Antonio Vivaldi - Concerto in B flat Major
Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian Baroque musical composer, virtuoso violinist, teacher, and Roman Catholic 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 musical 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.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Vivaldi
Johann Pachelbel - Vom Himmel hoch da komm ich her
Johann Pachelbel (baptised 1 September 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
César Franck - Sonata for Cello and Piano
César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life.
He was born at Liège, in what is now Belgium (though at the time of his birth it was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception for an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll.
In 1858, he became organist at the Basilica of St. Clotilde, Paris, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. His pupils included Vincent d'Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu and Henri Duparc. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Franck
César Franck - Piano Quintet
César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life.
He was born at Liège, in what is now Belgium (though at the time of his birth it was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception for an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll.
In 1858, he became organist at the Basilica of St. Clotilde, Paris, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. His pupils included Vincent d'Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu and Henri Duparc. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Franck
Wolfgang Amadeus Mozart - Symphony No. 36 in C 'Linz', K 425
The Symphony No. 36 in C major, K. 425, (known as the Linz Symphony) was written by Wolfgang Amadeus Mozart during a stopover in the Austrian town of Linz on his and his wife's way back home to Vienna from Salzburg in late 1783.[1] The entire symphony was written in four days to accommodate the local count's announcement, upon hearing of the Mozarts' arrival in Linz, of a concert. The première in Linz took place on 4 November 1783. The composition was also premièred in Vienna on 1 April 1784. The autograph score of the "Linz Symphony" was not preserved, but a set of parts sold by Mozart to the Fürstenberg court at Donaueschingen in 1786 does survive.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Wolfgang Amadeus Mozart - Flute and Harp Concerto in C major
The Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, is a concerto by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote (the other being his Piano Concerto No. 10; though his Sinfonia Concertante for Violin, Viola, and Orchestra could just as well be considered a "double concerto"), as well as the only piece of music by Mozart for the harp. The piece is one of the most popular such concertos in the repertoire, as well as often being found on recordings dedicated to either one of its featured instruments.
Mozart wrote the concerto in April 1778, during his seven-month sojourn in Paris. It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735–1806), a flutist, for his use and for that of his eldest daughter, Marie-Louise-Philippine (1759–1796), a harpist, who was taking composition lessons from the composer, at the duke's home, the Hôtel de Castries. Mozart stated in a letter to his father that he thought the duke played the flute "extremely well" and that Marie's playing of the harp was "magnifique". As a composition student, however, Mozart found Marie thoroughly inept. The duke (until 1776, the comte de Guines), an aristocrat Mozart came to despise, never paid the composer for this work, and Mozart instead was offered only half the expected fee for the lessons, through de Guines' housekeeper. But he refused it. (For his tutoring, Mozart was owed six Louis d'or.) Little is known of the work's early performance history, though it seems probable that father and daughter played it first.
In the classical period, the harp was still in development, and was not considered a standard orchestral instrument. It was regarded more as a plucked piano. Therefore, harp and flute was considered an extremely unusual combination. Currently, there is much more repertoire for a flute and harp duo, especially without orchestra. Much of this repertoire was written by composers in the nineteenth century. Mozart's opinion of the harp, however, was perhaps dubious at best, for he never wrote another piece that employed it.
Mozart quite likely composed this work with the duke's and his daughter's particular musical abilities in mind. He probably composed the majority of this concerto at the home of Joseph Legros, the director of the Concert Spirituel. Monsieur Legros had given Mozart the use of his keyboard in his home so that he could compose. (Mozart perhaps also composed part of the concerto at his second Paris apartment, which was on the rue du Gros Chenet.)
The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time. Today, the concerto is often played by chamber ensembles, because it is technically and elegantly challenging for both the solo instruments it calls for. It is also often played by orchestras to display the talents of their own flutists and harpists.
The harp part appears to be more like an adaptation of a piano piece than an original harp part; this is especially evident in the patterns of five and ten notes throughout all three movements which would not fall under the fingers as easily for a harpist, as the fifth fingers are typically not used, though they were considered part of early harp technique. There are no full, rich glissandi, and although there is counterpoint in the harp part, it does not typically include lush chords. Mozart did not include any cadenzas of his own, as is normal for his compositions. Alfred Einstein claims that Mozart's cadenzas for this work were lost. A few popular cadenzas are often performed, such as those by Carl Reinecke, but many flutists and harpists have chosen to write their own. André Previn has also written cadenzas for this piece.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
The Symphony No. 4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by German composer Felix Mendelssohn.
The work has its origins (as had the composer's Scottish 3rd Symphony and The Hebrides overture) in the tour of Europe which occupied Mendelssohn from 1829 to 1831. Its inspiration is the colour and atmosphere of Italy, where Mendelssohn made sketches but left the work incomplete. Below is a snippet of a letter he wrote to his father:
This is Italy! And now has begun what I have always thought... to be the supreme joy in life. And I am loving it. Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness.
In February he wrote from Rome to his sister Fanny,
The Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples.
The Italian Symphony was finished in Berlin on 13 March 1833, in response to an invitation for a symphony from the London (now Royal) Philharmonic Society; he conducted the first performance himself in London on 13 May 1833 at a London Philharmonic Society concert. The symphony's success, and Mendelssohn's popularity, influenced the course of British music for the rest of the century. The Germania Musical Society of Boston gave the first performance in the United States, on 1 November 1851, with Carl Bergmann conducting.
Mendelssohn himself, however, remained dissatisfied with the composition, which cost him, he said, some of the bitterest moments of his career; he revised it in 1834 and even planned to write alternative versions of the second, third, and fourth movements. He never published the symphony, and it appeared in print only in 1851; thus it is numbered as his "Symphony No. 4", even though it was in fact the third he composed.
Conductor - Gioacchino Pensato
Contact the artist at gioacchino.pensato@gmail.com
Visit the Gioacchino Pensato Facebook page at www.facebook.com/GioacchinoPensato
Symphony No. 4 - Italian
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mendelssohn
Hector Berlioz - The Damnation of Faust Op. 24 (Hungarian March)
La damnation de Faust (English: The Damnation of Faust), Op. 24 is a work for four solo voices, full seven-part chorus, large children's chorus and orchestra by the French composer Hector Berlioz. He called it a "légende dramatique" (dramatic legend). It was first performed at the Opéra-Comique in Paris on 6 December 1846.
The French composer was inspired by a translation of Goethe's dramatic poem Faust and produced a musical work that, like the masterpiece on which it is based, defies easy categorisation. Conceived at various times as a free-form oratorio and as an opera (Berlioz ultimately called it a "légende dramatique") its travelogue form and cosmic perspective have made it an extreme challenge to stage as an opera. Berlioz himself was eager to see the work staged, but once he did, he conceded that the production techniques of his time were not up to the task of bringing the work to dramatic life. Most of the work's fame has come through concert performances.
Berlioz read Goethe's Faust, Part One in 1828, in Gérard de Nerval's translation; "this marvellous book fascinated me from the first", he recalled in his Memoirs. "I could not put it down. I read it incessantly, at meals, in the theatre, in the street." He was so impressed that a suite entitled Eight Scenes from Faust became his Opus 1 (1829), though he later recalled all the copies of it he could find. He returned to the material in 1845, to make a larger work, with some additional text by Almire Gandonnière to Berlioz's specifications, that he first called a "concert opera", and as it expanded, finally a "dramatic legend".
He worked on the score during his concert tour of 1845, adding his own text for "Nature immense, impénétrable et fière"—Faust's climactic invocation of all nature—and incorporating the Rákóczi March, which had been a thunderous success at a concert in Pest, Hungary, on 15 February 1846.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Berlioz
Hector Berlioz - Symphony Fantastique Op. 14
Symphonie fantastique: Épisode de la vie d'un artiste … en cinq parties (Fantastical Symphony: Episode in the Life of an Artist … in Five Sections) Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important piece of the early Romantic period. The first performance was at the Paris Conservatoire on 5 December 1830. Franz Liszt made a piano transcription of the symphony in 1833 (S. 470).
Leonard Bernstein described the symphony as the first musical expedition into psychedelia because of its hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, "Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral."
In 1831, Berlioz wrote a lesser-known sequel to the work, Lélio, for actor, soloists, chorus, piano and orchestra.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Berlioz
Franz Joseph Haydn - Divertimento in C major, Hob XVI1
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". 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.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Haydn