Frederick Delius - Twilight Fancies
Frederick Theodore Albert Delius, CH (/ˈdiːliəs/ 29 January 1862 – 10 June 1934), originally Fritz Delius, was an English composer. Born in Bradford, West Yorkshire to a prosperous mercantile family, he resisted attempts to recruit him to commerce. He was sent to Florida in the United States in 1884 to manage an orange plantation. He soon neglected his managerial duties and in 1886 returned to Europe.
Having been influenced by African-American music during his short stay in Florida, he began composing. After a brief period of formal musical study in Germany beginning in 1886, he embarked on a full-time career as a composer in Paris and then in nearby Grez-sur-Loing, where he and his wife Jelka lived for the rest of their lives, except during the First World War.
Delius's first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s. In Delius's native Britain, his music did not make regular appearances in concert programmes until 1907, after Thomas Beecham took it up. Beecham conducted the full premiere of A Mass of Life in London in 1909 (he had premiered Part II in Germany in 1908); he staged the opera A Village Romeo and Juliet at Covent Garden in 1910; and he mounted a six-day Delius festival in London in 1929, as well as making gramophone recordings of many of the composer's works. After 1918, Delius began to suffer the effects of syphilis, contracted during his earlier years in Paris. He became paralysed and blind, but completed some late compositions between 1928 and 1932 with the aid of an amanuensis, Eric Fenby.
The lyricism in Delius's early compositions reflected the music he had heard in America and the influences of European composers such as Edvard Grieg and Richard Wagner. As his skills matured, he developed a style uniquely his own, characterised by his individual orchestration and his uses of chromatic harmony. Delius's music has been only intermittently popular, and often subject to critical attacks. The Delius Society, formed in 1962 by his more dedicated followers, continues to promote knowledge of the composer's life and works, and sponsors the annual Delius Prize competition for young musicians.
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Kaiser-Walzer, Op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The waltz was originally titled Hand in Hand and was intended as a toast made in August of that year by Emperor of Austria Franz Joseph I on the occasion of his visit to the German Emperor Wilhelm II where it was symbolic as a 'toast of friendship' extended by Austria-Hungary to the German Empire.
Strauss' publisher, Fritz Simrock, suggested the title Kaiser-Walzer since the title could allude to either monarch, and thus satisfy the vanity of both rulers. The waltz was first performed in Berlin on 21 October 1889. The original cover of the piano edition bore the illustration of the Austrian Imperial Crown.
Johann Strauss
Emperor Waltz Op. 437
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Giovanni Croce - Cantate Domino
Giovanni Croce (also Ioanne a Cruce Clodiensis, Zuanne Chiozotto; 1557 – 15 May 1609) was an Italian composer of the late Renaissance, of the Venetian School. He was particularly prominent as a madrigalist, one of the few among the Venetians other than Monteverdi and Andrea Gabrieli.
He was born in Chioggia, a fishing town on the Adriatic coast south of Venice, the same town as Gioseffo Zarlino, and he came to Venice early, becoming a member of the boy's choir at St. Mark's under Zarlino's direction by the time he was eight years old. Zarlino evidently found him in a choir in Chioggia Cathedral, and recruited him for St. Mark's.[1] Croce may have been a parish priest at the church of Santa Maria Formosa, and he took holy orders in 1585; during this period he also served as a singer at St. Mark's. He evidently maintained some connection, probably as a director of music, with Santa Maria Formosa alongside his duties at St. Mark's.
After the death of Zarlino, he became assistant maestro di cappella; this was during the tenure of Baldassare Donato. When Donato died in 1603 Croce took over the principal job as maestro di cappella but the singing standards of the famous St. Mark's cathedral declined under his direction, most likely due more to his declining health than his lack of musicianship. He died in 1609; the position of maestro di cappella went to Giulio Cesare Martinengo until 1613, at which time Monteverdi took the job.
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Antonio Vivaldi
Nulla in mundo pax sincera, RV 630, is a sacred motet composed by Antonio Vivaldi in 1735 to an anonymous Latin text, the title of which may be translated as "In this world there is no honest peace" or "There is no true peace in this world without bitterness". Written in the key of E major and in the typical lyrical Italian Baroque style, it is scored for solo soprano, two violins, viola and basso continuo, this would normally be a cello and keyboard instrument, in Vivaldi's case often the organ. The text dwells on the imperfections of a world full of evil and sin, and praises Jesus for the salvation he offers from it. It is considered to be one of Vivaldi's most beautiful solo motets.
The motet consists of three parts (Aria; Recitative; Aria), followed by a concluding Alleluia. A full performance of the piece takes approximately 13 minutes.
Nulla in mundo pax sincera RV 630
1. I Nulla in mundo pax sincera 6:43
2. II Blando colore oculos mundus decipit 4:44
III Spirat anguis inter flores
3. Alleluia 2:02
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Johann Strauss - Polka Champagne Op. 211
Johann Strauss I (German: Johann Baptist Strauß, Johann Strauss (Vater); also Johann Baptist Strauss, Johann Strauss Sr., the Elder, the Father; March 14, 1804 – September 25, 1849) was an Austrian Romantic composer. He was famous for his waltzes, and he popularized them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musical dynasty. He is perhaps best known for his composition of the Radetzky March (named after Joseph Radetzky von Radetz).
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Giovanni Battista Pergolesi
Giovanni Battista Draghi (4 January 1710 – 16 or 17 March 1736), often referred to as Giovanni Battista Pergolesi (Italian: [perɡoˈleːzi; -eːsi]), was an Italian composer, violinist and organist. His best-known works include his Stabat Mater and the opera La serva padrona (The Maid Turned Mistress). His compositions include operas and sacred music. He died of tuberculosis at the age of 26.
Born in Jesi in what is now the Province of Ancona (but was then part of the Papal States), he was commonly given the nickname "Pergolesi", a demonym indicating in Italian the residents of Pergola, Marche, the birthplace of his ancestors. He studied music in Jesi under a local musician, Francesco Santi, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. On leaving the conservatory in 1731, he won some renown by performing the oratorio in two parts La fenice sul rogo, o vero La morte di San Giuseppe [it] ("The Phoenix on the Pyre, or The Death of Saint Joseph"), and the dramma sacro in three acts, Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d’Aquitania ("The Miracles of Divine Grace in the Conversion and Death of Saint William, Duke of Aquitaine"). He spent most of his brief life working for aristocratic patrons like Ferdinando Colonna, Prince of Stigliano, and Domenico Marzio Carafa, Duke of Maddaloni.
Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria, Il prigionier superbo, contained the two-act buffa intermezzo, La serva padrona (The Servant Mistress, 28 August 1733), which became a very popular work in its own right. When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons ("quarrel of the comic actors") between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years.
Among Pergolesi's other operatic works are his first opera La Salustia (1732), Lo frate 'nnamorato (The brother in love, 1732, to a text in the Neapolitan language), L'Olimpiade (January 1735) and Il Flaminio (1735, to a text in the Neapolitan language). All his operas were premiered in Naples, apart from L'Olimpiade, which was first given in Rome.
Pergolesi also wrote sacred music, including a Mass in F and three Salve Regina settings. The Lenten Hymn ‘God of Mercy and Compassion’ by Redemptorist priest Edmund Vaughan is most commonly set to a tune adapted by Pergolesi. It is his Stabat Mater (1736), however, for soprano, alto, string orchestra and basso continuo, which is his best-known sacred work. It was commissioned by the Confraternita dei Cavalieri di San Luigi di Palazzo, which presented an annual Good Friday meditation in honor of the Virgin Mary. Pergolesi's work replaced one composed by Alessandro Scarlatti only nine years before, but which was already perceived as "old-fashioned," so rapidly had public tastes changed.
While classical in scope, the opening section of the setting demonstrates Pergolesi's mastery of the Italian baroque durezze e ligature style, characterized by numerous suspensions over a faster, conjunct bassline. The work remained popular, becoming the most frequently printed musical work of the 18th century, and being arranged by a number of other composers, including Johann Sebastian Bach, who reorchestrated and adapted it for a non-Marian text in his cantata Tilge, Höchster, meine Sünden (Root out my sins, Highest One), BWV 1083.
Pergolesi wrote a number of secular instrumental works, including a violin sonata and a violin concerto. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be misattributed. Much of Igor Stravinsky's ballet Pulcinella, which ostensibly reworks pieces by Pergolesi, is actually based on works by other composers, especially Domenico Gallo. The Concerti Armonici are now known to have been composed by Unico Wilhelm van Wassenaer. Many colorful anecdotes related by Pergolesi's 19th-century biographer, Francesco Florimo, were later revealed as hoaxes.
Magnificat in C major
1. Magnificat 2:49
2. Et misericordia 1:44
3. Deposuit 1:47
4. Suscepit Israel 1:51
5. Sicut locutus est... Gloria 3:34
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Bedřich Smetana
Má vlast is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. While it is often presented as a single work in six movements and – with the exception of Vltava – is almost always recorded that way, the six pieces were conceived as individual works. They had their own separate premieres between 1875 and 1880; the premiere of the complete set took place on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech, who had also conducted two of the individual premieres.
In these works Smetana combined the symphonic poem form pioneered by Franz Liszt with the ideals of nationalistic music which were current in the late nineteenth century. Each poem depicts some aspect of the countryside, history, or legends of Bohemia.
Since 1952 the works have been performed to open the Prague Spring International Music Festival on 12 May, the anniversary of the death of their composer.
Pergolesi died on 16 or 17 March 1736 at the age of 26 in Pozzuoli from tuberculosis and was buried at the Franciscan monastery one day later.
Pergolesi was the subject of a 1932 Italian film biopic Pergolesi. It was directed by Guido Brignone with Elio Steiner playing the role of the composer.
Má Vlast
1. Vysehrad 13:43
2. O Moldava 11:32
3. Sarka 9:40
4. Nos bosques e campos boêmios 12:22
5. Tábor 12:26
6. Blaník 13:13
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Georg Friedrich Händel
Israel in Egypt (HWV 54) is a biblical oratorio by the composer George Frideric Handel. Most scholars believe the libretto was prepared by Charles Jennens, who also compiled the biblical texts for Handel's Messiah. It is composed entirely of selected passages from the Old Testament, mainly from Exodus and the Psalms.
Israel in Egypt premiered at London's King's Theatre in the Haymarket on April 4, 1739 with Élisabeth Duparc "La Francesina", William Savage, John Beard (tenor), Turner Robinson, Gustavus Waltz, and Thomas Reinhold. Handel started it soon after the opera season at King's Theatre was cancelled for lack of subscribers. The oratorio was not well received by the first audience though commended in the Daily Post; the second performance was shortened, the mainly choral work now augmented with Italian-style arias.
The first version of the piece is in three parts rather than two, the first part more famous as "The ways of Zion do mourn", with altered text as "The sons of Israel do mourn" lamenting the death of Joseph. This section precedes the Exodus, which in the three-part version is Part II rather than Part I.
Israel in Egypt
Part I
1. Recitative: Now there arose a new King
2. Solo and Double Chorus
a. Solo: And the children of Israel sighed (Alto)
b. Double Chorus: And their cry came up to God
3. Recitative: Then sent he Moses (Tenor)
4. Chorus: They loathed to drink of the river
5. Aria: Their land brought forth frogs (Alto)
6. Double Chorus: He spake the word
7. Double Chorus: He gave them hailstones
8. Chorus: He sent a thick darkness
9. Chorus: He smote all the first-born of Egypt
10. Chorus: But for his people
11. Chorus: Egypt was glad
12. Double Chorus: He rebuked the Red Sea
13. Chorus: He led them through the deep
14. Chorus: But the waters overwhelmed
15. Double Chorus: And Israel saw that great work
16. Chorus: And believed the Lord
Part II
17. Double Chorus: Moses and the children of Israel
18. Double Chorus: I will sing unto the Lord
19. Duet: The Lord is my strength (2 Sopranos)
20. Double Chorus: He is my God
21. Chorus: And I will exalt Him
22. Duet: The Lord is a man of war (2 Basses)
23. Double Chorus: The depths have covered them
24. Double Chorus: Thy right hand, O Lord
25. Double Chorus: And in the greatness
26. Double Chorus: Thou sentest forth Thy wrath
27. Chorus: And with the blast of Thy nostrils
28. Aria: The enemy said (Tenor)
29. Aria: Thou didst blow (Soprano)
30. Double Chorus: Who is like unto Thee
31. Double Chorus: The earth swallow'd them
32. Duet: Thou in Thy mercy (Alto, Tenor)
33. Double Chorus: The people shall hear
34. Aria: Thou shalt bring them in (Alto)
35. Double Chorus: The Lord shall reign
36. Recitative: For the horse of Pharaoh (Tenor)
37. Double Chorus: The Lord shall reign
38. Recitative: And Miriam, the prophetess (Tenor)
39. Solo Soprano and Double Chorus: Sing ye to the Lord
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Johann Strauss - Rosen aus dem Süden Op. 388
Johann Strauss I (German: Johann Baptist Strauß, Johann Strauss (Vater); also Johann Baptist Strauss, Johann Strauss Sr., the Elder, the Father; March 14, 1804 – September 25, 1849) was an Austrian Romantic composer. He was famous for his waltzes, and he popularized them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musical dynasty. He is perhaps best known for his composition of the Radetzky March (named after Joseph Radetzky von Radetz).
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Wolfgang Amadeus Mozart
Ave verum corpus (Hail, true body), (K. 618), is a motet in D major composed by Wolfgang Amadeus Mozart in 1791. It is a setting of the Latin hymn Ave verum corpus. Mozart wrote it for Anton Stoll, a friend who was the church musician of St. Stephan in Baden bei Wien. The motet was composed for the feast of Corpus Christi; the autograph is dated 17 June 1791. It is scored for SATB choir, string instruments and organ.
Mozart composed the motet in 1791 in the middle of writing his opera Die Zauberflöte.[1] He wrote it while visiting his wife Constanze, who was pregnant with their sixth child and staying in the spa Baden bei Wien. Mozart set the 14th century Eucharistic hymn in Latin "Ave verum corpus". He wrote the motet for Anton Stoll, a friend of his and of Joseph Haydn.[2] Stoll was the musical director of the parish St. Stephan, Baden. The setting was composed to celebrate the feast of Corpus Christi; the autograph is dated 17 June 1791. (The Feast of Corpus Christi falls on the Thursday following Trinity Sunday, and in 1791 was observed on June 23.) The composition is only forty-six bars long and is scored for SATB choir, string instruments, and organ. Mozart's manuscript contains minimal directions, with only a single sotto voce marking at the beginning.
The motet was composed less than six months before Mozart's death. It foreshadows "aspects of the Requiem such as declamatory gesture, textures, and integration of forward- and backward-looking stylistic elements". While the Requiem is a dramatic composition, the motet expresses the Eucharistic thoughts with simple means, suited for the church choir in a small town.
Franz Liszt made transcriptions of Mozart's motet for piano solo [Searle 461a] and for organ [Searle 674d], and also quoted Mozart in his fantasie piece Evocation à la Chapelle Sixtine [Searle 461], in versions for piano, organ, orchestra, and piano duet. Pyotr Ilyich Tchaikovsky incorporates an orchestration of Liszt's transcription in his fourth orchestral suite, Mozartiana, Op. 61, a tribute to Mozart's music
Ave Verum K 618
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