Weber - Clarinet Concerto No. 1 in F minor Op. 73 - Music | History
Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast.
1. Allegro in F minor modulating into A-flat major and later returning to F minor with a meter of 3/4
2. Adagio ma non troppo in C major transforming into C minor and E flat major and afterward reverting to C major with a meter of 4/4
3. Rondo; Allegretto in F major with a meter of 2/4
This movement was very innovative for its time, with some stylistic aspects characteristic of later composers like Felix Mendelssohn. The normal output for this time was material such as Beethoven's Piano Concerto No. 5 from exactly the same year as this composition, 1811. Weber starts with the cellos playing the main theme, followed with an explosion by the whole orchestra. The violins pick up the melody which eventually progresses, subsides, and clears the stage for the solo clarinet. The soloist begins with a painful song marked "con duolo". The clarinetist performs variants on that source, which later results in a determined run played by the solo instrument. After that climax, the music dies off with the clarinet mourning a line marked "morendo". Then there is a grand pause, which provides the transition for the return of the cellos stating the main theme, but this time in the key of D-flat major rather than F minor. The soloist enters shortly afterward with a sweet response. The clarinet keeps playing a delicate melody, then descends towards the lower tones with a marking of "perdendosi," which tells the player to decrease in speed and sound. Then the tutti arrives, singing a sweet, innocent melody. The clarinet reenters shortly after, still playing in a lighter mood than the beginning of the piece. Later, the soloist performs sets of playful triplets. After the triplets, the clarinet begins the Bärmann-Kadenz, which the dedicatee, Heinrich Bärmann wrote. This is a relatively short, lively, virtuosic passage that is played by most performers. Then the clarinetist encounters a brief cadenza which consists of fast thirty-second notes. After the cadenza, the orchestra bursts in and returns to the minor home key. Then the music calms down, and the cellos prepare for the entrance the clarinet will make. When the clarinet enters, it brings back the same emotions as when the soloist entered for the first time. It seems like the clarinet yearns to play the light, innocent theme heard before. It finally gets its wish, bringing back the melody played earlier. Then, the clarinet starts its triplets as it did before, but this time, it flows towards a stream of agitated, virtuosic sixteenth-note runs. After that buildup, the clarinet subsides and gives room for the French horns to play a cheerful melody. The solo instrument responds in the same connotation as the horns did but then sneaks back to the dark theme the soloist first played. It intensifies and then the soloist whirls up and down in sixteenth notes until the tutti arrives with vengeance. The orchestra ends its phrase with dotted chords which give cue for the soloist to perform its next ordeal. This features rising chromatic scale runs which flow into a river of sixteenth notes. The sixteenths are followed by a series of determined trills with the last one ending on a high g. The orchestra returns and eventually fades away. The clarinet ends the movement much like how it did before the arrival of the A-flat major key.
The beginning of the second movement is typical of an early romantic operatic aria, but still resembles the second movement of the Mozart Clarinet Concerto in mood and melodic shape. Weber was, after all, Mozart's cousin by marriage. In the middle section, an unusual and rare but effective use of a horn trio without any other orchestral elaboration is put into effect. The clarinet responds and interacts with this horn trio much like an operatic singer would do it in a similar situation. The beginning material resumes after a brief pause.
The third movement contrasts with the preceding movements because of the light character. It is a typical rondo that usually ends a three movement concerto. Instances like this in other similar works include the third movement of Weber's Clarinet Concerto No. 2, Mozart's Clarinet Concerto, the third movement of Karl Stamitz's Clarinet Concerto No. 3, the final movements of Franz Krommer's Clarinet Concerto in E-flat major and Concerto for Two Clarinets, and the last movements of Louis Spohr's Clarinet Concerto's Nos. 1, 2, and 4.
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Fauré Biography - Music Collection - Music | History
Gabriel Urbain Fauré (French: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane,[4] Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine, he was sent to the Ecole Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. The Ecole Neidermeyer's pedagogy differed greatly from that of the Paris Conservatoire. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.
Tracklist:
1 - Fauré - Sonata, A major, Op.13 - I. Allegro molto
2 - Faure - Barcarolle No.1 in A minor, Op.26 - I
3 - Fauré - Élégie, Op. 24
4 - Fauré - Fantaisie, Op. 79
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Korsakov Biography - Music Collection
Nikolai Andreyevich Rimsky-Korsakov (Russian 18 March [O.S. 6 March] 1844 – 21 June [O.S. 8 June] 1908) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy-tale and folk subjects.
Rimsky-Korsakov believed in developing a nationalistic style of classical music, as did his fellow-composer Mily Balakirev and the critic Vladimir Stasov. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods. Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of The Five. Rimsky-Korsakov's techniques of composition and orchestration were further enriched by his exposure to the works of Richard Wagner.
For much of his life, Rimsky-Korsakov combined his composition and teaching with a career in the Russian military—at first as an officer in the Imperial Russian Navy, then as the civilian Inspector of Naval Bands. He wrote that he developed a passion for the ocean in childhood from reading books and hearing of his older brother's exploits in the navy. This love of the sea may have influenced him to write two of his best-known orchestral works, the musical tableau Sadko (not to be confused with his later opera of the same name) and Scheherazade. As Inspector of Naval Bands, Rimsky-Korsakov expanded his knowledge of woodwind and brass playing, which enhanced his abilities in orchestration. He passed this knowledge to his students, and also posthumously through a textbook on orchestration that was completed by his son-in-law, Maximilian Steinberg.
Rimsky-Korsakov left a considerable body of original Russian nationalist compositions. He prepared works by The Five for performance, which brought them into the active classical repertoire (although there is controversy over his editing of the works of Modest Mussorgsky), and shaped a generation of younger composers and musicians during his decades as an educator. Rimsky-Korsakov is therefore considered "the main architect" of what the classical-music public considers the "Russian style" of composition. His influence on younger composers was especially important, as he served as a transitional figure between the autodidactism exemplified by Glinka and The Five, and professionally trained composers which would become the norm in Russia by the closing years of the 19th century. While Rimsky-Korsakov's style was based on those of Glinka, Balakirev, Hector Berlioz, Franz Liszt and, for a brief period, Wagner, he "transmitted this style directly to two generations of Russian composers" and influenced non-Russian composers including Maurice Ravel, Claude Debussy, Paul Dukas, and Ottorino Respighi.
Tracklist:
1 - Rimsky-Korsakov - Tale of Tsar Saltan - Flight of the Bumblebee
2 - Rimsky-Korsakov - Polonaise
3 - Korsakov - Scheherazade, Op. 35 - I. The Sea and Sinbad's Ship
4 - Rimsky-Korsakov - At the Monastery
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Weber Biography - Music Collection - Music | History
Composer, conductor, virtuoso, novelist, and essayist, Carl Maria von Weber is one of the great figures of German Romanticism. Known for his opera Der Freischütz, a work which expresses the spirit and aspirations of German Romanticism, Weber was the quintessential Romantic artist, turning to poetry, history, folklore, and myths for inspiration and striving to create a convincing synthesis of fantastic literature and music. Resembling the Faust legend, Der Freischütz (the term suggests the idea of an marksman relying on magic) is a story of two lovers whose ultimate fate is decided by supernatural forces, a story which Weber brings to life by masterfully translating into music the otherworldly, particularly sinister, aspects of the narrative. Weber's additional claim to fame are his works for woodwind instruments, which include two concertos and a concertino for clarinet, a concerto for bassoon, and a superb quintet for clarinet and string quartet. Born in 1786, Weber studied with Michael Haydn and Abbé Vogler. Appointed Kappelmeister at Breslau in 1804, he gained fame as an opera composer with the production, in 1811, of Abu Hassan. In 1813, he became director of the Prague Opera. In Prague, where he remained until 1816, Weber developed a mostly French repertoire, taking an active, and highly creative, part in the practical aspects of opera production. Underlying his often controversial efforts to reform opera production was his ardent desire to create a German operatic tradition. Although there were, indeed, capable composers in the German-speaking lands, the idea of a German opera provoked much opposition, as the public, trained to perceive opera as an exclusively Italian art form, regarded the concept of German opera as a contradiction in terms, despite the existence of a singspiel tradition, brilliantly exemplified by the Magic Flute by Mozart. While Weber's appointment as Royal Kappelmeister at Dresden, not to mention the triumphant production of Der Freischütz (1821), certainly strengthened his position as champion of German opera, his opponents remained unconvinced. Weber's next opera, Euryanthe (1823), failed to repeat the success of Der Freischütz. In Euryanthe, his only opera without spoken dialogue, Weber introduced the device of recurrent themes throughout the entire opera, thus anticipating Wagner. Although Weber brilliantly adapted a variety of harmonic styles and textures to the dramatic narrative, the overall effect was seriously hampered by a rambling libretto, an inept adaptation of a medieval romance already used by Shakespeare in Cymbeline. In 1825, Weber was invited to London. Among the works he was expected to conduct was Oberon, another opera with a Shakespearean theme. The librettist, who took the story from Shakespeare's Midsummer Night's Dream, created, in a misguided effort to please the public, an incredible hodgepodge, even more convoluted than Euryanthe, that not even Weber's genius could salvage. Nevertheless, Oberon, which the English public received with admiration, contains much gorgeous music, including examples of lush orchestration and exquisite tone painting. Often performed in concert, the overture is a true Romantic gem. Already in poor health before his London tour, Weber died in the English capital in 1826, shortly after the premiere of Oberon at Covent Garden.
Tracklist:
1 - Weber - Clarinet Concerto no. 2 in E flat major, Op. 74 - III. Polacca alois
2 - Weber - Preciosa, Op. 78
3 - Weber - Oberon (or The Elf King's Oath), J. 306 - Overture
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Haydn Biography - Music Collection - Music | History
Franz Joseph Haydn was among the creators of the fundamental genres of classical music, and his influence upon later composers is immense. Haydn’s most celebrated pupil was Ludwig van Beethoven, and his musical form casts a huge shadow over the music of subsequent composers such as Schubert, Mendelssohn and Brahms.
Franz Joseph Haydn was recruited at age 8 to the sing in the choir at St. Stephen's Cathedral in Vienna, where he went on to learn to play violin and keyboard. After he left the choir, he supported himself by teaching and playing violin, while studying counterpoint and harmony.
Haydn soon became an assistant to composer Nicola Porpora in exchange for lessons, and in 1761 he was named Kapellmeister, or "court musician," at the palace of the influential Esterházy family, a position that would financially support him for nearly 30 years. Isolated at the palace from other composers and musical trends, he was, as he put it, "forced to become original."
While Haydn rose in the Esterházy family's esteem, his popularity outside the palace walls also increased, and he eventually wrote as much music for publication as for the family. Several important works of this period were commissions from abroad, such as the Paris symphonies (1785-1786) and the original orchestral version of "The Seven Last Words of Christ" (1786). Haydn came to feel sequestered and lonely, however, missing friends back in Vienna, such as Wolfgang Amadeus Mozart, so in 1791, when a new Esterházy prince let Haydn go, he quickly accepted an invitation to go to England to conduct new symphonies with German violinist and impresario Johan Peter Salomon. He would return to London again in 1794 for another successful and lucrative season.
Already well known and appreciated in England, Haydn's concerts drew huge crowds, and during his time in England the composer created some of his most popular works, including the "Rider" quartet and the Surprise, Military, Drumroll and London symphonies.
Haydn returned to Vienna in 1795 and took up his former position with the Esterházys, although only part-time. At this point, he was a public figure in Vienna, and when he wasn't at home composing, he was making frequent public appearances. With his health failing, his creative spirit outlasted his ability to harness it, and he died at age 77.
Haydn is remembered as the first great symphonist and the composer who essentially invented the string quartet. The principal engineer of the classical style, Haydn exerted influence on the likes of Mozart, his student Ludwig van Beethoven and scores of others.
Tracklist:
1 - Haydn - Trumpet Concerto in E flat major, Hob. VIIe 1 - III. Allegro
2 - Haydn - Trumpet Concerto in E flat major, Hob. VIIe 1 - I. Allegro
3 - Haydn - Hob. XVI. 6 - I. Allegro
4 - Haydn - Keyboard+Sonata+in+F+major,+Hob.+XVI_23+-+I.+Allegro+moderato
5 - Haydn - Trumpet Concerto in E flat major, Hob. VIIe 1 - II. Andante
6 - Haydn - Hob. XVI. 6 - III. Adagio
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Tchaikovsky Biography - Music Collection - Music | History
Pyotr Tchaikovsky's work was first publicly performed in 1865, with Johann Strauss the Younger conducting Tchaikovsky's Characteristic Dances at a Pavlovsk concert. In 1868, Tchaikovsky's First Symphony was well-received when it was publicly performed in Moscow. The following year, his first opera, The Voyevoda, made its way to the stage — with little fanfare.
After scrapping The Voyevoda, Tchaikovsky repurposed some of its material to compose his next opera, Oprichnik, which achieved some acclaim when it was performed at the Maryinsky in St. Petersburg in 1874. By this time, Tchaikovsky had also earned praise for his Second Symphony. Also in 1874, his opera, Vakula the Smith, received harsh critical reviews, yet Tchaikovsky still managed to establish himself as a talented composer of instrumental pieces with his Piano Concerto No.1 in B-flat Minor.
From 'Swan Lake' to 'The Nutcracker' Ballets
Acclaim came readily for Tchaikovsky in 1875, with his composition Symphony No. 3 in D Major. At the end of that year, the composer embarked on a tour of Europe. In 1876, he completed the ballet Swan Lake as well as the fantasy Francesca da Rimini. While the former has come to be one of the most frequently performed ballets of all time, Tchaikovsky again endured the ire of critics, who at its premiere panned it as too complex and too "noisy."
Tchaikovsky resigned from the Moscow Conservatory in 1878 to focus his efforts entirely on composing. As a result, he spent the remainder of his career composing more prolifically than ever. His collective body of work constitutes 169 pieces, including symphonies, operas, ballets, concertos, cantatas and songs. Among his most famed late works are the ballets The Sleeping Beauty (1890) and The Nutcracker (1892).
Russian composer Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Kamsko-Votkinsk, Vyatka, Russia. He was the second eldest of his parents' six surviving offspring. Tchaikovsky's father, Ilya, worked as a mine inspector and metal works manager.
When he was just five years old, Tchaikovsky began taking piano lessons. Although he displayed an early passion for music, his parents hoped that he would grow up to work in the civil service. At the age of 10, Tchaikovsky began attending the Imperial School of Jurisprudence, a boarding school in St. Petersburg. His mother, Alexandra, died of cholera in 1854, when he was 14 years old. In 1859, Tchaikovsky honored his parents' wishes by taking up a bureau clerk post with the Ministry of Justice — a post he would hold for four years, during which time he became increasingly fascinated with music.
When he was 21, Tchaikovsky decided to take music lessons at the Russian Musical Society. A few months later, he enrolled at the newly founded St. Petersburg Conservatory, becoming one of the school's first composition students. In addition to learning while at the conservatory, Tchaikovsky gave private lessons to other students. In 1863, he moved to Moscow, where he became a professor of harmony at the Moscow Conservatory.
Struggling with societal pressures to repress his homosexuality, in 1877, Tchaikovsky married a young music student named Antonina Milyukova. The marriage was a catastrophe, with Tchaikovsky abandoning his wife within weeks of the wedding. During a nervous breakdown, he unsuccessfully attempted to commit suicide, and eventually fled abroad.
Tchaikovsky could afford to resign from the Moscow Conservatory in 1878, thanks to the patronage of a wealthy widow named Nadezhda von Meck. She provided him with a monthly allowance until 1890; oddly, their arrangement stipulated that they would never meet.
Tchaikovsky died in St. Petersburg on November 6, 1893. While the cause of his death was officially declared as cholera, some of his biographers believe that he committed suicide after the humiliation of a sex scandal trial. However, only oral (no written) documentation exists to support this theory.
Tracklist:
1 - Tchaikovsky - Symphony No. 4 in F Minor, Op. 36 - IV. Finale. Allegro con Fuoco
2 - Tchaikovsky - Swan Lake Op.20 - Act I Intro
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Dvorak Biography - Music Collection - Music | History
Dvořák was born, the first of nine children, in Nelahozeves, a Bohemian (now Czech) village on the Vltava River north of Prague. He came to know music early, in and about his father’s inn, and became an accomplished violinist as a youngster, contributing to the amateur music-making that accompanied the dances of the local couples. Though it was assumed that he would become a butcher and innkeeper like his father (who also played the zither), the boy had an unmistakable talent for music that was recognized and encouraged. When he was about 12 years old, he moved to Zlonice to live with an aunt and uncle and began studying harmony, piano, and organ. He wrote his earliest works, polkas, during the three years he spent in Zlonice. In 1857 a perceptive music teacher, understanding that young Antonín had gone beyond his own modest abilities to teach him, persuaded his father to enroll him at the Institute for Church Music in Prague. There Dvořák completed a two-year course and played the viola in various inns and with theatre bands, augmenting his small salary with a few private pupils.
The 1860s were trying years for Dvořák, who was hard-pressed for both time and the means, even paper and a piano, to compose. In later years he said he had little recollection of what he wrote in those days, but about 1864 two symphonies, an opera, chamber music, and numerous songs lay unheard in his desk. The varied works of this period show that his earlier leanings toward the music of Ludwig van Beethoven and Franz Schubert were becoming increasingly tinged with the influence of Richard Wagner and Franz Liszt.
Among the students Dvořák tutored throughout the 1860s were the sisters Josefina and Anna Čermáková. The musician fell in love with the elder sister, Josefina, but she did not reciprocate his feelings. The anguish of his unrequited love is said to be expressed in Cypresses (1865), a number of songs set to texts by Gustav Pfleger-Moravský. In November 1873 he married the younger sister, Anna, a pianist and singer. The first few years of the Dvořáks’ marriage were challenged by financial insecurity and marked by tragedy. Anna had given birth to three children by 1876 but by 1877 had buried all of them. In 1878, however, she gave birth to the first of the six healthy children the couple would raise together. The Dvořáks maintained a close relationship with Josefina and the man she eventually married, Count Václav Kounic. After several years of regular visits, they bought a summer house in the small village of Vysoká, where Josefina and the count had settled, and spent every summer there from that point onward. Dvořák composed some of his best-known works there.
In 1875 Dvořák was awarded a state grant by the Austrian government, and this award brought him into contact with Johannes Brahms, with whom he formed a close and fruitful friendship. Brahms not only gave him valuable technical advice but also found him an influential publisher in Fritz Simrock, and it was with his firm’s publication of the Moravian Duets (composed 1876) for soprano and contralto and the Slavonic Dances (1878) for piano duet that Dvořák first attracted worldwide attention to himself and to his country’s music. The admiration of the leading critics, instrumentalists, and conductors of the day continued to spread his fame abroad, which led naturally to even greater triumphs in his own country. In 1884 he made the first of 10 visits to England, where the success of his works, especially his choral works, was a source of constant pride to him, although only the Stabat Mater (1877) and Te Deum (1892) continue to hold a position among the finer works of their kind. In 1890 he enjoyed a personal triumph in Moscow, where two concerts were arranged for him by his friend Pyotr Ilyich Tchaikovsky. The following year he was made an honorary doctor of music of the University of Cambridge.
Dvořák accepted the post of director of the newly established National Conservatory of Music in New York in 1892, and, during his years in the United States, he traveled as far west as Iowa. Though he found much to interest and stimulate him in the New World environment, he soon came to miss his own country, and he returned to Bohemia in 1895. The final years of his life saw the composition of several string quartets and symphonic poems and his last three operas.
Tracklist:
1 - Dvorak - Czech Suite, Op. 39 - I. Praeludium
2 - Dvorak - Legends, Op.59 - 2. Molto moderato (G major) (Orchestral version, B.122)
3 - Dvorak - Sonatina for Violin and Piano, Op. 100 - I. Allegro risoluto
4 - Dvorak - Symphony no. 8, Op. 88 - II. Adagio
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Mendelssohn Biography - Music Collection - Music | History
German Romantic composer, pianist and conductor Felix Mendelssohn wrote Overture to a Midsummer Night's Dream and founded the Leipzig Conservatory of Music.
Synopsis
Felix Mendelssohn was born on February 3, 1809, in Hamburg, Germany. At age 9, he made his public debut in Berlin. In 1819, he joined the Singakademie music academy and began composing non-stop. At Singakademie, he also became a conductor, but continued to compose prolifically. Mendelssohn founded the Leipzig Conservatory of Music in 1843. He died on November 4, 1847, in Leipzig.
Pianist, composer and conductor Felix Mendelssohn was born Jakob Ludwig Felix Mendelssohn-Bartholdy in Hamburg, Germany, on February 3, 1809. His parents were Jewish, but converted to Christianity before he, his brother and two sisters were born. When Mendelssohn was 2 years old, he moved to Berlin with his parents and siblings. In Berlin, the young Mendelssohn began taking piano lessons with Ludwig Berger. Mendelssohn also studied composition under composer K.F. Zelter as a child. In 1816, he broadened his lessons, studying under pianist Marie Bigot during an extended stay in Paris, France.
Mendelssohn was quick to establish himself as a musical prodigy. During his childhood, he composed a handful of operas and 11 symphonies. At just 9 years old, he made his public debut in Berlin.
In 1819, Felix Mendelssohn joined the Singakademie music academy and began composing non-stop. In 1820 alone, he wrote a violin sonata, two piano sonatas, multiple songs, a cantata, a brief opera and a male quartet. In 1826, Mendelssohn produced one of his best known works, Overture to a Midsummer Night's Dream. He presented his opera The Marriage of the Camacho, the following year in Berlin. It was the only opera of his performed in public during his life.
At Singakademie, Mendelssohn also became a conductor. In 1829, he conducted a performance of Bach's St. Matthew Passion. The performance's success led to other great opportunities, including a chance to conduct the London Philharmonic Society that same year. Inspired by his visit to England and Scotland, Mendelssohn began composing his Symphony No. 3; it took more than a decade to complete. Known as his Scottish Symphony, the work commemorated his visit to Holyrood Chapel in Edinburgh and the highlands.
Mendelssohn continued to compose prolifically while working as a conductor. He wrote the Reformation Symphony in 1830, and followed that accomplishment with a three-year European tour. During that time, he published his first book of songs, entitled Songs without Words (1832). Italian Symphony (1833), another of Mendelssohn's best known works, was also born of this period. In 1835, Mendelssohn was granted an illustrious role: conductor of the Gewandhaus Orchestra in Leipzig.
In 1836, a year after his father died, Mendelssohn met Cécile Jeanrenaud, a clergyman's daughter, in Frankfurt. Mendelssohn was 10 years Jeanrenaud's senior. She was just 16 when they got engaged. The couple married on March 28, 1837. Over the course of their marriage, they had five children.
The same year that he married, Mendelssohn composed his Piano Concerto No. 2 in D Minor. From 1838 to 1844, he toiled away on his Violin Concerto in E Minor. Prior to the piece's completion, Mendelssohn founded the Leipzig Conservatory of Music and became its director. In so doing, he put Leipzig on the map as the musical center of Germany. After finishing Violin Concerto in E Minor, Mendelssohn conducted a string of concerts for the Philharmonic. In 1846 he presented his newly written Elijah at the Birmingham Festival.
In May 1847, Mendelssohn's sister, Fanny, who was a lifelong inspiration to him, died suddenly. Her death left him so devastated that he soon lost his own zest for life. His health, already compromised by his strenuous career, began to deteriorate rapidly. Six months later, on November 4, 1847, Felix Mendelssohn died of a ruptured blood vessel in Leipzig, Germany. He had recently returned from a brief visit to Switzerland, where he'd completed composition of his String Quartet in F Minor.
Although he was only 38 when he died, Mendelssohn managed to distinguish himself as one of the first significant Romantic composers of the 1800s.
Tracklist:
1- Mendelssohn - Songs Without Words - No.12 in F Sharp Minor, Op.30
2- Mendelssohn - Violin Sonata, Op.4 - I. Adagio, Allegro moderato
3- Mendelssohn - Violin Sonata, Op.4 - II. Poco adagio
4- Mendelssohn - Violin Sonata, Op.4 - III. Allegro agitato
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Liszt Biography - Music Collection - Music | History
Franz Liszt was a Hungarian pianist and composer of enormous influence and originality. He was renowned in Europe during the Romantic movement.
By the time Franz Liszt was 9 years old, he was performing in concert halls. As an adult, he toured extensively throughout Europe. He had an affair and children with Marie díAgoult and later lived with Princess Carolyne zu Sayn-Wittgenstein. By his death, he had written more than 700 compositions.
Liszt was born on October 22, 1811, in Raiding, Hungary. His father, Adam, played the cello, as well as several other instruments, and passionately taught Franz how to play piano. By the age of 6, young Liszt was recognized as a child prodigy; by the age of 8, he was composing elementary works; and by the age of 9, he was appearing in concerts. His father worked as a secretary for Prince Nicholas Esterhazy, and, after the boy played for a group of wealthy sponsors, he asked the prince for extended leave so he could devote his time to enriching his son's musical education.
Father and son traveled to Vienna, and Antonio Salieri, Mozart's old rival, quickly became a proponent of Liszt's genius. Upon hearing the boy play at a private home, he offered to train him in composition free of charge. For several months, the young pianist held performances for both musicians and kings. His most impressive talent was his uncanny ability to improvise an original composition from a melody suggested by an audience member. At the age of 12, Liszt traveled with his father to Paris to seek admittance to the Paris Conservatory. The admissions council denied him a place in the school on the grounds that he was a foreigner. His father, ever determined, turned to Ferdinando Paer to teach his son advanced composition. It was during this time that Liszt wrote his first and only opera, Don Sanche.
In 1826, Adam Liszt passed away. The event proved to be extremely traumatic for the 15- year-old Franz Liszt, and it necessitated that he shares their one-bedroom Parisian apartment with his mother. In the years that followed, Franz Liszt lost interest in music to such a degree that he began to question his profession. He turned away from performing and started to read profusely, delving into books on the subjects of art and religion. What he read during that time would greatly influence his later musical works.
In 1833, at the age of 22, Liszt met the Comtesse Marie d'Agoult. Inspired by love and nature, he composed several impressions of the Swiss countryside in "Album d'un voyageur," which would later surface as the "Années de Pèlerinage" ("Years of Pilgrimage"). In 1834, Liszt debuted his piano compositions "Harmonies poétiques et religieuses" and a set of three "Apparitions."
Strengthened by new works and several public performances, Liszt began to take Europe by storm. His reputation was bolstered even further by the fact that he gave away many of his concert proceeds to charities and humanitarian causes. For example, when in 1842 he found out about the Great Fire of Hamburg, which had destroyed much of the city, he gave concerts to create aid for its thousands of homeless. On a personal level, however, matters were less than glorious for Liszt. His relationship with Marie d'Agoult, which by that point had produced three children, finally ended. In 1847, while in Kiev, Liszt met Princess Carolyne zu Sayn-Wittgenstein. Her influence on him was dramatic; she encouraged him to stop touring and, instead, teach and compose, so he could have a more domestic life with her. Liszt gave his final concert for pay at Elisavetgrad in September, and then spent the winter with the princess at her estate in Woronince.
In 1865, Liszt received the tonsure, the traditional haircut kept by monks during that period, and was from then on sometimes called "the Abbé Liszt." On July 31, 1865, he received the four minor orders in the Catholic Church. He continued, however, to work on new compositions, and in later years, he established the Royal National Hungarian Academy of Music in Budapest. Liszt's works in his later years were simpler in form, yet more extreme in harmony. He died on July 31, 1886, in Bayreuth, Germany.
Tracklist:
1 - Liszt - Grand Paganini Etude No. 1 - Gm
2- Liszt - Grand Paganini Etude No. 6 - Am
3- Liszt - Transcendental Etudes, S. 139 - 11. Harmonies du Soir
4- Liszt - Grand duo concertant sur le 'Le marin', S.128
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Chopin - Etude Op. 25 No. 4 - Music | History
The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number.
Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation.
All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student.
The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces.
Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."
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