Gabriel Fauré composed his Requiem in D minor, Op. 48, between 1887 and 1890. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation. Fauré's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He composed the work in the late 1880s and revised it in the 1890s, finishing it in 1900.
In seven movements, the work is scored for soprano and baritone soloists, mixed choir, orchestra and organ. Different from typical Requiem settings, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. The final movement In Paradisum is based on a text that is not part of the liturgy of the funeral mass but of the burial.
Fauré wrote of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest."[1]
The piece premiered in its first version in 1888 in La Madeleine in Paris for a funeral mass. A performance takes about 35 minutes.
Fauré - Requiem Op. 48
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Wolfgang Amadeus Mozart's Horn Concerto No. 1 in D major, K. (412+514)/386b was written in 1791. The work is in two movements. Unusually, each movement received a distinct number in the first edition of the Köchel catalogue: The first movement of this concerto was featured in film The Truman Show (1998).
Allegro 4/4 (K. 412)
Rondo (Allegro) 6/8[1] (K. 514)
This is one of two horn concertos of Mozart to include bassoons (the other is K. 447), but in this one he "treats them indifferently in the first movement."[2] It is the only one of Mozart's horn concertos to be in D major (the rest are in E-flat major) and the only one to have just two movements instead of the usual three (with the exception of the incompletely scored horn concerto, K. 370b+371).
Although numbered first, this was actually the last of the four to be completed. Compared to the other three concertos, it is shorter in duration (two movements rather than three), and is much simpler in regard to both range and technique, perhaps in a nod to Leutgeb's, the horn player and Mozart's great friend, advanced age and (presumably) reduced capabilities at the time of composition. The second movement, K. 514, was shown by Alan Tyson to have been finished by Mozart's student Franz Xaver Süssmayr after Mozart's death.
Mozart's autograph score contains, arranged in strategic places throughout the sketch of the Rondo, a bizarre written narrative in Italian almost certainly directed to Leutgeb:
For you, Mr. Donkey—Come on—quick—get on with it—like a good fellow—be brave—Are you finished yet?—for you—beast—oh what a dissonance—Oh!—Woe is me!!—Well done, poor chap—oh, pain in the balls!—Oh God, how fast!—you make me laugh—help—take a breather—go on, go on—that's a little better—still not finished?—you awful swine!—how charming you are!—dear one!—little donkey!—ha, ha, ha—take a breath!—But do play at least one note, you prick!—Aha! Bravo, bravo, hurrah!—You're going to bore me for the fourth time, and thank God it's the last—Oh finish now, I beg of you!—Confound it—also bravura?—Bravo!—oh, a sheep bleating—you're finished?—Thank heavens!—Enough, enough![3]
A comparison between Mozart's draft and Süssmayr's version reveals that Süssmayr used very little of Mozart's material: b.1–40 of Mozart's autograph corresponds almost exactly to b.1–44 of Süssmayr's version, and the two thereafter diverge with only a few passages in Süssmayr (b.59–62, 84–92, 109–116) bearing any close relationship to Mozart's material.[4] Süssmayr's rondo also makes use of a plainchant melody (the Lamentationes prophetae Jeremiae), and one explanation of this is that the melody was copied out by Mozart while he was composing the Requiem, which Süssmayr later mistook as material for the rondo.
Mozart - Horn Concerto No. 1 in D major - I. Allegro
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Frédéric Chopin's Fantaisie in F minor, Op. 49, is a single-movement work for the piano, composed in 1841, when he was 31 years old. From Chopin's letters it is known that he used the name "fantasy" to show some sort of freedom from rules and give a Romantic expression. Frédéric Chopin continued the tradition of a self-contained movement in his Fantaisie. This Fantaisie is one of Chopin's longest and greatest works. Only his Polonaise-Fantaisie, sonatas, and piano concertos are longer.
This work belongs to the Fantasy form, a composition free in form and inspiration. It begins with a solemn marching theme that eventually plunges into a passionate and virtuosic section, marked poco doppio movimento, still with elements of marching, but more triumphant and positive in mood. About halfway through the piece occurs a slow and sombre chorale-like section in B major, before the previous section is restated. After a short, quiet and sweet statement followed by a final flourish the work ends in a plagal cadence in A-flat major, the relative key. This piece is 11-14 minutes long.
Chopin - Fantasy Op. 49
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Fantasia No. 3 in D minor, K. 397/385g (Fantasy in English, Fantasie in German) is a piece of music for solo piano composed by Wolfgang Amadeus Mozart in 1782. Despite being unfinished at Mozart's death, the piece is nonetheless one of his more popular compositions for the piano.
The original manuscript has not survived and the final measures of the piece have been lost or were never completed by Mozart. The ending as it currently exists (last 10 measures) is believed to have been written by August Eberhard Müller, one of the composer's admirers.
The Fantasia runs to just over 100 measures, in a single multi-tempo movement marked Andante – Adagio – Presto – Tempo primo – Presto – Tempo primo – Allegretto, and a full performance takes approximately five minutes.
The Austrian composer and academic Gerhard Präsent has published an extensive analysis of the Fantasia that reveals highly interesting structural correlations between the different parts of the composition.[2] He has also made an arrangement for string quartet in four movements, called the Fantasy Quartet in D, in which this piece is the first movement.
Mozart - Fantasia in D minor K 397
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Frédéric Chopin's Berceuse, Op. 57, is a lullaby to be played on the piano. He composed it in 1843/44 as variations in D-flat major. Chopin originally called his work Variantes. Berceuse was first published in Paris in 1844 by Joseph Meissonnier, dedicated to Élise Gavard, and appeared in London and Leipzig the following year.
Written late in his career, the lyrical piece features complex pianistic figuration in the continuous flow of variations on a calm bass in always soft dynamics, shaping the music by texture and sonority.
Chopin began the composition in the summer of 1843 at Nohant, where he stayed with George Sand. As the first manuscript was held by the singer Pauline Viardot, the composition may have been inspired by her little daughter, Louisette, who also spent the summer there while her mother was away giving concerts. The theme of the Berceuse echos a song that Chopin may have heard in his childhood, "Już miesiąć zeszedł, psy się uśpily" (The moon now has risen, the dogs are asleep).
Chopin completed Berceuse in 1844, shortly before his Piano Sonata in B minor. It is a series of 16 variations on an ostinato ground bass. In an early sketch of the composition, the "variantes" were even assigned numbers. Chopin first began the work with the theme but wrote two measures of introduction later.
At first the composer titled the work Variantes, but the title was altered for publication to the current Berceuse, "berceuse" literally meaning "Cradle song". It was first published by Joseph Meissonnier of Paris in 1844 and was dedicated to Élise Gavard (1824–1900), saying on the title page: "Berceuse / pour le piano / dédié à / Mademoiselle Élise Gavard / par / F. CHOPIN." The first publication in England was by Wessel & Co. in London on 22 June 1845, and the first publication in Germany was by Breitkopf & Härtel in Leipzig in July 1845.
Chopin - Berceuse in D flat major Op. 57
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Haydn - Sonata in G major
Franz Joseph Haydn (31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".
Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.
He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn.
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Wiener Blut ('Viennese Blood' or 'Viennese Spirit') Op. 354 is a waltz by Johann Strauss II first performed by the composer on 22 April 1873. The new dedication waltz was to celebrate the wedding of the Emperor Franz Joseph I's daughter Archduchess Gisela Louise Maria and Prince Leopold of Bavaria. However, the waltz was also chiefly noted by Strauss' biographers as the début of Strauss with the Vienna Philharmonic Orchestra where for many years, the Philharmonic had dismissed any association with the 'Waltz King' as it had not wished to be associated with mere 'light' or 'pops' music. The festival ball celebrating the event was held at the Musikverein Hall which is the venue for the present day Neujahrskonzert.
'Wiener Blut' is one of a handful of late works by Strauss that were not composed for the stage; at this point in his career he was concentrating on writing for the performing stage, and not for the ballroom, and had written at least two operettas before penning this waltz, with Die Fledermaus still to come.
Johann Strauss Jr - Wiener Blut Op. 354 - Waltz
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The String Quartet No. 19 in C Major, K. 465 by Wolfgang Amadeus Mozart, nicknamed "Dissonance" on account of its unusual slow introduction, is perhaps the most famous of his quartets. It is the last in the set of six quartets composed between 1782 and 1785 that he dedicated to Joseph Haydn.
According to the catalogue of works Mozart began early the preceding year, the quartet was completed on 14 January 1785.
As is normal with Mozart's later quartets, it is in four movements:
Adagio-Allegro
Andante cantabile in F major
Menuetto. Allegro. (C major, trio in C minor)
Allegro molto
Mozart - String Quartet No. 19 in C major 'Dissonant' K 465
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The Élégie (Elegy), Op. 24, was written by the French composer Gabriel Fauré in 1880, and first published and performed in public in 1883. Originally for cello and piano, the piece was later orchestrated by Fauré. The work, in C minor, features a sad and sombre opening and climaxes with an intense, tempestuous central section, before the return of the elegiac opening theme.
In 1880, having completed his First Piano Quartet, Fauré began work on a cello sonata. It was his frequent practice to compose the slow movement of a work first, and he did so for the new sonata.[1] The completed movement was probably premiered at the salon of Camille Saint-Saëns in June 1880. The movement, like the quartet, is in the key of C minor. Whether the rest of the sonata would have been in that key is unknown: Fauré never completed it, and in January 1883 the slow movement was published as a stand-alone piece under the title Élégie.[1]
Jules Loeb, dedicatee and cellist at the premiere
Pablo Casals, who premiered the orchestral version
The first performance of the work under its new title was given at the Société Nationale de Musique in December 1883 by the composer and the cellist Jules Loeb to whom the piece is dedicated.[2][n 1] The Élégie was a great success from the outset,[1] and the conductor Édouard Colonne asked Fauré for a version for cello and orchestra. Fauré agreed, and that version was premiered at the Société Nationale in April 1901, with Pablo Casals as soloist and the composer as conductor.
Fauré - Élégie Op. 24
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Happy Classical Music - Tchaikovsky Collection
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. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period.
Tracklist:
Tchaikovsky - The Nutcracker Suite - Act I No.1. Overture
Tchaikovsky - The Nutcracker Suite - Act I No.2. March
Tchaikovsky - The Nutcracker Suite - Act I No.3. Dance of the Sugar Plum Fairy
Tchaikovsky - The Nutcracker Suite - Act I No.4. Russian Dance
Tchaikovsky - The Nutcracker Suite - Act I No.5. Arabian Dance
Tchaikovsky - The Nutcracker Suite - Act I No.6. Chinese Dance
Tchaikovsky - The Nutcracker Suite - Act I No.7. Dance of the Flutes
Tchaikovsky - The Nutcracker Suite - Act I No.8. Waltz of the Flowers
Tchaikovsky - The Nutcracker Suite - Act I No.9. The Christmas Tree
Tchaikovsky - The Nutcracker Suite - Act II No.10. Grandfather Dance
Tchaikovsky - The Nutcracker Suite - Act II No.11. Childrens Galop and Entrance of the Parents
Tchaikovsky - The Nutcracker Suite - Act II No.12. Pas de Deux variations
Tchaikovsky - The Nutcracker Suite - Act II No.13. Waltz of the Snowflakes
Tchaikovsky - The Nutcracker Suite - Act II No.14. The Magic Castle in the Kingdom of Sweets
Tchaikovsky - The Nutcracker Suite - Act II No.15. Final Waltz and Apotheosis
Swan Lake Op.20 - Act I Intro
Swan Lake Op.20 - Act II Concl
Swan Lake Op.20 - Act II Pt.1
Swan Lake Op.20 - Act III Concl Allegro
Swan Lake Op.20 - Act III Pt.1
Swan Lake Op.20 - Act IV Intro
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