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 sets of 24 Préludes and 12 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.
Debussy Biography
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Scheherazade, also commonly Sheherazade (Russian), Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888 and based on One Thousand and One Nights (also known as The Arabian Nights).
This orchestral work combines two features typical of Russian music in general and of Rimsky-Korsakov in particular: dazzling, colorful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. The name "Scheherazade" refers to the main character Scheherazade of the One Thousand and One Nights. It is considered Rimsky-Korsakov's most popular work.
During the winter of 1887, as he worked to complete Alexander Borodin's unfinished opera Prince Igor, Rimsky-Korsakov decided to compose an orchestral piece based on pictures from One Thousand and One Nights as well as separate and unconnected episodes. After formulating musical sketches of his proposed work, he moved with his family to the Glinki-Mavriny dacha, in Nyezhgovitsy along the Cherementets Lake (near present-day Luga, in Leningrad Oblast). The dacha where he stayed was destroyed by the Germans during World War II.
During the summer, he finished Scheherazade and the Russian Easter Festival Overture. Notes in his autograph orchestral score show that the former was completed between June 4 and August 7, 1888. Scheherazade consisted of a symphonic suite of four related movements that form a unified theme. It was written to produce a sensation of fantasy narratives from the Orient.
Initially, Rimsky-Korsakov intended to name the respective movements in Scheherazade "Prelude, Ballade, Adagio and Finale". However, after weighing the opinions of Anatoly Lyadov and others, as well as his own aversion to a too-definitive program, he settled upon thematic headings, based upon the tales from The Arabian Nights.
The composer deliberately made the titles vague so that they are not associated with specific tales or voyages of Sinbad.
However, in the epigraph to the finale, he does make reference to the adventure of Prince Ajib. In a later edition, Rimsky-Korsakov did away with titles altogether, desiring instead that the listener should hear his work only as an Oriental-themed symphonic music that evokes a sense of the fairy-tale adventure, stating:
All I desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond a doubt an Oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements.
He went on to say that he kept the name Scheherazade because it brought to everyone’s mind the fairy-tale wonders of Arabian Nights and the East in general.
Korsakov - Scheherazade, Op. 35
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The Seasons, Op. 37a (also seen as Op. 37b; Russian: Времена года; published with the French title Les Saisons), is a set of twelve short character pieces for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky. Each piece is the characteristic of a different month of the year in Russia. The work is also sometimes heard in orchestral and other arrangements by other hands.
Individual excerpts have always been popular – Troika (November) was a favourite encore of Sergei Rachmaninoff, and Barcarolle (June) was enormously popular and appeared in numerous arrangements (for orchestra, violin, cello, clarinet, harmonium, guitar and even mandolin).
The Seasons was commenced shortly after the premiere of Tchaikovsky's First Piano Concerto, and continued while he was completing his first ballet, Swan Lake.
In 1875, Nikolay Matveyevich Bernard, the editor of the St. Petersburg music magazine Nouvellist, commissioned Tchaikovsky to write 12 short piano pieces, one for each month of the year. Bernard suggested a subtitle for each month's piece.
Tchaikovsky accepted the commission and all of Bernard's subtitles, and in the December 1875 edition of the magazine, readers were promised a new Tchaikovsky piece each month throughout 1876. The January and February pieces were written in late 1875 and sent to Bernard in December, with a request for some feedback as to whether they were suitable, and if not, Tchaikovsky would rewrite February and ensure the remainder were in the style Bernard was after.
March, April and May appear to have been composed separately; however the remaining seven pieces were all composed at the same time and written in the same copybook, and evidence suggests they were written between 22 April and 27 May. The orchestration of Swan Lake was finished by 22 April, leaving the composer free to focus on other music; and he left for abroad at the end of May.
This seems to put the lie to Nikolay Kashkin's published version of events, which was that each month the composer would sit down to write a single piece, but only after being reminded to do so by his valet.
The epigraphs that appeared on publication of the pieces were chosen by Bernard, not by Tchaikovsky. In 1886 the publisher P. Jurgenson acquired the rights to The Seasons and the piece has been reprinted many times.
Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form, but each contains a minor melodic masterpiece.
Tchaikovsky - The Seasons, Op. 37a - X. October
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Humoresques (Czech: Humoresky), Op. 101 (B. 187), is a piano cycle by the Czech composer Antonín Dvořák, written during the summer of 1894. One writer says "the seventh Humoresque is probably the most famous small piano work ever written after Beethoven's Für Elise."
During his stay in United States, when Dvořák was director of the Conservatory in New York from 1892 to 1895, the composer collected many interesting musical themes in his sketchbooks. He used some of these ideas in other compositions, notably the "New World" Symphony, the "American" String Quartet, the Quintet in E♭ Major, and the Sonatina for Violin, but some remained unused.
In 1894 Dvořák spent the summer with his family in Bohemia, at Vysoká u Příbrami. During this "vacation", Dvořák began to use the collected material and to compose a new cycle of short piano pieces. On 19 July 1894 Dvořák sketched the first Humoresque in B major, today number 6 in the cycle. However, the composer soon started to create scores for the pieces that were intended to be published. The score was completed on 27 August 1894.
The cycle was entitled Humoresques shortly before Dvořák sent the score to his German publisher F. Simrock. The composition was published by Simrock in Autumn, 1894.
The publisher took advantage of the great popularity of the seventh Humoresque to produce arrangements for many instruments and ensembles. The piece was later also published as a song with various lyrics. It has also been arranged for choir. The melody was also used as the theme of Slappy Squirrel in the popular animated television show Animaniacs. In 2004 the vocal group Beethoven's Wig used Humoresque as the basis for a song entitled Dvořák the Czechoslovak.
Dvorak - Humoresque No. 7 in Gb Op. 101-
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Robert Schumann (8 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, Schumann married Clara Wieck, after a long and acrimonious legal battle with her father, Friedrich, who opposed the marriage. A lifelong partnership in music began, as Clara herself was an established pianist and music prodigy. Clara and Robert also maintained a close relationship with German composer Johannes Brahms.
Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, and 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. Schumann was known for infusing his music with characters through motifs, as well as references to works of literature. These characters bled into his editorial writing 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. What is now thought to have been a combination of bipolar disorder and perhaps mercury poisoning led to "manic" and "depressive" periods in Schumann's compositional productivity. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich (now in Bonn). Diagnosed with psychotic melancholia, he died of pneumonia two years later at the age of 46, without recovering from his mental illness.
Schumann Biography
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L'Italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca.
It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.
Rossini wrote L'Italiana in Algeri when he was 21. Rossini stated that he composed the opera in 18 days, though other sources claim that it took him 27 days.
Rossini entrusted the composition of the recitatives as well as the aria "Le femmine d'Italia" to an unknown collaborator. The opera is notable for Rossini's mixing of opera seria style with opera buffa. The overture is widely recorded and performed today, known for its distinct opening of slow, quiet pizzicato basses, leading to a sudden loud burst of sound from the full orchestra.
This "surprise" reflects Rossini's early admiration for Joseph Haydn, whose Symphony No. 94 in G major, "The Surprise Symphony", is so named for the same shocking and semi-comic effect.
The work was first performed at the Teatro San Benedetto, Venice on 22 May 1813. It was a notable success and Rossini made progressive changes to the work for later performances in Vicenza, Milan and Naples, during the following two years.
The opera was first presented in London at His Majesty's Theatre on 28 January 1819 and on 5 November 1832 in New York. It fell somewhat out of favour as the 19th century progressed, but notable performances were presented from the 1920s in "Turin (1925), Rome (1927) and London (1935)" and it has been revived frequently since World War II with many successful productions. In the 21st century, Rossini’s opera continues to be performed regularly.
Rossini - The Italian Girl in Algiers - Overture
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The Toccata in C major, Op. 7 by Robert Schumann, was completed in 1830 and revised in 1833. The piece is in sonata-allegro form.
The work was originally titled Etude fantastique en double-sons (Fantastic Study in Double Notes), and was infamously referred to by Schumann as the "hardest piece ever written"—to this day it remains as "one of the most ferociously difficult pieces in the piano repertoire".
A series of alternating chords introduce the main theme. The development features rapid unison octaves and counterpoint. There is advanced chromaticism and syncopation throughout the work. A typical performance of this piece (with the repeat sign observed) can last anywhere from six to eight minutes.
Schumann dedicated the work to his friend Ludwig Schuncke, who had dedicated his Grande Sonata in G minor, Op. 3, to Schumann. It is partially based on the Czerny Toccata in C major, Op. 92, which Clara Schumann spent much of her youth practicing.
Schumann - Toccata, Op. 7
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Among Weber's music for the play Preciosa, a drama that Pius Alexander Wolff derived in 1811 from Cervantes's "exemplary novella" La Gitanilla, is an overture and eleven other numbers (J. 279). The story concerns a gypsy girl, whose beauty and performance on the stage attract an increasingly wide following.
When an aristocrat sees her, he leaves his home to follow Preciosa wherever she goes. He is prepared to abandon all for her, but learns near the end of the drama that Preciosa is actually of noble birth, and they can marry.
Preciosa was successful on the German stage, and various productions occurred from its premiere through the 1820s. The production that included Weber's music was given its premiere in March 1821.
For his incidental music, Weber attempted to contribute to the Spanish setting by using some traditional Spanish tunes as the basis for several numbers. The overture begins with a stylized bolero that sets the one for the ensuing drama.
He proceeds to themes that occur elsewhere in the incidental music, and in doing so establishes a context for what comes afterward. This overture differs from others by Weber with its slower passages and more cantabile melodies.
In the orchestration itself, the work contains elements suggestive of Spanish style, including various bells and other percussive sounds. The overture to Preciosa is a more playful than the more solemn and atmospheric ones for Der Freischütz and Oberon. While the tonal structure follows more closely sonata form, the thematic content suggests more a potpourri of motives that would occur later in the drama.
The overture of Preciosa is performed most often apart from the rest of the incidental music, and as such, it is an excellent example of the Romantic concert overture.
Weber - Preciosa, Op. 78
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Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.
Beethoven was born in Bonn. His musical talent was obvious at an early age. He was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon patronized by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.
His first major orchestral work, the First Symphony, premiered in 1800, and his first set of string quartets was published in 1801. Despite his hearing deteriorating during this period, he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the Emperor), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1811, without Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his Heiligenstadt Testament (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812).
After 1810, increasingly less socially involved, Beethoven composed many of his most admired works, including later symphonies, mature chamber music and the late piano sonatas. His only opera, Fidelio, first performed in 1805, was revised to its final version in 1814. He composed Missa solemnis between 1819 and 1823 and his final Symphony, No. 9, one of the first examples of a choral symphony, between 1822 and 1824. Written in his last years, his late string quartets, including the Grosse Fuge, of 1825–1826 are among his final achievements. After some months of bedridden illness, he died in 1827. Beethoven's works remain mainstays of the classical music repertoire.
Beethoven Biography
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The Hungarian Dances (German: Ungarische Tänze) by Johannes Brahms (WoO 1), are a set of 21 lively dance tunes based mostly on Hungarian themes, completed in 1879.
They vary from about a minute to five minutes in length.
They are among Brahms's most popular works and were the most profitable for him. Each dance has been arranged for a wide variety of instruments and ensembles. Brahms originally wrote the version for piano four hands (piano duet: two players using one piano) and later arranged the first ten dances for solo piano.
Only numbers 11, 14 and 16 are entirely original compositions. The better-known Hungarian Dances include Nos. 1 and 5, the latter of which was based on the csárdás "Bártfai emlék" (Memories of Bártfa) by Hungarian composer Béla Kéler, which Brahms mistakenly thought was a traditional folksong.
A footnote on the Ludwig-Masters edition of a modern orchestration of Hungarian Dance No.1 states: "The material for this dance is believed to have come from the Divine Csárdás (ca. 1850) of Hungarian composer and conductor Miska Borzó."
Brahms wrote orchestral arrangements for Nos. 1, 3 and 10. Other composers have orchestrated the other dances. These composers include Antonín Dvořák (Nos. 17 to 21), Andreas Hallén (Nos. 2, 4 and 7), Paul Juon (No. 4), Martin Schmeling (1864–1943) (Nos. 5 to 7), Hans Gál (Nos. 8 and 9), Albert Parlow [de] (Nos. 5, 6 and 11 to 16) and Robert Schollum [de] (Nos. 4, 8 and 9). More recently, Iván Fischer has orchestrated the complete set.
Brahms's Hungarian Dances were influential in the development of ragtime. See, for example, the role of German-American piano teacher Julius Weiss in ragtime composer Scott Joplin's early life and career.
Brahms - Hungarian Dance No. 3 - Allegretto in F major - Piano Arr
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