Johann Strauss - Klange aus der Raimundzeit Op. 479
as Werk entstand vor dem Hintergrund einer Denkmalsenthüllung für Ferdinand Raimund (1790–1836). Am Vorabend der eigentlichen Enthüllung des Denkmals fand im Deutschen Volkstheater in Wien ein Festakt zu Ehren des 1836 verstorbenen Dichters statt. Für diese Veranstaltung hat Johann Strauss diese Komposition geschaffen. Es handelt sich bei dem Werk im wörtlichen Sinne um eine Komposition, nämlich um eine Zusammenstellung von Musikstücken aus der Zeit des Dichters. Dabei wurden unter anderem Kompositionen von Josef Lanner und Johann Strauss (Vater) und Motive aus Bühnenmusiken zu Raimunds Werken verwendet. Für Johann Strauss (Sohn) war das Werk auch ein Rückblick in seine eigene Jugendzeit. Viele der zitierten Werke waren damals (in seinen jungen Jahren) noch aktuell. Das Werk wurde das Letzte, das in dem Werkeverzeichnis von Johann Strauss (op. 479) aufgelistet wurde. Dazu passend sind die beiden letzten in diesem Werk zitierten Lieder (Brüderlein fein einmal muß geschieden sein bzw. So leb' denn wohl, du stilles Haus). Beide Lieder thematisieren den Abschied. Ob das von Strauss als Hinweis auf seinen eigenen Abschied verstanden werden wollte sei dahingestellt. Rückblickend würde es passen. Er hatte mit dem Werk sein letztes Opus verfasst und er starb etwa ein Jahr nach der Uraufführung dieses Werkes am 3. Juni 1899.
Die Spieldauer beträgt auf der unter Einzelnachweis angeführten CD 7 Minuten und 46 Sekunden. Je nach der musikalischen Auffassung des Dirigenten kann diese Zeit etwas variieren.
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Antonio Vivaldi
Juditha triumphans devicta Holofernis barbarie (Judith triumphant over the barbarians of Holofernes), RV 644, is an oratorio by Antonio Vivaldi, the only survivor of the four that he is known to have composed. Although the rest of the oratorio survives completely intact, the overture has been lost. The Latin libretto was written by Iacopo Cassetti based upon the Book of Judith.
The exact date of composition and performance of Juditha triumphans are not known, but the allegorical treatment of the Venetian defense of Corfu dominated public discussion in Venice throughout 1716. This work was an allegorical description of the victory of the Venetians (the Christians) over the Turks in August 1716. The work was commissioned to celebrate the victory of the Republic of Venice over the Turks during the siege of Corfu: in July 1716, the Turks had landed on Corfu and set siege to the island. The population resisted the occupation and, in August, Venice signed an alliance with the Holy Roman Emperor. On 18 August, under the leadership of count Johann Matthias von der Schulenburg, the decisive battle was won and the Turks abandoned the island.
Although widely reported to have been performed at the Ospedale della Pietà in November 1716, the victorious General Schulenburg could not have been in the audience of any performance prior to January 3, 1717.
Juditha Triumphans RV 644
01 - Chorus militum pugnantium in Acie cum timpano bellico: Arma, caedes
02 - Recitativo Holofernes: Felix en fausta dies
03 - Aria Holofernes: Nil arma, nil bella
04 - Recitativo Vagaus et Holofernes: Mi Dux, Domine mi
05 - Aria Vagaus: Matrona inimica
06 - Recitativo Holofernes et Vagaus: Huc accedat Matrona
07 - Aria Juditha: Quo cum Patriae me ducit amore
08 - Recitativo Abra: Ne timeas non
09 - Aria Abra: Vultus tui vago splendori
10 - Recitativo Abra et Juditha: Vide humilis prostrata
11 - Vagaus et adstantium militum chorus: O quam vaga
12 - Recitativo Vagaus: Quem vides prope
13 - Aria Vagaus: Quamvis ferro
14 - Recitativo Holofernes et Jutitha: Quid cerno!
15 - Aria Juditha: Quanto magis generosa
16 - Recitativo Holofernes et Juditha: Magna, o foemina petis
17 - Aria Holofernes: Sede o cara
18 - Recitativo Juditha et Holofernes: Tu Judux es
19 - Aria Juditha: Agitata infido flatu
20 - Recitativo Holofernes: In tentorio supernae
21 - Aria Vagaus: O servi volate
22 - Recitativo Vagaus et Abra: Tu quoque hebraica ancilla
23 - Aria Juditha: Veni, me sequere
24 - Recitativo Abra: Venio Juditha
25 - Aria Abra: Fulgeat sol frontis decorae
26 - Recitativo di Abra: In urbe interim pia
27 - Chorus virginum psalentium in Bethulia: Mundi Rector
28 - Recitativo Ozias: Summi Regis in mente
29 - Aria Ozias: O Sydera, o stellae
30 - Recitativo Ozias et Holofernes: Jam saevientis in hostem
31 - Aria Holofernes: Nox obscura
32 - Recitativo Holofernes et Juditha: Belligerae meae sorti
33 - Aria Juditha: Transit aetas
34 - Recitativo Holofernes et Juditha: Haec in crastinum serva
35 - Aria Holofernes: Noli o cara te adorantis
36 - Recitativo Juditha et Holofernes: Tibi dona salutis
37 - Chorus: Plena noctare non mero
38 - Recitativo Holofernes: Tormenta mentis tuae
39 - Aria Juditha: Vivat in pace
40 - Recitativo Juditha: Sic in Pace inter hostes
41 - Aria Vagaus: Umbrae carae
42 - Recitativo Vagaus: Quae fortunata es tu
43 - Aria Abra: Non ita reducem progeniem noto
44 - Recitativo Abra: Jam pergo, postes claudo
45 - Recitativo accompagnato Juditha: Summe Astroum Creator
46 - Aria Juditha: In somno profundo
47 - Recitativo accompagnato Juditha: Impii, indigni tiranni
48 - Recitativo Juditha et Abra: Abra, accipe munus
49 - Aria di Abra: Si fulgida per te
50 - Recitativo di Vagaus: Jam non procul ab axe
51 - Aria Vagaus: Armatae face
52 - Recitativo Ozias: Quam insolita luce
53 - Aria Ozias: Gaude felix Bethulia
54 - Recitativo accompagnato Ozias: Ita decreto aeterno
55 - Chorus exultantium Virginum pro Judithae triumpho: Salve invicta Juditha formosa
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Maurice Ravel - Dafnis e Cloe Suite No. 2
Daphnis et Chloé is a ballet in one act with three parts (scenes) by Maurice Ravel described as a "symphonie chorégraphique" (choreographic symphony). The scenario was adapted by Michel Fokine from a romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario.[1] The story concerns the love between the goatherd Daphnis and the shepherdess Chloé.
Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on 8 June 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. Léon Bakst designed the original sets.
At almost an hour long, Daphnis et Chloé is Ravel's longest work. In spite of the ballet's duration, four discernible leitmotifs give musical unity to the score. The music, some of the composer's most passionate, is widely regarded as some of Ravel's best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer's lifetime, contemporary commentators described this ballet as his masterpiece for orchestra. Ravel extracted music from the ballet to make two orchestral suites, which can be performed with or without the chorus. The second of the suites, which includes much of the last part of the ballet and concludes with the "Danse générale", is particularly popular. When the complete work is itself performed live, it is more often in concerts than in staged productions.
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Antonín Dvořák
Antonín Dvořák's Requiem in B♭ minor, Op. 89, B. 165, is a funeral Mass scored for soloists, choir and orchestra. It was composed in 1890 and performed for the first time on 9 October 1891, in Birmingham, England, with the composer conducting.
Requiem Op. 89
1. I Requiem aeternam 10:37
2. II Graduale 5:08
3. III Dies irae 2:09
4. IV Tuba mirum 8:35
5. V Quid sum miser 6:02
6. VI Recordare 6:59
7. VII Confutatis maledictis 4:15
8. VIII Lacrimosa 6:11
9. IX Offertorium 11:12
10. X Hostias 11:14
11. XI Sanctus 5:58
12. XII Pie Jesu 5:12
13. XIII Agnus Dei 10:49
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Johann Sebastian Bach
The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).
The work belongs to a group of three oratorios written in 1734 and 1735 for major feasts, the other two works being the Ascension Oratorio (BWV 11) and the Easter Oratorio (BWV 249). All three of these oratorios to some degree parody earlier compositions. The Christmas Oratorio is by far the longest and most complex work of the three.
The Christmas Oratorio is in six parts, each part being intended for performance on one of the major feast days of the Christmas period. The piece is often presented as a whole or split into two equal parts. The total running time for the entire work is nearly three hours.
The first part (for Christmas Day) describes the Birth of Jesus, the second (for December 26) the annunciation to the shepherds, the third (for December 27) the adoration of the shepherds, the fourth (for New Year's Day) the circumcision and naming of Jesus, the fifth (for the first Sunday after New Year) the journey of the Magi, and the sixth (for Epiphany) the adoration of the Magi.
Weihnachts Oratorium BWV 248
Part I 'For the First Day of Christmas'
Part II 'For the Second Day of Christmas'
Part III 'For the Third Day of Christmas'
Part IV 'For the Feast of the Circumcision'
Part V 'For the First Sunday in the New Year'
Part VI 'For the Feats of Epiphany'
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Wolfgang Amadeus Mozart - Die Zauberflöte (The Magic Flute) K 620
The Magic Flute (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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Ludwig van Beethoven - Mass In C Flat Opus 86
Ludwig van Beethoven composed the Mass in C major, Op. 86, to a commission from Prince Nikolaus Esterházy II in 1807. The mass, scored for four vocal soloists, choir and orchestra, was premiered that year by the Prince's musical forces in Eisenstadt. Beethoven performed parts of it in his 1808 concert featuring the premieres of four major works including his Fifth Symphony. The mass was published in 1812 by Breitkopf & Härtel.
While the Prince who commissioned the mass was not pleased, the contemporary critic E. T. A. Hoffmann appreciated the "expression of a childlike serene mind", and Michael Moore notes the music's "directness and an emotional content".
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Johann Strauss - Annen Polka Op. 117
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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Franz Schubert - Mass in E flat major D 950
Mass No. 6 in E-flat major, D 950, is a mass composed by Franz Schubert. It is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis.
The first date to appear on the score is June 1828, although evidence exists that Schubert had begun to sketch it earlier than this. It was completed by July. It was composed in response to a commission or request from Michael Leitermayer, choirmaster of the Church of the Holy Trinity (Alserkirche) in Alsergrund, Vienna. The mass was not performed until after Schubert's death, with a premiere in the Alserkirche on October 4, 1829. Ferdinand Schubert conducted the premiere, as well as a second performance in the Church of Maria Trost on November 15, 1829.
The influence of Beethoven is felt in the mass, particularly in the "ambitious Beethovenian architecture". Schubert had been a torchbearer at Beethoven's funeral, which had been held in the Alserkirche. References to Bach's fugues are present in the Gloria and Agnus Dei, as well as Mozart's Requiem and Haydn's Heiligmesse.
This setting and the earlier Mass in A-flat major are regarded as Schubert's "late masses". These are distinguished from his four early masses by their "musically interpretive stance to the words"; Schubert began to take advantage of an overall maturation in his technical capabilities and knowledge of harmony, coupled with his experience in composing both sacred and secular music, to add further meaning to the standard text. Already known for consistently omitting certain passages from the text, Schubert took even greater freedoms in the late masses, adding and removing text in a bid to "deepen expression or enhance a particular aspect of meaning".
The Schubert scholar Brian Newbould opined that the late masses were the composer's "two finest and most substantial settings",calling the Mass in E-flat "the triumph and swansong of [Schubert's] career (as far as the composition of masses is concerned)", although he also admits that it has "unevenness". Schubert's biographer Kreissle von Hellborn wrote that the Mass in E-flat "takes rank with the foremost compositions of the kind written at the time".
The late masses may have influenced the composition of Bruckner's Mass in F minor.
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Wolfgang Amadeus Mozart
Violin Concerto No. 2 in D major K. 211 was composed by Wolfgang Amadeus Mozart in 1775. The concerto has the usual fast-slow-fast structure.
Violin Concerto No. 2 K 211
1. Allegro moderato 8:32
2. Andante 7:13
3. Rondeau, Allegro 4:30
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