Joseph Haydn
Symphony No. 103 in E♭ major (H. 1/103) is the eleventh of the twelve London symphonies written by Joseph Haydn. This symphony is nicknamed The Drumroll after the long roll on the timpani with which it begins. It is from 1795, and his second-to-last symphony.
The symphony was the eleventh of twelve that were composed for performance in England during Haydn's two journeys there (1791–1792, 1794–1795), arranged and organized by the great impresario, Johann Peter Salomon. Haydn's music was well known in England well before the composer traveled there, and members of the British musical public had long expressed the wish that Haydn would visit. The composer's reception in England was in fact very enthusiastic, and the English visits were one of the most fruitful and happy periods of the composer's life. Haydn composed the "Drumroll" Symphony while living in London during the winter of 1794–1795.
It was premiered on March 2, 1795 as part of a concert series called the "Opera Concerts" at the King's Theatre. The orchestra was unusually large for the time, consisting of about 60 players. The task of directing the work was divided between the concertmaster, the violinist Giovanni Battista Viotti, and Haydn, who sat at a fortepiano. The premiere was evidently a success, and The Morning Chronicle's reviewer wrote:
Another new Overture [i.e., symphony], by the fertile and enchanting Haydn, was performed; which, as usual, had continual strokes of genius, both in air and harmony. The Introduction excited deepest attention, the Allegro charmed, the Andante was encored, the Minuets, especially the trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.
The Sun wrote:
HAYDN's new Overture was much applauded. It is a fine mixture of grandeur and fancy... the second movement was encored.
Symphony No. 103
1. Adagio - Allegro con spirito 9:20
2. Andante piú tosto - Allegretto 10:00
3. Menuet 5:25
4. Finale - Allegro con spirito 5:05
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Haydn
Anton Bruckner - Motets
Josef Anton Bruckner (4 September 1824 – 11 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length.[1] Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the person and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several versions of many of his works.
His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick, and other supporters of Johannes Brahms who pointed to their large size and use of repetition, as well as to Bruckner's propensity for revising many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers, including his friend Gustav Mahler.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
Franz Schubert - Fierrabras - Overture
Fierrabras, D 796, is a three-act German opera with spoken dialogue written by the composer Franz Schubert in 1823, to a libretto by Joseph Kupelwieser, the general manager of the Theater am Kärntnertor (Vienna's Court Opera Theatre). Along with the earlier Alfonso und Estrella, composed in 1822, it marks Schubert's attempt to compose grand Romantic opera in German, departing from the Singspiel tradition.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Schubert
Georg Philipp Telemann - Air de Trompette
Georg Philipp Telemann (24 March 14 March] 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him.
Telemann is one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Telemann
Georg Philipp Telemann
Georg Philipp Telemann (24 March 14 March] 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him.
Telemann is one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.
Matthaus Passion
1. Einleitung 4:10
2. Wenn meine Sund mich kranken 1:14
3. Und es begab sich 1:59
4. Da nun Jesus war zu Bethanien 3:54
5. Hochst unsel´ges Unterfangen 2:28
6. Aber am ersten Tage 6:28
7. Ach Heiland, wie nahret 3:39
8. Ach wie hungert mein Gemute 1:21
9. Und da sie den Lobgesang gesprochen hatten 4:07
10. Bis in den Tod, ach ew´ges Leben 1:59
11. Was ist doch wohl die Ursach solcher Plagen? 0:50
12. Meine wehmutvolle Seele 3:17
13. Du Nacht voll Angst und herbem Seelenleiden 1:25
14. Und ging hin ein wenig 4:51
15. Was ist das Schmeicheln dieser Erden 3:07
16. Jesus aber sprach zu ihm 4:32
17. Dein Mund, ach ew´ges Wort 0:53
18. Und der Hohepriester antwortet 5:56
19. Die Seele wird mir selbst zur Holle 3:01
20. Ich lege mich in dein Erbarmen 3:00
21. Des Morgens aber 1:48
22. Ach wehe, wehe mir 1:31
23. Und er warf die Silberlinge 1:41
24. Ich kann´s mit meinen Sinnen nicht erreichen 0:52
25. Auf das Fest aber 2:26
26. So geht es, keiner rufet Jesum 2:29
27. Pilatus sprach zu ihnen 2:22
28. Lass dich bitt´re Trane netzen 3:42
29. Da nahmen die Kriegsknechte 7:40
30. Gott ruft selbst 3:46
31. Aber Jesus schrie abermal laut und verschied 0:31
32. O grosse Not 0:43
33. Frohlocket, hochbetrubte Seelen 3:10
34. Und siehe da 2:10
35. Es stimmen der gottlichen Lehre zu Ehren 3:04
36. Am Abend aber kam ein reicher Mann 1:30
37. O Traurigkeit, o Herzeleid 0:45
38. So ruhe sanf in deiner Kammer 3:51
39. Nun wir danken dir von Herzen 1:20
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Telemann
Johann Sebastian Bach - Vater unser in Himnelreich
"Vater unser im Himmelreich" (Our Father in Heaven) is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus (Small Catechism). He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th".
The hymn was published in Leipzig in 1539 in Valentin Schumann's hymnal Gesangbuch, with a title explaining "The Lord's Prayer briefly expounded and turned into metre". It was likely first published as a broadsheet.
The hymn was translated into English in several versions, for example "Our Father, Thou in Heaven Above" by Catherine Winkworth in 1863 and "Our Father, Lord of Heaven and Earth" by Henry J. de Jong in 1982. In the current German hymnal Evangelisches Gesangbuch (EG) it is number 344.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Bach
Jean Sibelius
Pelléas et Mélisande (Pelléas och Mélisande), JS 147 is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play Pelléas and Mélisande. Sibelius composed in 1905 ten parts, overtures to the five acts and five other movements. It was first performed at the Swedish Theatre in Helsinki on 17 March 1905 to a translation by Bertel Gripenberg, conducted by the composer).
Sibelius later slightly rearranged the music into a nine movement suite, published as Op. 46, which became one of his most popular concert works.
Suite Pelléas et Mélisande Op. 46
1. Na porta do castelo 2:20
2. Mélisande 3:40
3. Junto a la praia 1:58
4. Junto a uma fonte no parque 1:58
5. As 3 irmãs cegas 2:12
6. Pastoral 1:45
7. Mélisande na roça 1:50
8. Entreacto 2:41
9. Morte de Mélisande 6:04
For more:
http://www.melhoresmusicasclassicas.blogspot.com
The Marriage of Figaro (K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas.
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Mozart
Clara Schumann (Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished composers and pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital, while also having composed a body of work including various piano concertos, chamber works, and choral pieces. She was married to composer Robert Schumann, and together they encouraged and maintained a close relationship with Johannes Brahms. She was the first to perform publicly any work by Brahms, notably the Variations and Fugue on a Theme by Handel. She was also an influential piano educator at the Hoch Conservatory in Frankfurt.
Clara Schumann
Soirées musicales
1. Toccatina in A minor
2. Nocturne in F major
3. Mazurka in G minor
4. Ballade in D minor
5. Mazurka in G major
6. Polonaise in A minor
7. 4 Polonaises for Piano Op. 1
8. Valses romantiques Op.4
9. Romances Op.11
10. Prelude & Fugue in F# minor
11. Romance in B minor
12. Romance in A minor
13. Piano Concerto Op. 7
For more:
http://www.melhoresmusicasclassicas.blogspot.com
#MusicHistory
#ClassicalMusic
#Schumann
Leoš Janáček
The Glagolitic Mass (Czech: Glagolská mše, Church Slavonic: Mša glagolskaja; also called Missa Glagolitica or Slavonic Mass) is a composition for soloists (soprano, contralto, tenor, bass), double chorus, organ and orchestra by Leoš Janáček. The work was completed on 15 October 1926 and premiered by the Brno Arts Society, conducted by Jaroslav Kvapil, in Brno on 5 December 1927. Janáček revised the mass the next year.[1]
The Glagolitic alphabet was an early Slavic alphabet, the predecessor of the modern Cyrillic alphabet.
Glagolitic Mass
1. I - Introduction 3:20
2. II - Gospodi pomiluj (Kyrie) 3:55
3. III - Slava vo vysnich Bogu (Gloria) 7:07
4. IV - Veruju, veruju (Credo) 12:23
5. V - Svet, svet (Sanctus) 6:14
6. VI - Agnee Bezu (Agnus Dei) 4:29
7. VII - Organ Solo 2:38
8. VIII - Intrada 1:43
For more:
http://www.melhoresmusicasclassicas.blogspot.com