Georg Philipp Telemann - Air de Trompette
Georg Philipp Telemann (24 March 14 March] 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him.
Telemann is one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.
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Georg Philipp Telemann
Georg Philipp Telemann (24 March 14 March] 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him.
Telemann is one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.
Matthaus Passion
1. Einleitung 4:10
2. Wenn meine Sund mich kranken 1:14
3. Und es begab sich 1:59
4. Da nun Jesus war zu Bethanien 3:54
5. Hochst unsel´ges Unterfangen 2:28
6. Aber am ersten Tage 6:28
7. Ach Heiland, wie nahret 3:39
8. Ach wie hungert mein Gemute 1:21
9. Und da sie den Lobgesang gesprochen hatten 4:07
10. Bis in den Tod, ach ew´ges Leben 1:59
11. Was ist doch wohl die Ursach solcher Plagen? 0:50
12. Meine wehmutvolle Seele 3:17
13. Du Nacht voll Angst und herbem Seelenleiden 1:25
14. Und ging hin ein wenig 4:51
15. Was ist das Schmeicheln dieser Erden 3:07
16. Jesus aber sprach zu ihm 4:32
17. Dein Mund, ach ew´ges Wort 0:53
18. Und der Hohepriester antwortet 5:56
19. Die Seele wird mir selbst zur Holle 3:01
20. Ich lege mich in dein Erbarmen 3:00
21. Des Morgens aber 1:48
22. Ach wehe, wehe mir 1:31
23. Und er warf die Silberlinge 1:41
24. Ich kann´s mit meinen Sinnen nicht erreichen 0:52
25. Auf das Fest aber 2:26
26. So geht es, keiner rufet Jesum 2:29
27. Pilatus sprach zu ihnen 2:22
28. Lass dich bitt´re Trane netzen 3:42
29. Da nahmen die Kriegsknechte 7:40
30. Gott ruft selbst 3:46
31. Aber Jesus schrie abermal laut und verschied 0:31
32. O grosse Not 0:43
33. Frohlocket, hochbetrubte Seelen 3:10
34. Und siehe da 2:10
35. Es stimmen der gottlichen Lehre zu Ehren 3:04
36. Am Abend aber kam ein reicher Mann 1:30
37. O Traurigkeit, o Herzeleid 0:45
38. So ruhe sanf in deiner Kammer 3:51
39. Nun wir danken dir von Herzen 1:20
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Johann Sebastian Bach - Vater unser in Himnelreich
"Vater unser im Himmelreich" (Our Father in Heaven) is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus (Small Catechism). He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th".
The hymn was published in Leipzig in 1539 in Valentin Schumann's hymnal Gesangbuch, with a title explaining "The Lord's Prayer briefly expounded and turned into metre". It was likely first published as a broadsheet.
The hymn was translated into English in several versions, for example "Our Father, Thou in Heaven Above" by Catherine Winkworth in 1863 and "Our Father, Lord of Heaven and Earth" by Henry J. de Jong in 1982. In the current German hymnal Evangelisches Gesangbuch (EG) it is number 344.
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Jean Sibelius
Pelléas et Mélisande (Pelléas och Mélisande), JS 147 is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play Pelléas and Mélisande. Sibelius composed in 1905 ten parts, overtures to the five acts and five other movements. It was first performed at the Swedish Theatre in Helsinki on 17 March 1905 to a translation by Bertel Gripenberg, conducted by the composer).
Sibelius later slightly rearranged the music into a nine movement suite, published as Op. 46, which became one of his most popular concert works.
Suite Pelléas et Mélisande Op. 46
1. Na porta do castelo 2:20
2. Mélisande 3:40
3. Junto a la praia 1:58
4. Junto a uma fonte no parque 1:58
5. As 3 irmãs cegas 2:12
6. Pastoral 1:45
7. Mélisande na roça 1:50
8. Entreacto 2:41
9. Morte de Mélisande 6:04
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The Marriage of Figaro (K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas.
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Clara Schumann (Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished composers and pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital, while also having composed a body of work including various piano concertos, chamber works, and choral pieces. She was married to composer Robert Schumann, and together they encouraged and maintained a close relationship with Johannes Brahms. She was the first to perform publicly any work by Brahms, notably the Variations and Fugue on a Theme by Handel. She was also an influential piano educator at the Hoch Conservatory in Frankfurt.
Clara Schumann
Soirées musicales
1. Toccatina in A minor
2. Nocturne in F major
3. Mazurka in G minor
4. Ballade in D minor
5. Mazurka in G major
6. Polonaise in A minor
7. 4 Polonaises for Piano Op. 1
8. Valses romantiques Op.4
9. Romances Op.11
10. Prelude & Fugue in F# minor
11. Romance in B minor
12. Romance in A minor
13. Piano Concerto Op. 7
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Leoš Janáček
The Glagolitic Mass (Czech: Glagolská mše, Church Slavonic: Mša glagolskaja; also called Missa Glagolitica or Slavonic Mass) is a composition for soloists (soprano, contralto, tenor, bass), double chorus, organ and orchestra by Leoš Janáček. The work was completed on 15 October 1926 and premiered by the Brno Arts Society, conducted by Jaroslav Kvapil, in Brno on 5 December 1927. Janáček revised the mass the next year.[1]
The Glagolitic alphabet was an early Slavic alphabet, the predecessor of the modern Cyrillic alphabet.
Glagolitic Mass
1. I - Introduction 3:20
2. II - Gospodi pomiluj (Kyrie) 3:55
3. III - Slava vo vysnich Bogu (Gloria) 7:07
4. IV - Veruju, veruju (Credo) 12:23
5. V - Svet, svet (Sanctus) 6:14
6. VI - Agnee Bezu (Agnus Dei) 4:29
7. VII - Organ Solo 2:38
8. VIII - Intrada 1:43
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Giovanni Battista Pergolesi
Stabat Mater is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo (cello and organ).
Many pieces which were said to have been composed by Pergolesi have been misattributed; the Stabat Mater is definitely by Pergolesi, as a manuscript in his handwriting has been preserved. The work was composed for a Neapolitan confraternity, the Confraternita dei Cavalieri di San Luigi di Palazzo, which had also commissioned a Stabat Mater from Alessandro Scarlatti. Pergolesi composed it during his final illness from tuberculosis in a Franciscan monastery in Pozzuoli, along with a Salve Regina setting, and, as it is said, finished it right before he died.
Stabat Mater
1. Stabat Mater dolorosa 4:42
2. Cujus animam gementem 2:56
3. O quam tristis et afflicta 2:23
4. Quae moerebat et dolebat 2:37
5. Quis est homo, qui non fleret 3:05
6. Vidit suum duleem natum 3:43
7. Eja Mater, fons amoris 2:39
8. Fac ut ardeat cor meum 2:20
9. Sancta Mater, istud agas 6:18
10. Fac ut portem Christi mortem 3:33
11. Inflammatus et accensus 2:23
12. Quando corpus morietur - Amen 4:49
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Sergei Rachmaninoff - Piano Concerto No. 3
The Piano Concerto No. 3 in D minor, Op. 30, composed in 1909 by Sergei Rachmaninoff, has the reputation of being one of the most technically challenging piano concertos in the standard classical piano repertoire.
Rachmaninoff composed the concerto in Dresden completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead.
The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it "wasn't for" him. Gary Graffman lamented he had not learned this concerto as a student, when he was "still too young to know fear".
Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.
The concerto was first performed on Sunday afternoon, November 28, 1909, by Rachmaninoff himself, with the New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler on January 16, 1910, an "experience Rachmaninoff treasured." Rachmaninoff later described the rehearsal to Riesemann:
At that time Mahler was the only conductor whom I considered worthy to be classed with Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important -- an attitude too rare amongst conductors. ... Though the rehearsal was scheduled to end at 12:30, we played and played, far beyond this hour, and when Mahler announced that the first movement would be rehearsed again, I expected some protest or scene from the musicians, but I did not notice a single sign of annoyance. The orchestra played the first movement with a keen or perhaps even closer appreciation than the previous time.
The score was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that "I much prefer the Third, because my Second is so uncomfortable to play." Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular.
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Dmitri Shostakovich - Symphony No. 7 Op. 60
Dmitri Shostakovich’s Symphony No. 7 in C major, Op. 60, titled Leningrad, was completed in Samara in December 1941 and premiered in that city on March 5, 1942. At first dedicated to Lenin, it was eventually submitted in honor of the besieged city of Leningrad, where it was first played under dire circumstances on August 9, 1942, with the siege by Axis and Finnish forces ongoing. The Leningrad soon became popular in both the Soviet Union and the West as a symbol of resistance to fascism, thanks in part to the composer’s microfilming of the score in Samara and its clandestine delivery, via Tehran and Cairo, to New York, where Arturo Toscanini led a broadcast performance (July 19, 1942) and Time magazine placed Shostakovich on its cover. That popularity faded somewhat after 1945, but the work is still regarded as a major musical testament to the 27 million Soviet people who lost their lives in World War II, and it is often played at Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried.
1. Allegretto
2. Moderato (poco allegretto)
3. Adagio
4. Allegro non troppo
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