a close relationship with, German composer Johannes Brahms.
Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded.
Schumann suffered from a mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich near Bonn. Diagnosed with psychotic melancholia, he died two years later at the age of 46 without recovering from his mental illness.
The Best of Schumann - Part I
Tracklist:
1. Fantasy Pieces (In the Evening)
2. Piano Concerto Op. 54
3. Violin Sonata No. 1 Op. 105
4. Waldszenen - Forest Scenes (Eintritt)
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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 Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western musical canon.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After becoming an orphan at age 10, he lived for five years with his eldest brother Johann Christoph Bach, after which he continued his musical development 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 repertoire for the organ—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 in some of his earlier positions, he had a difficult relation 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.[4] 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 mostly renowned as an organist,[5] while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities.[6] 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 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, for instance three different box sets with complete performances of the composer's works marking the 250th anniversary of his death.
The Best of Bach - Part II
Tracklist:
1. Bach - Partita No. 6 in Em BWV 830
2. Bach - Sonata No. 1 G minor
3. Bach - Suite No. 2 in B Minor BWV 1067
4. Bach - Toccata in C minor BWV 911
5. Bach - Violin Sonata in Bm BWV 1014
6. Bach - Violin Sonata in C minor BWV 1017
7. Bach - Violin Sonata in F minor BWV 1018
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Pyotr Ilyich Tchaikovsky [7 May 1840 [O.S. 25 April] – 6 November [O.S. 25 October] 1893[a 3]) was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension.
Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity mirrored in Tchaikovsky's career.
Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague Nikolai Rubinstein, and the collapse of the one enduring relationship of his adult life, which was his 13-year association with the wealthy widow Nadezhda von Meck who was his patron even though they never actually met each other. His homosexuality, which he kept private, has traditionally also been considered a major factor, though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera; there is an ongoing debate as to whether cholera was indeed the cause of death, and whether his death was accidental or self-inflicted.
While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as "lacking in elevated thought," according to longtime New York Times music critic Harold C. Schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles.
The Best of Tchaikovsky - Part I
Tracklist:
1. Carpriccio Italien Op. 45 - I
2. Concerto for Piano No. 1 Op. 23
3. Dance Of The Mirlitons
4. Symphony No. 6
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Franz Joseph Haydn (31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".
Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original".[c] Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.
He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn.
The Best of Joseph Haydn - Part III
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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 Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western musical canon.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After becoming an orphan at age 10, he lived for five years with his eldest brother Johann Christoph Bach, after which he continued his musical development 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 repertoire for the organ—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 in some of his earlier positions, he had a difficult relation 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.[4] 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 mostly renowned as an organist,[5] while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities.[6] 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 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, for instance three different box sets with complete performances of the composer's works marking the 250th anniversary of his death.
The Best of Bach - Part I
Tracklist:
1. Bach - Violin Sonata in G major BWV 1019
2. Bach - Canzona in D Minor BWV 588
3. Bach - Capriccio in B flat major BWV 992
4. Bach - Chaccone from BWV 1004
5. Bach - Flute Sonata in Eb BWV 1031
6. Bach - Fuga in G Major BWV 577
7. Bach - Gott fähret auf mit Jauchzen BWV 43 - 7. Aria Er ists der ganz allein
8. Bach - Just resist sin BWV 54
9. Bach - Mein Herze schwimmt im Blut BWV 199
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