Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation."
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin's music, his status as one of music's earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.
Classical Music for Reading - Chopin Collection
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Happy Classical Music - Tchaikovsky, Mozart, Vivaldi, Strauss
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:
1 - Tchaikovsky - The Nutcracker Suite - Act I No.7. Dance of the Flutes
2 - Vivaldi - Violin Concerto in E major I. Allegro
3 - Joh Strauss - Fruhlingsstimmen Op.410
4 - Tchaikovsky - The Nutcracker Suite - Act I No.1. Overture
5 - Tchaikovsky - The Nutcracker Suite - Act I No.3. Dance of the Sugar Plum Fairy
6 - Mozart - Piano Concerto no. 21 in C major
7 - Vivaldi - Violin Concerto in F major I. Allegro
8 - Tchaikovsky - The Nutcracker Suite - Act I
9 - Vivaldi - Violin Concerto in F major III. Allegro
10 - Tchaikovsky - The Nutcracker Suite - Act I
11 - Tchaikovsky - The Nutcracker Suite - Act II
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Vienna has been an important center of musical innovation. 18th- and 19th-century composers were drawn to the city due to the patronage of the Habsburgs, and made Vienna the European capital of classical music. Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert and Johann Strauss II, among others, were associated with the city, with Schubert being born in Vienna. During the Baroque period, Slavic and Hungarian folk forms influenced Austrian music. Vienna's status began its rise as a cultural center in the early 16th century, and was focused around instruments including the lute.
Austrian Classical Music - Great Austrian Composers
Tracklist:
1 - Mozart - Symphony No. 40 in G Minor K. 550
2 - Haydn - Symphony No. 94 in G
3 - Mahler - Symphony No. 1
4 - Schubert - Symphony No. 3 - Symphony No.3 D major
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For many centuries, Italian classical music has been the center of music in Europe. The types of romantic melodies that are known to have been created in this area of the world are still important pieces of Italian classical music heard around the world today.
In fact, Antonio Lucio Vivaldi, a great Italian composer, wrote the Four Seasons, which is one of the most important Italian classical music pieces around the world. Vivaldi is most recognized for his red hair and violin concertos, and he also composed over forty operas during his time in the spotlight.
The Beginning
During the Middle Ages, Italian classical music that was often lacking any type of lyrics, transformed into a deeper form of expression across the nation. Songs during this era were still similar in sound, but softly spoken Italian words accompanied each melody.
As we moved into the Renaissance period, harmony in Italian classical music became something that was preferred rather than a single layer of sound. This is the period that is widely recognized as the birth of the Italian opera we know today.
Opera
Most Italian opera can be separated into two periods, one is the Baroque period and the other the Romantic period. The Baroque period was mostly seen in the 1700s, and was a form of music that used chords and scales to create unique harmonies and melodies for the time period.
As we entered into the 1800s, our love for music and the culture surrounding opera music progressed, and opera houses began popping up around cities such as Milan and Naples. This period of time was mostly a transitional period that gave birth to new sounds and creations that were expressed on the stage.
Italian Classical Music - Great Italian Composers
Tracklist:
1 - Rossini - Sonata for Strings No.3
2 - Scarlatti - Keyboard Sonata in Ab, K. 127
3 - Vivaldi - Concerto for 2 Flutes in C major, RV 533
4 - Paganini - Violin Concerto no. 1 in E flat major, Op. 6
5 - Rossini - Overture to The Barber of Seville
6 - Vivaldi - Concerto for 2 Violins in A minor, RV 522
7 - Scarlatti - Sonata in D minor, K. 9
8 - Monteverdi - L'Incoronazione di Poppea, SV 308
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Classical music in the UK developed under the influence of European music yet retained some of its distinctively insular elements. Each of the major nations in the British Isles had its own forms of music and instrumentation which developed into distinctively classical music during the Baroque era in the 17th century. The most dominant composer of the Baroque era and beyond was the George Frideric Handel (1685-1759) who had a major influence on later composers both in Britain and overseas.
19th Century Developments
One of the most important gains for classical music in the UK in the early 19th century was the foundation of the London Philharmonic Society which had a major influence on future development of classical music in Britain. Shortly after its foundation in 1813, the Society’s orchestra began performing concertos of international calibre and commissioned works by many prominent composers of the time including Felix Mendelssohn. By the mid-19th century, the Society’s concertos were conducted by distinguished composers and conductors such as Hector Berlioz, Richard Wagner, Arthur Sullivan and Pyotr Ilyich Tchaikovsky.
The establishment of the Royal Academy of Music in 1822 was another important event in history of classical music in the UK. Its first principal became Dr William Crotch, while the first tutor of piano was Cipriani Potter who is also known to be the first Londoner to perform Mozart and Beethoven concertos. He also wrote 9 symphonies and 4 piano concertos of his own. The Royal Academy of Music was in the late 19th century joined by the Guildhall School of Music and the Royal College of Music.
The 19th century classical music in the UK was also marked by a shift from international classical music. This century also saw the revival of English language opera as well as introduction of larger orchestras and larger venues that could receive larger audience. The most notable venues of the era were the Crystal Palace that began holding concerts in the 1850s, the Convent Garden’s Royal Opera House and the Royal Albert Hall. Orchestras that trace their beginnings to the 19th century include the Royal Liverpool Philharmonic Orchestra, the Halle Orchestra and the Scottish Orchestra (today’s Royal Scottish National Orchestra).
20th Century
British composers of the 20th century played an important role in the development of new classical genres. Some of the most outstanding British classical composers of the 20th century include William Walton, Benjamin Britten, Gustav Holst, Edward Elgar and Ralph Vaughan Williams. Notable contemporary British composers include Julian Anderson, Peter Maxwell Davies, Thomas Ades, James MacMillan, George Benjamin, Harrison Birtwistle and Andrew Lloyd Webber.
British Classical Music - Great British Composers
Tracklist:
1 - Elgar - The Wand of Youth, Suite No. 1
2 - Henry Purcell - The Fairy Queen
3 - Boyce - 10 Voluntaries for the Organ - Voluntary I in D major
4 - Benjamin Britten Phantasy Quartet
5 - Williams - Fantasia on a Theme by Thomas Tallis
6 - Elgar - Salut d'amour, Op. 12
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During the early Christian era of the Middle Ages, sacred monophonic (only one voice) chant was the dominant form of music, followed by a sacred polyphonic (multi-voices) organum. By the thirteenth century, another polyphonic style called the motet became popular. During the Ars Nova era of the thirteenth and fourteenth centuries, the trend towards writing polyphonic music extended to non-Church music. In the fifteenth century, more secular music emerged, such as the French chanson.
In the late sixteenth-century, composers attempted to recreate Greek drama using a style called monody. In the seventeenth century, Italian opera styles such as opera seria, opera buffa were very important. This Italian opera was taken up in France, where Lully developed a French national opera style. In the seventeenth century, instrumental music developed a great deal, and vocal music was usually accompanied by a written bassline called the basso continuo. Instrumental works included keyboard suites, which were based on dance suites, sonatas, organ music, and music for small groups (trio sonatas) or orchestra (e.g., sinfonias and concerto grossos). Baroque music from the eighteenth century moved towards a simpler, lighter style of instrumental music. Later in the eighteenth century, the Classical style dominated, with the main forms being sonatas, symphonies, and string quartets.
The nineteenth century is often called the Romantic era. During this era, the symphony developed, and a new style of music called "program music" (music that tells a story) developed. Other types of music that became important in the nineteenth century were grand opera, small pieces for piano; piano sonatas, often with the exploration of new harmonic or tonal ideas. In the late Romantic era, the Austro-German tradition of Wagner dominated musical composition. Composers began exploring different, looser approaches to tonality (the key-centered-ness of a piece of music). During this era, French composers such as Debussy and Ravel developed a style called Impressionism, which emphasized tone "colours", and which used chords purely for their sound (as opposed to for their harmonic role).
During the twentieth-century, composers took many different paths. Some composers looked backwards to the light, elegant Classical works, with the Neoclassicism of the Russian-French composer Stravinsky. Austro-German composers such as Schoenberg and Berg and used a tortured, dramatic style called Expressionism. The French composer Boulez abandoned the entire tonal (key-centered) tradition of Western music with a style called Serialism. Other composers explored electronic music (Stockhausen); chance-based or random (aleatoric) music and indeterminacy (Cage); and minimalism (Reich, Glass).
French Classical Music - Great French Composers
Tracklist:
1 - Berlioz - Overture to Benvenuto Cellini, H. 76
2 - Debussy - Sonata for Cello and Piano
3 - Ravel - Sonatine
4 - Debussy - Violin Sonata in G minor, L. 140
5 - Fauré - Élégie, Op. 24
6 - Offenbach - I. Orpheus in the underworld
7 - Berlioz - The Damnation of Faust Op. 24 - Hungarian March
8 - Rameau - Gavotte and variations
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Claude Debussy (22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.
Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.
Debussy's orchestral works include Prélude à l'après-midi d'un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his "symphonic sketches", La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.
With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.
Claude Debussy - The Best of Debussy - Part I - Greatest Works
Tracklist:
1 - Debussy - Danse sacrée et danse profane - 2 Danse Profane
2 - Debussy - La damoiselle élue
3 - Debussy - La plus que lente
4 - Debussy - Sonata for Cello and Piano
5 - Debussy - Rêverie
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n the period of Muscovy (1283–1547), a distinct line was formed between the sacred music of the Orthodox Church and that of secular music used for entertainment. The former draws its tradition from the Byzantine Empire, with key elements being used in Russian Orthodox bell ringing, as well as choral singing. Neumes were developed for musical notation, and as a result several examples of medieval sacred music have survived to this day, among them two stichera composed by Tsar Ivan IV[1] in the 16th century.
One of Russia's earliest music theorists was the Ukrainian Nikolay Diletsky (c. 1630, Kiev – after 1680, Moscow). Although several of his compositions survive, Diletsky's fame rests chiefly on his composition treatise, Grammatika musikiyskago peniya (A Grammar of Music[al Singing]), which was the first of its kind in Russia; there are three surviving versions of this work, of which the earliest dates from 1677. Diletsky's followers included Vasily Titov, whose most enduring composition was the prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие), which was sung well beyond his time possibly because its relatively simple polyphony was more in line with the ideals of Classical music era. It was sung in Russian churches up to the October Revolution.[2]
In the 18th century, Peter I brought in reforms introducing western music fashions to Russia. During the subsequent reign of Empresses Elisabeth and Catherine, the Russian imperial court attracted many prominent musicians, many from Italy.[3] They brought with them Italian traditions of opera and classical music in general, to inspire future generations of Russian composers. A number of composers received training in Italy or from these recent Italian emigres and composed vocal and instrumental works in the Italian Classical tradition popular in the day. These include ethnic Ukrainian composers Dmitri Bortniansky, Maksim Berezovsky and Artem Vedel who not only composed masterpieces of choral music but also included operas, chambers works and symphonic works.
The first great Russian composer to exploit native Russian music traditions into the realm of Secular music was Mikhail Glinka (1804–1857), who composed the early Russian language operas Ivan Susanin and Ruslan and Lyudmila. They were neither the first operas in the Russian language nor the first by a Russian, but they gained fame for relying on distinctively Russian tunes and themes and being in the vernacular.
Russian folk music became the primary source for the younger generation composers. A group that called itself "The Mighty Five", headed by Mily Balakirev (1837–1910) and including Nikolai Rimsky-Korsakov (1844–1908), Modest Mussorgsky (1839–81), Alexander Borodin (1833–87) and César Cui (1835–1918), proclaimed its purpose to compose and popularize Russian national traditions in classical music. Among the Mighty Five's most notable compositions were the operas The Snow Maiden (Snegurochka), Sadko, Boris Godunov, Prince Igor, Khovanshchina, and symphonic suite Scheherazade. Many of the works by Glinka and the Mighty Five were based on Russian history, folk tales and literature, and are regarded as masterpieces of romantic nationalism in music.
This period also saw the foundation of the Russian Musical Society (RMS) in 1859, led by composer-pianists Anton (1829–94) and Nikolay Rubinstein (1835–81). The Mighty Five was often presented as the Russian Music Society's rival, with the Five embracing their Russian national identity and the RMS being musically more conservative. However the RMS founded Russia's first Conservatories in St Petersburg and in Moscow: the former trained the great Russian composer Peter Ilyich Tchaikovsky (1840–93), best known for ballets like Swan Lake, Sleeping Beauty, and The Nutcracker. He remains Russia's best-known composer outside Russia. Easily the most famous successor in his style is Sergei Rachmaninoff (1873–1943), who studied at the Moscow Conservatory (where Tchaikovsky himself taught). Alexander Glazunov also took this romantic style.
The late 19th and early 20th century saw the third wave of Russian classics: Igor Stravinsky (1882–1971), Alexander Scriabin (1872–1915), Sergei Prokofiev (1891–1953) and Dmitri Shostakovich (1906–1975). They were experimental in style and musical language. Some of them emigrated after the Russian revolution, though Prokofiev eventually returned and contributed to Soviet music as well.
Russian Classical Music - Great Russian Composers
1 - Korsakov - Capriccio Espagnol Op. 34
2 - Tchaikovsky - 1812 Overture
3 - Rachmaninoff - 14 Romances, Op. 34
4 - Korsakov - Russian Easter Festival Overture, Op. 36
5 - Rachmaninoff - Prélude Op. 23 No. 4
6 - Prokofiev - Violin Concerto No. 2
7 - Rachmaninoff - Piano Sonata No. 2 Op 36
8 - Tchaikovsky - Concerto for Piano No. 1 Op. 23
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Antonín Leopold Dvořák (8 September 1841 – 1 May 1904) was a Czech composer, one of the first to achieve worldwide recognition. Following the Romantic-era nationalist example of his predecessor Bedřich Smetana, Dvořák frequently employed rhythms and other aspects of the folk music of Moravia and his native Bohemia. Dvořák's own style has been described as "the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them".
Dvořák displayed his musical gifts at an early age, being an apt violin student from age six. The first public performances of his works were in Prague in 1872 and, with special success, in 1873, when he was aged 31. Seeking recognition beyond the Prague area, he submitted a score of his First Symphony to a prize competition in Germany, but did not win, and the unreturned manuscript was lost until rediscovered many decades later. In 1874 he made a submission to the Austrian State Prize for Composition, including scores of two further symphonies and other works. Although Dvořák was not aware of it, Johannes Brahms was the leading member of the jury and was highly impressed. The prize was awarded to Dvořák in 1874[a] and again in 1876 and in 1877, when Brahms and the prominent critic Eduard Hanslick, also a member of the jury, made themselves known to him. Brahms recommended Dvořák to his publisher, Simrock, who soon afterward commissioned what became the Slavonic Dances, Op. 46. These were highly praised by the Berlin music critic Louis Ehlert in 1878, the sheet music (of the original piano 4-hands version) had excellent sales, and Dvořák's international reputation was launched at last.
Dvořák's first piece of a religious nature, his setting of Stabat Mater, was premiered in Prague in 1880. It was very successfully performed in London in 1883, leading to many other performances in the United Kingdom and United States.[2] In his career, Dvořák made nine invited visits to England, often conducting performances of his own works. His Seventh Symphony was written for London. Visiting Russia in March 1890, he conducted concerts of his own music in Moscow and Saint Petersburg.[3] In 1891 Dvořák was appointed as a professor at the Prague Conservatory. In 1890–91, he wrote his Dumky Trio, one of his most successful chamber music pieces. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City. While in the United States, Dvořák wrote his two most successful orchestral works: the Symphony From the New World, which spread his reputation worldwide,[4] and his Cello Concerto, one of the most highly regarded of all cello concerti. He also wrote his most appreciated piece of chamber music, the American String Quartet, during this time. But shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness, led him to leave the United States and return to Bohemia in 1895.
All of Dvořák's nine operas but his first have librettos in Czech and were intended to convey Czech national spirit, as were some of his choral works. By far the most successful of the operas is Rusalka. Among his smaller works, the seventh Humoresque and the song "Songs My Mother Taught Me" are also widely performed and recorded. He has been described as "arguably the most versatile... composer of his time".
The Best of Dvorak - Part I - Greatest Works
Tracklist:
1. Carnival Overture, Op. 92
2. Humoresque no. 7 in Gb Op. 1017
3. Legends, Op.59 - 2. Molto moderato
4. Nature, Life and Love - I. Amid Nature Op. 91 - Allegro ma non troppo
5. Piano Quartet no. 1, Op. 23
6. Rusalka, Op. 114 - 'Song to the Moon'
7. Slavonic Dances, Op. 46 - no. 4
8. Slavonic Dances, Op. 46 - no. 6
9. Slavonic Dances, Op. 46 - no. 8
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Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the classical era.
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 traveled 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 acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
The Best of Mozart Part IV - Greatest Works
1. Mozart - Oboe Quartet in F K 370
2. Mozart - Piano Quartet in E flat major K 493
3. Mozart - Piano Quartet in Gm K 478
4. Mozart - Piano Sonata No. 3 K 281
5. Mozart - Quintet for Clarinet and String Quartet in A major K 581
6. Mozart - Sonata for Bassoon and Cello in B flat major
7. Mozart - String Quartet No. 15 In D Minor K 421
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