Wolfgang Amadeus Mozart
The Violin Concerto No. 5 in A major, K. 219, often referred to by the nickname The Turkish, was written by Wolfgang Amadeus Mozart in 1775, premiering during the Christmas season that year in Salzburg. It follows the typical fast-slow-fast musical structure.
Mozart composed the majority of his concertos for string instruments from 1773 to 1779, but it is unknown for whom, or for what occasion, he wrote them. Similarly, the dating of these works is unclear. Analysis of the handwriting, papers and watermarks has proved that all five violin concertos were re-dated several times. The year of composition of the fifth concerto "1775" was scratched out and replaced by "1780", and later changed again to "1775". Mozart would not use the key of A major for a concerto again until the Piano Concerto No. 12 (K. 414)..
Violin Concerto No. 5 K 219
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Frédéric Chopin - Impromptu No. 4 Op. 66
Frédéric Chopin's Fantaisie-Impromptu (Polish: Fantazja-Impromptu) in C♯ minor Op. posth. 66 is a solo piano composition. It was composed in 1834 and published posthumously in 1855 despite Chopin's instruction that none of his unpublished manuscripts be published. The Fantaisie-Impromptu is one of Chopin's most frequently performed and popular compositions.
The Fantaisie-Impromptu was written in 1834, as were the Four Mazurkas (Op. 17) and the Grande valse brillante in E♭ major (Op. 18), but unlike these other works, Chopin never published the Fantaisie-Impromptu. Instead, Julian Fontana published it posthumously, along with other waltzes Opp. 69 and 70.[3] It is unknown why Chopin did not release the Fantaisie-Impromptu. James Huneker called parts of it "mawkish" and "without nobility". Ernst Oster conducted a technical examination of the piece which hints at similarities between the Fantaisie-Impromptu and Ludwig van Beethoven's "Moonlight" Sonata (Quasi una fantasia), which he cites as the reason for Chopin's reluctance to publish the piece.
The mystery may have been solved in 1960 when pianist Arthur Rubinstein acquired the "Album of the Baroness d'Este" which had been sold at auction in Paris. The album contained a manuscript of the Fantaisie-Impromptu in Chopin's own hand, dated 1835, stating on the title page in French "Composed for the Baroness d'Este by Frédéric Chopin". The facts of its authenticity having been "guaranteed by the French authorities" and that it shows "a delicate care for detail" and "many improvements in harmony and style" in comparison to the previously published version, Rubinstein considered absolute proof that it is the finished work. In his preface to the "Rubinstein Edition", published by G. Schirmer, Inc. in 1962, Rubinstein surmises that the words "Composed for" in place of a dedication imply that Chopin received a paid commission for the work, so he had actually sold it to the Baroness.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Chopin
Wolfgang Amadeus Mozart
Great Mass in C minor (German: Große Messe in c-Moll), K. 427/417a, is the common name of the musical setting of the mass by Wolfgang Amadeus Mozart and considered one of his greatest works. He composed it in Vienna in 1782 and 1783 after his marriage when he moved to Vienna from Salzburg. This large-scale work, a missa solemnis, is scored for two soprano soloists, a tenor and a bass, double chorus and large orchestra. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei.
Great Mass in C minor K 427
1. Kyrie 6:52
2. Gloria 2:12
3. Laudamus te 4:52
4. Gratias 1:25
5. Domine 2:51
6. Qui tollis 5:20
7. Quoniam 4:21
8. Jesu Christe - Cum Sancto Spiritu 4:31
9. 3 Credo: Credo in unum Deum 3:25
10. Et incarnatus est 8:16
11. 4 Sanctus 3:34
12. Benedictus 5:34
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Wolfgang Amadeus Mozart - Divertimento in B Flat Major K 137 (Salzburg Symphony No. 2)
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".
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Arcangelo Corelli - 12 Concerti Grossi, Op. 6 Concerto No. 4 in D major
Arcangelo Corelli (17 February 1653 – 8 January 1713) was an Italian violinist and composer of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#Classical Music
#Corelli
Reinhold Glière
The Symphony No. 3 in B minor "Ilya Muromets", Op. 42, is a large symphonic work by Russian composer Reinhold Glière. A program symphony, it depicts the life of Kievan Rus' folk hero Ilya Muromets. It was written from 1908 to 1911 and dedicated to Alexander Glazunov. The premier took place in Moscow on 23 March 1912 under Emil Cooper, and in 1914 the piece earned Glière his third Glinka Award (having already received it in 1905 and 1912).
Symphony No. 3 (Ilya Muromets) Op. 42
1. I. Pèlerins errants. Ilia Mourometz et Sviatogor
2. II. Solovéï le Brigand
3. III. Chez Vladimir Beau Soleil
4. IV. Les prousses et la pétrification d'Ilia Mourometz
For more:
http://www.melhoresmusicasclassicas.blogspot.com
Giuseppe Torelli - Trumpet Concerto in D 'Estienne Roger 188
Giuseppe Torelli (22 April 1658 – 8 February 1709) was an Italian violist, violinist, teacher, and composer of the late Baroque era.
Torelli is most remembered for contributing to the development of the instrumental concerto (Newman 1972, p. 142), especially concerti grossi and the solo concerto, for strings and continuo, as well as being the most prolific Baroque composer for trumpets (Tarr 1974).
Torelli was born in Verona. It is not known with whom he studied violin though it has been speculated that he was a pupil of Leonardo Brugnoli or Bartolomeo Laurenti, but it is certain that he studied composition with Giacomo Antonio Perti (Schnoebelen and Vanscheeuwijk 2001). On 27 June 1684, at the age of 26, he became a member of the Accademia Filarmonica as suonatore di violino (Schnoebelen and Vanscheeuwijk 2001). On 1687 Giuseppe Corsi da Celano played Torelli's music, from Op. 3, in Parma at the Sanctuary of Santa Maria della Steccata.(Ciliberti and Tribuzio 2014) By 1698 he was maestro di concerto at the court of Georg Friedrich II, Margrave of Brandenburg-Ansbach, where he conducted the orchestra for Le pazzie d'amore e dell'interesse, an idea drammatica composed by the maestro di cappella, and the castrato Francesco Antonio Pistocchi, before leaving for Vienna in December 1699. He returned to Bologna sometime before February 1701, when he is listed as a violinist in the newly re-formed cappella musicale at San Petronio, directed by his former composition teacher Perti (Schnoebelen and Vanscheeuwijk 2001).
He died at age 50 in Bologna in 1709, where his manuscripts are conserved in the San Petronio archives. Giuseppe's brother, Felice Torelli, was a Bolognese painter of modest reputation, who went on to be a founding member of the Accademia Clementina. The most notable amongst Giuseppe's many pupils was Francesco Manfredini.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
Arvo Pärt - Variations for the Healing of Arinushka
Arvo Pärt (born 11 September 1935) is an Estonian composer of classical and religious music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. Pärt's music is in part inspired by Gregorian chant. His most performed works include Fratres (1977), Spiegel im Spiegel (1978), and Für Alina (1976). From 2011 to 2018, Pärt was the most performed living composer in the world, then the second most performed. The Arvo Pärt Centre, in Laulasmaa, was opened to the public in 2018.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
Charles Widor - Toccata from Organ - Symphony No. 5
The Symphony for Organ No. 5 in F minor, Op. 42, No. 1, was composed by Charles-Marie Widor in 1879, with numerous revisions published by the composer in later years. The full symphony lasts for about 35 minutes.
The fifth movement, in F major, is often referred to as just Widor's Toccata because it is his most famous piece. It lasts around six minutes. Its fame in part comes from its frequent use as recessional music at festive Christmas and wedding ceremonies.
The melody of Widor's Toccata is based upon an arrangement of rapid staccato arpeggios which form phrases, initially in F, moving in fifths through to C major, G major, etc. Each phrase consists of one bar. The melody is complemented by syncopated chords, forming an accented rhythm against the perpetual arpeggio motif. The phrases are contextualised by a descending bass line, often beginning with the 7th tone of each phrase key. For example, where the phrase consists of an arpeggio in C major, the bass line begins with a B-flat. The arpeggios eventually modulate through all twelve keys, until Widor brings the symphony to a close with fff block chords in the final three bars.
Following Widor's example, other composers adopted this style of toccata as a popular genre in French Romantic organ music, including notable examples from Eugène Gigout, Léon Boëllmann, Louis Vierne, Henri Mulet, and Marcel Dupré.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
Henri Duparc - Elegie
Eugène Marie Henri Fouques Duparc (21 January 1848 – 12 February 1933) was a French composer of the late Romantic period.
Son of Charles Fouques-Duparc and Amélie de Guaita. Henri Fouques-Duparc was born in Paris. He studied piano with César Franck at the Jesuit College in the Vaugirard district and became one of his first composition pupils. Following military service in the Franco-Prussian War, he married Ellen MacSwinney, from Scotland, on 9 November 1871. In the same year, he joined Saint-Saëns and Romain Bussine to found the Société Nationale de Musique.
Duparc is best known for his 17 mélodies ("art songs"), with texts by poets such as Baudelaire, Gautier, Leconte de Lisle and Goethe.
A mental illness, diagnosed at the time as "neurasthenia", caused him abruptly to cease composing at age 37, in 1885. He devoted himself to his family and his other passions, drawing and painting. But increasing vision loss after the turn of the century eventually led to total blindness. He destroyed most of his music, leaving fewer than 40 works to posterity. In a poignant letter about the destruction of his incomplete opera, dated 19 January 1922, to the composer Jean Cras, his close friend, Duparc wrote:
Après avoir vécu 25 ans dans un splendide rêve, toute idée de représentation m'était – je vous le répète – devenue odieuse. L'autre motif de cette destruction, que je ne regrette pas, c'est la complète transformation morale que Dieu a opéré en moi il y a 20 ans et qui en une seule minute a abolie toute ma vie passée. Dès lors, la Roussalka n'ayant aucun rapport avec ma vie nouvelle ne devait plus exister.
(Having lived for 25 years in a splendid dream, the whole idea of [musical] representation has become – I repeat to you – repugnant. The other reason for this destruction, which I do not regret, was the complete moral transformation that God imposed on me 20 years ago and which, in a single minute, obliterated all of my past life. Since then, [my opera] Roussalka, not having any connection with my new life, should no longer exist.)
He spent most of the rest of his life in La Tour-de-Peilz, near Vevey, Switzerland, and died in Mont-de-Marsan, in southwestern France, at age 85.
For more:
http://www.melhoresmusicasclassicas.blogspot.com