Mozart - Symphony No. 34 in C major
The symphony features the fanfares and flourishes typical of the "festive symphony" or "trumpet symphony", which is characteristic of Austrian symphonic writing in C major. This is the first of Mozart's C-major symphonies to exhibit this character, but the style would be revisited in his subsequent two works in this key, the 36th and 41st symphonies.
The first movement is written in sonata form but also contains many styles and formal aspects of an Italian overture. There is no expositional repeat. The expositional coda contains an overture-like crescendo which is not included in the recapitulation. The development is based entirely on new material. The recapitulation on the exposition's first theme is abbreviated and interrupted by a brief development of that theme. Finally, the movement's coda contains nearly all of this first theme creating the appearance of a reverse-recapitulation common in Italian overtures.
The second movement in F major is scored for strings sotto voce with divided violas and a single bassoon doubling the cellos and bass.
Alfred Einstein advanced a theory in the third edition of the Köchel catalogue that the Minuet K. 409 was written at a later date by the composer for this work. However, there is no proof in the sources to support his thesis.[2] Also, K. 409 calls for two flutes in its orchestration which does not match the rest of the symphony.
The finale is in sonata form and features energetic tarantella or saltarello rhythms.
The autograph score is today preserved in two halves: the first half (f.1-18) is in the Bibliothèque Nationale de France, and the second half (f.19-28) is in the Biblioteka Jagiellońska, in Kraków.
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Frédéric Chopin wrote his set of three Mazurkas for solo piano, Op. 63, in 1846. They were published the following year, and dedicated to Laura de Czosnowska. A standard performance of the whole set takes around six minutes.
Chopin - Mazurka in B major Op. 63 No. 1
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Tannhäuser (or Tannhäuser and the Singers' Contest at Wartburg Castle) is an opera in three acts, written by Richard Wagner between 1842 and 1845, and based on two separate German legends: the legend of Tannhauser, and the Legend of the Song Contest. The opera was premiered in Dresden in 1845, with the last revision to this version made in 1860. However, 1861 some changes were made for a second premiere at Paris, which turned out to be a failure after the performances were sabotaged by some members of the Jockey Club, finally convincing Wagner to drop his idea of establishing himself in Paris.
Liszt / Wagner - Overture to Tannhauser - Piano version S 442
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Johann Sebastian Bach composed his Harpsichord Concerto no. 6 in 1738. The work has a span of three movements, and it is in the key of F major. As many of his Harpsichord Concertos, this was actually an arrangement of a piece for a melodic instrument, in this case of the Brandenburg Concerto no. 4 (BWV 1049) which features a violin and two recorders. Leaving the flute parts unchanged, Bach wrote the harpsichord part as a combination of the violin material from the original concerto and a written out continuo. The concerto was first published in 1851.
Bach - Harpsichord Concerto No. 6 in F major, BWV 1057
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Frédéric Chopin wrote his Mazurka in A minor, B. 134, in 1840. It was published in 1841, and later is appeared as part of Six Morceaux de salon.
Over the years 1825–1849, Frédéric Chopin wrote at least 59 mazurkas for piano, based on the traditional Polish dance:
• 58 have been published
o 45 during Chopin's lifetime, of which 41 have opus numbers
o 13 posthumously, of which 8 have posthumous opus numbers
• 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9).
The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number.
Chopin's composition of these mazurkas signaled new ideas of nationalism.
Chopin based his mazurkas on the traditional Polish folk dance, also called the mazurka (or "mazur" in Polish). However, while he used the traditional mazurka as his model, he was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre".
Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death. The number of mazurkas composed in each year varies, but he was steadily writing them throughout this time period.
Chopin - Mazurka in A minor B 134
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Mozart's final piano concerto was entered into his thematic catalog in 1791, the year of his death. However, it appears that, like its immediate predecessor (no. 26, "Coronation"), the concerto was started some time earlier, possibly in 1788. Mozart himself gave the first performance two months after the concerto's completion at a benefit concert for the clarintetist Josef Bähr, and it proved to be his final appearance on the concert platform. The report went to record that "everyone admired his art, in composition as well as in performance," an ironic statement from the press of a city that by this time had long tired of Mozart as a performer.
Mozart - Concerto for Piano and Orchestra No. 27
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Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical (religious) and secular music. While a more precise term is also used to refer to the period from 1750 to 1820 (the Classical period), this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods.[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period.
Relaxing Piano - Classical Piano Music for Relaxation
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Fantaisie sur le Marche funebre de Chopin Op. 29
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The Piano Sonata No. 25 in G major, Op. 79, a work in three movements, was written by Ludwig van Beethoven in 1809. It is alternatively titled "Cuckoo" or "Sonatina," and it notable for its shortness.
It consists of three movements:
Presto alla tedesca
Andante
Vivace
It is one of Beethoven's shortest sonatas with an approximate performance time of only eleven minutes, if Beethoven's prescribed repeats are all observed. It is also the shortest of his sonatas with three movements.
The first movement opens forcefully with a three-note motif (G–B–G) heard frequently throughout the movement. The second theme group in D major is based on fast scale and arpeggio passages and leads very swiftly into the forceful codetta. A few hesitant octave notes are played before the exposition repeats. The entire exposition is about 35 seconds long (without the repeat).
The development section dominates this movement, being approximately 60 seconds long. It features frequent modulation as well as themes borrowed and fragmented from the exposition including the opening three note motive which is heard in the form of left-hand crossovers. This motive starts on E major, then moves on to B major seventh and later to C minor followed by G seventh, ending in a strange E♭ major, B♭ seventh combination. The recapitulation snaps the listener back to the home key forcefully with its opening three-note motif, then proceeds to repeat the exposition entirely in the home key.
The development and recapitulation together are enclosed in a second, longer repeat mark.
As a final touch, the coda features the main theme played in G major in the left hand with a treble clef, then the theme again in A minor in the right hand with bass accompaniment, then again with comedic acciaccatura inserted. The recapitulation and coda together take up approximately another minute.
The whole movement with the exposition repeated lasts approximately three minutes. If the second repeat prescribed by Beethoven, encompassing the development and recapitulation, is observed, this brings the total performance time to around four and a half minutes.
The andante movement, in G minor, uses a tranquil theme in 9
8 time, quite uncommon in Beethoven's works, and a gentle, light atmosphere to present contrast to the ecstatic first movement. It is about two and a half minutes long.
The finale movement is the most playful and the shortest at barely two minutes long. The movement is constructed in rondo form (ABACA′ and a coda), with a two-part theme and contrasting episodes in key (B) and in rhythm (C). A very brief coda brings this quick, lighthearted sonata to a brisk end. Beethoven later uses the chord progression found at the beginning of the A section to start his Sonata No. 30. A comparison of the two pieces gives a dramatic illustration of how Beethoven's piano-writing developed in the 11 years that intervened between the two sonatas. The Op. 109 theme is altogether subtler and subject to dramatic twists that lead the listener into quite unexpected harmonic territory.
Beethoven - Sonata No. 25 Op. 79 in G
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The Piano Concerto No. 16 in D major, KV. 451, is a concertante work for piano, or pianoforte, and orchestra by Wolfgang Amadeus Mozart. Mozart composed the concerto for performance at a series of concerts at the Vienna venues of the Trattnerhof and the Burgtheater in the first quarter of 1784, where he was himself the soloist.[1] Mozart noted this concerto as complete on 22 March 1784 in his catalog, and performed the work later that month. Cliff Eisen has postulated that this performance was on 31 March 1784.[2]
The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The concerto is in three movements:
Allegro assai
Andante in G major
Allegro di molto
Simon Keefe has noted contemporary comments from Mozart's era on how the woodwind writing in this concerto showed a "newly intricate and sophisticated" character compared to Mozart's prior keyboard concerti.[1] M.S. Cole has noted Mozart's use of meter changes in the coda of the finale, starting at measure 315, from 2/4 to 3/8, and subsequent thematic transformations.[3] Joel Galand has noted that the finale, in rondo-ritornello form, avoids use of a new re-entry theme.
Mozart - Concerto No. 16 in D for Piano
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