Frédéric Chopin composed his Piano Sonata No. 3 in B minor, Op. 58, in 1844 and dedicated it to Countess Émilie de Perthuis. Along with the previous sonata, this is considered to be one of Chopin's most difficult compositions, both technically and musically.
The sonata consists of four movements, a similar structure to the second sonata, with a lyrical largo rather than a funeral march.
Allegro maestoso (in B minor, ending in B major)
Scherzo: Molto vivace (in E-flat major)
Largo (in B major)
Finale: Presto non tanto (in B minor, ending in B major)
Among Chopin's piano sonatas this is the only one ending in a major key. A performance of the work lasts around 25 to 30 minutes.
The work opens on a martial note, the heavy chords and filigree in the opening of the first movement giving way to a more melodic second theme, eventually leading to the conclusion of the exposition in the relative major, D. This exposition is quite long compared to other sonatas and it may be for this reason many pianists choose to omit the exposition repeat. Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation, which is in B major.
The scherzo, in the distant key of E-flat major and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section in B major. If played slowly, the main E-flat major theme sounds somewhat similar to the E-flat major melody from the composer's Ballade No. 1. Unlike the scherzo of the B-flat minor sonata (and, indeed, the rest of Chopin's contributions to the genre outside of the sonatas), it is exceptionally short, typically lasting barely two minutes in performance.
Despite a stormy introduction in dotted rhythm, the largo is serene, almost nocturne-like; an immensely beautiful melody is introduced, followed by a mellow and expansive middle section, again characterised by quaver figuration in the background of an intensely harmonic line, separating the more cantabile outer sections in B major. It is the most musically profound of the movements (Kraemer, 1991), in terms of a sustained melody and innovative harmonic progression; it rivals the extensive first movement in length alone.
Its turbulent and dramatic introduction – a rising harmonic progression left hanging on a high dominant seventh – aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale, in this case the F♯ and B, lending prominence to the augmented second between the sixth and raised seventh scale degrees, the G and A♯. The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections. A more triumphant second theme in B major, repeated twice in the movement's A–B–A–B–A form, appears quite suddenly at the conclusion of the first (likewise when repeated); eventually rising during fleet-fingered runs over a left-hand melody, it tumbles back to a dramatic restatement of the main theme in both of its appearances. The piece concludes in a jubilant B major coda.
Chopin - Sonata No. 3 in B minor Op. 58
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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.[1] 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.[3] 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 May 25.) 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.[2] It foreshadows "aspects of the Requiem such as declamatory gesture, textures, and integration of forward- and backward-looking stylistic elements".[4] 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.[2][5]
Franz Liszt quotes Mozart's motet in the piano piece Evocation à la Chapelle Sixtine.[6] Pyotr Ilyich Tchaikovsky incorporates an orchestration of Liszt's transcription in his fourth orchestral suite, Mozartiana, Op. 61.
Mozart - Ave verum corpus K. 618
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The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and Piano Concerto No. 2.
The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 30 and 40 minutes.
The symphony consists of four movements, marked as follows:
Allegro con brio (F major, in sonata form)
Andante (C major, in a modified sonata form)
Poco allegretto (C minor, in ternary form A–B–A′)
Allegro — Un poco sostenuto (F minor → F major, in a modified sonata form)
Brahms - Symphony No. 3 in F Major Op. 90
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The Nocturnes, Op. 32 is a suite of two nocturnes written and published by Frédéric Chopin in 1837. The nocturnes are dedicated to Madame Camile de Billing,[2] and were his 9th and 10th nocturnes published.
The Nocturne in B major is initially marked andante sostenuto and is in 4/4 meter. There are several ritardando markings throughout, followed by a tempo marking in the next measure, such as in measure 7, 8,17 and 18. The piece transitions to adagio in the last two measures, starting in measure 64. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions (such as those by Rafael Joseffy[3] as well as Chopin's student Carl Mikuli[4]) and performances (such as that by Arthur Rubinstein[5][6]) end with a B major chord, which has the effect of a Picardy third in the context of the minor-mode coda. There has also been confusion over a key in the first bar of the last line: Theodor Kullak and Karl Klindworth use a G, while Julian Fontana used an F-sharp.
David Dubal found the nocturne to be "of less importance, though characteristic in design and melodic contour."[8] He also states the coda "completely shocks the listener out of reverie." According to Berkeley, the ending "defies analysis, but compels acceptance." Jim Samson states that "The interruption of the song by this startling passage of instrumental recitative submits to no formal logic, but rather brings directly into the foreground Chopin's desire to make the music 'speak'." James Huneker found the F-minor section to "[broaden] out to dramatic reaches" though he still viewed the overall piece negatively. The ending was both "dramatic and original" to James Friskin, in comparison to the simplicity of the rest of the piece.
Chopin - Nocturne Op. 32 No. 1
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The Symphony No. 1 in D major, D 82, was composed by Franz Schubert in 1813, when he was just 16 years old. Despite his youth, his first symphony is an impressive piece of orchestral music for both its time and size. The first movement opens with a stately Adagio introduction, reminiscent of Joseph Haydn's 104th symphony in its format. The short Adagio sets off a lively Allegro vivace.
The symphony is scored for 1 flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in D, timpani and strings. The orchestration, which is balanced between strings and winds, lends itself to small chamber orchestras, as well as larger ensembles. The trumpets are scored particularly high, as in many of Schubert's early works. Trumpet players will find, in general, the tessitura sitting between a concert D to Concert A for most of the 1st and 4th movements. In the 4th movement, Schubert pushes them up to a high D, in a repeated fashion. Some careful planning is needed to balance the multiple doublings between horns and trumpets.
The standard four movement work runs about 26 minutes.
Adagio — Allegro vivace
Andante in G major
Menuetto. Allegro
Allegro vivace
Schubert - Symphony No. 1
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The Six Pieces for Piano, Op. 118, are some of the most beloved compositions that Johannes Brahms wrote for solo piano. Completed in 1893 and dedicated to Clara Schumann, the collection was the penultimate composition published during Brahms' lifetime. It was also his penultimate work composed for piano solo. Consistent with Brahms's other late keyboard works, Op. 118 is more introspective than his earlier piano pieces, which tended to be more virtuosic in character. The six pieces are:
Intermezzo in A minor. Allegro non assai, ma molto appassionato
Intermezzo in A major. Andante teneramente
Ballade in G minor. Allegro energico
Intermezzo in F minor. Allegretto un poco agitato
Romanze in F major. Andante
Intermezzo in E♭ minor. Andante, largo e mesto
Brahms - 6 Piano Pieces Op. 118 - II. Intermezzo
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Sixteen Waltzes (German; Sechzehn Walzer), Op. 39, is a set of 16 short waltzes for piano written by Johannes Brahms. They were composed in 1865, and published in 1866, dedicated to the music critic Eduard Hanslick.
These waltzes were written for piano four hands, and were also arranged for piano solo by the composer, in two different versions – difficult and simplified. The three versions were published at the same time, and sold well, contrary to the composer's expectations.
The waltzes were written while the composer lived in Vienna, a city where he would permanently settle in 1872.[2] They were intended as a tribute to the waltz dance form which had become especially fashionable in his adopted city.
Brahms - Sixteen Waltzes Op. 39
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The Nocturne No. 21 in C minor, Op. posth. is a musical work for solo piano written by Frédéric Chopin in 1837. It was the last of Chopin's nocturnes to be published, and was done so posthumously in 1938, receiving the Brown catalogue number B 108.[1] It is famous for its striking simplicity and folk-like melody. Among the 21 nocturnes known to have been written by Chopin, this is one of the three that end in a minor key - the other two being No. 13 in C Minor and No. 9 in B Major.
Chopin - Nocturne in C minor B 108
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The Ballades, Op. 10, are lyrical piano pieces written by Johannes Brahms during his youth. They were dated 1854 and were dedicated to his friend Julius Otto Grimm. Their composition coincided with the beginning of the composer's lifelong affection for Clara Schumann, the wife of Robert Schumann, who was helping Brahms launch his career. Frédéric Chopin had written the last of his famous ballades only 12 years earlier, but Brahms approached the genre differently from Chopin, choosing to take its origin in narrative poetry more literally.[1]
Brahms's ballades are arranged in two pairs of two, the members of each pair being in parallel keys. The first ballade was inspired by a Scottish poem "Edward" found in a collection Stimmen der Völker in ihren Liedern compiled by Johann Gottfried Herder. It is also one of the best examples of Brahms's bardic or Ossianic style; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past.[2]
D minor. Andante
D major. Andante
B minor. Intermezzo. Allegro
B major. Andante con moto
The tonal center of each ballade conveys an interconnectedness between the four pieces: the first three each include the key signature of the ballade that follows it somewhere as a tonal center, and the fourth ends in the key signature of D major/B minor despite cadencing in B major.
Brahms returned to the wordless ballade form in writing the third of the Six Pieces for Piano, Op. 118. His Op. 75 vocal duets titled "Ballads and Romances" include a setting of the poem "Edward"—the same that inspired Op. 10, No. 1.
A number of famous pianists have played some or all of the Ballades, including Grigory Sokolov, Arturo Benedetti Michelangeli, Artur Rubinstein, Emil Gilels, Sviatoslav Richter, Glenn Gould, Wilhelm Kempff, Idil Biret, Julius Katchen, Krystian Zimerman and Claudio Arrau.
Brahms - 4 Ballades Op. 10 No. 1 - Andante
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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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