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".[c] 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.
The Best of Joseph Haydn
Tracklist:
1- Haydn - A Cotovia
2- Haydn - Emperor
3- Haydn - La Fedelta Premiata (Overture)
4- Haydn - Mass in C major
5- Haydn - Partita in B flat major
6- Haydn - Piano Trio in G major Hob. XV25
7- Haydn - Quartet in D major Hob III 34
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The Classical period was an era of classical music between roughly 1730 and 1820.[1]
The Classical period falls between the Baroque and the Romantic periods. Classical music has a lighter, clearer texture than Baroque music and is less complex. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment,[2] but counterpoint was by no means forgotten, especially later in the period. It also makes use of style galant which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and power.
The harpsichord was replaced as the main keyboard instrument by the piano (or fortepiano). Unlike the harpsichord, which plucked strings with quills, pianos strike the strings with leather-covered hammers when the keys are pressed, which enables the performer to play louder or softer and play with more expression; in contrast, the force with which a performer plays the harpsichord keys does not change the sound. Instrumental music was considered important by Classical period composers. The main kinds of instrumental music were the sonata, trio, string quartet, symphony (performed by an orchestra) and the solo concerto, which featured a virtuoso solo performer playing a solo work for violin, piano, flute, or another instrument, accompanied by an orchestra. Vocal music, such as songs for a singer and piano (notably the work of Schubert), choral works, and opera (a staged dramatic work for singers and orchestra) were also important during this period.
The best-known composers from this period are Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Franz Schubert; other notable names include Luigi Boccherini, Muzio Clementi, Antonio Salieri, Leopold Mozart, Johann Christian Bach, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck. Ludwig van Beethoven is regarded either as a Romantic composer or a Classical period composer who was part of the transition to the Romantic era. Franz Schubert is also a transitional figure, as were Johann Nepomuk Hummel, Luigi Cherubini, Gaspare Spontini, Gioachino Rossini, Carl Maria von Weber and Nicolo Paganini. The period is sometimes referred to as the era of Viennese Classic or Classicism (German: Wiener Klassik), since Gluck, Mozart, Haydn, Salieri, Schubert, and Beethoven all worked in Vienna.
Great Composers of the Classical Period
Tracklist:
1 - Mozart - Concerto No. 5
2 - Schubert - Piano Sonata D 959
3 - Haydn - Quartet in D major Hob. III 34
4 - Mozart - Concerto No. 1
5 - Carl Philipp Emanuel Bach - Concerto in G
6 - Haydn - String Quartets Op. 74
7 - Mozart - Piano Concerto No. 2
8 - Cherubini - Sonata for two Organs in G major
9 - Boccherini - String Quartet No. 7 in G minor Op. 33
10 - Mozart - Divertimento in E-flat major K. 113
11 - François Adrien Boieldieu - The White Lady - I Overture
12 - Haydn - Piano Trio in G major Hob. XV25
13 - Boccherini - Concerto for Cello and Orchestra In B flat Major
14 - Mozart - Flute Concerto in G Major, K. 313 - I. Allegro maetoso
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Baroque music (US: /bəˈroʊk/ or UK: /bəˈrɒk/) is a period or style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music.
Baroque Music Collection
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Wolfgang Amadeus Mozart - Symphony No. 33 in B flat major K 319
The Symphony No. 33 in B♭ major, K. 319, was written by Wolfgang Amadeus Mozart, and dated on 9 July 1779.
The symphony has 4 movements, and is scored for strings, 2 oboes, 2 bassoons, and 2 horns, the smallest orchestral force employed in his last ten symphonies:
1. Allegro assai, 3
4, in sonata form
2. Andante moderato in E♭ major, 2
4, in modified sonata form, order of first and second subjects reversed in the recapitulation
3. Menuetto, 3
4, in ternary form
4. Finale: Allegro assai, 2
4, in sonata form
The autograph score is today preserved in the Biblioteka Jagiellońska, in Kraków.
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Moritz Moszkowski
Piano Concerto in E major Op. 59
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Franz Schubert - Symphony No. 5
Franz Schubert's Symphony No. 5 in B♭ major, D. 485, was written mainly in September 1816 and completed on October 3, 1816. It was finished six months after the completion of his previous symphony.
Scored for one flute, two oboes, and two bassoons, along with two horns in B♭ and E♭ and strings. Of all of Schubert's symphonies, it is scored for the smallest orchestra. It is the only one of his symphonies which does not include clarinets, trumpets or timpani as part of the instrumentation.
In character, the writing is often said to resemble Mozart; Schubert was infatuated with the composer at the time he composed it, writing in his diary on June 13 of the year of composition, "O Mozart! immortal Mozart! what countless impressions of a brighter, better life hast thou stamped upon our souls!" This is reflected particularly in the lighter instrumentation, as noted above. Indeed, the instrumentation matches that of the first version (without clarinets) of Mozart's 40th symphony. For another example, there is a strong similarity between the opening themes of the second movement of D. 485 and the last movement of Mozart's Violin Sonata in F major, K. 377.
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Gioacchino Rossini - La gazza ladra (Overture)
La gazza ladra (The Thieving Magpie) is a melodramma or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on La pie voleuse by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez. The composer Gioachino Rossini wrote quickly, and La gazza ladra was no exception. According to legend, before the first performance of the opera, the producer assured the composition of the overture by locking Rossini in a room, from the window of which the composer threw out the sheets of music to the copyists who then wrote the orchestral parts, to complete the composition of the opera. As such, The Thieving Magpie is best known for the overture, which is musically notable for its use of snare drums. The unique inspiration in the melodies is extreme, famously used to bizarre and dramatic effect in Stanley Kubrick's A Clockwork Orange. It was referenced by Haruki Murakami in his work The Wind-Up Bird Chronicle. This memorable section in Rossini's overture evokes the image of the opera's main subject: a devilishly clever, thieving magpie.
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Engelbert Humperdinck
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Wolfgang Amadeus Mozart - The Magic Flute (Overture)
The Magic Flute (German), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue. The work was premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death.
In this opera, the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion, Papagena.
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Wolfgang Amadeus Mozart - Alleluia
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
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