[var.fbMeta;htmlconv=no]

[var.lang_video_categories]

    [var.popular_categories;htmlconv=no]
[var.message;htmlconv=no]
Joseph Haydn String Quartet op 76/3 'emperor' in C-major (mov 2/4)
Joseph Haydn String Quartet op 76/3 'emperor' in C-major (mov 2/4) Quatuor Mosaiques The Quartet No. 62 in C major, also known as Op. 76, no. 3, boasts the nickname Emperor, because in the second movement, Haydn quotes the melody from Gott erhalte Franz den Kaiser ("God Save Emperor Francis"), an anthem he wrote for Emperor Francis II. This same melody is known to modern listeners for its later use in the German national anthem, Deutschlandlied. The quartet consists of four movements: * I. Allegro * II. Poco adagio; cantabile * III. Menuetto. Allegro * IV. Finale. Presto The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The second movement, in G major cut time, is in strophic variation form, with the "Emperor's Hymn" as the theme. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C Major, is in sonata form. Joseph Haydn's string quartets, Op. 76, composed in 1796 and 1797, were commissioned by and dedicated to Count Joseph Erdody. The six quartets are the last complete set that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II; around the same time he composed his annual mass for Princess Maria Hermenegild Esterházy and the oratorio The Creation. Although the quartets were completed by 1797, shown by accounts of visitors hearing them performed in early 1797, they were not published until 1799. Correspondence between Haydn and his publishers reveal that ...
Veronique Gens is amazing! Lamento Di Arianna by Monteverdi
Veronique Gens is amazing! Lamento Di Arianna by Monteverdi www.sublime-classical.com/forum Veronique Gens(soprano) Claudio Monteverdi Lamento di Arianna Emmanuelle Haim (conductor) Le Concert d'Astree (L'Arianna-1608) Lasciatemi morire! E chi volete voi che mi conforte in così dura sorte, in così gran martire? Lasciatemi morire! O Teseo, o Teseo mio, sì che mio ti vo dir, chè mio pur sei, benché tinvoli, ahi crudo! a gli occhi miei. Volgiti, Teseo mio, volgiti, Teseo, o Dio! Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno, en queste arene ancora, cibo di fere dispietate e crude, lascierà lossa ignude. O Teseo, o Teseo mio, se tu sapessi, o Dio! Se tu sapessi, ohimè!, come saffanna la povera Arianna, forsi forsi pentito rivolgeresti ancor la prora al lito. Ma, con laure serene tu te ne vai felice, et io qui piango. A te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene. Te luno e laltro tuo vecchio parente stringeran lieti, et io più non vedrovi, o madre, o padre mio! Dove, dove è la fede, che tanto mi giuravi? Così ne lalta sede tu mi ripon de gli avi? Son queste le corone onde madorni il crine? Questi gli scettri sono, queste le gemme e glori? Lasciarmi in abbondono a fera che mi strazi e mi divori? Ah Teseo, a Teseo mio, lascierai tu morire, in van piangendo, in van gridando aita, la misera Arianna che a te fidossi e ti diè gloria e vita? Ahi, che non pur risponde! Ahi, che più daspe è sordo amiei lamenti! O nembi, o turbi, o venti, sommergetelo voi dentra quellonde ...
Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen
Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen Mov 1 www.youtube.com Mov 2 www.youtube.com Mov 2 continued www.youtube.com Mov 3&4 www.youtube.com Mov 5 www.youtube.com Dec 16, 1770 Beethoven was born (238 years ago) Franz Bruggen Orchestra of the 18th century The finale is in F major and is in 6/8 time. The first eight bars form a continuation of the introduction of which the storm was the main part; the finale proper begins in the ninth bar. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. There is a very long coda; the "tail that wags the dog". Like many classical finales, this movement emphasises a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving. The mood throughout is unmistakably joyful. The coda, which Antony Hopkins has called "arguably the finest music of the whole symphony," starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments"), with the first violins playing very rapid triplets at the top of their range. There follows a fervent passage suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic chords.
7 Which of Mozart's overtures is the very best?
7 Which of Mozart's overtures is the very best? All are conducted by Neville Marriner with the ASMF Idomeneo Overture Idomeneo, re di Creta ossia Ilia e Idamante (Italian: Idomeneo, King of Crete, or, Ilia and Idamante; usually referred to simply as Idomeneo, K. 366) is an Italian opera by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart.[1] It was first performed at the Cuvilliés Theatre of the Residenz in Munich on January 29, 1781. Written when the composer was 24, Idomeneo was Mozart's first mature opera seria, and with it he demonstrated his mastery of orchestral color, accompanied recitatives, and melodic line. In certain respects (eg, the choirs), however, this opera is still an experimental drama, resulting more in a sequence of sets than in a well developed plot. Mozart also had to fight with the mediocre author of the libretto, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by the singers (too many "i"s in "rinvigorir").[2] Idomeneo was performed three times at Munich, and later in 1781 Mozart considered revising it to harmonise it with Gluck's style. This would have meant a bass Idomeneus and a tenor Idamantes, but nothing came of it. A concert performance ...
Beethoven Piano Concerto 5 'Emperor' on Period Instruments (1/4)
Beethoven Piano Concerto 5 'Emperor' on Period Instruments (1/4) The Piano Concerto No. 5 in E-flat major, op. 73 by Ludwig van Beethoven, popularly known as the "Emperor Concerto", was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven's patron and pupil. The first performance took place on November 28, 1811, at the Gewandhaus in Leipzig. In 1812, Carl Czerny, his student, gave the Vienna debut of this work. The concerto is scored for solo piano, two test flutes, two oboes, two clarinets in b-flat (Clarinet I playing Clarinet in A in movement 2), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings. The "Emperor" is divided into a standard three movements: I. Allegro [ midi ] (E flat major) II. Adagio un poco mosso [ midi ] (B major) III. Rondo: Allegro ma non troppo [ midi ] (E flat major) As with Beethoven's other final concerti, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements about twenty minutes long.)
Mozart String Quartet 20 'Hoffmeister' in D Major (1/5) Allegretto
Mozart String Quartet 20 'Hoffmeister' in D Major (1/5) Allegretto Quatuor Mosaiques Period Instruments String Quartet in D Major, K. 499, was written in 1786 in Vienna by Wolfgang Amadeus Mozart. It was published by — if not indeed written for — his friend Franz Anton Hoffmeister. Because of this, the quartet has acquired the nickname Hoffmeister. There are four movements: * I. Allegretto, in D major * II. Menuetto: Allegretto, in D major, with a trio section in D minor * III. Adagio, in G major * IV. Allegro, in D major This work, sandwiched between the six quartets he dedicated to Joseph Haydn (17825) and the following three Prussian quartets (178990), intended to be dedicated to King Frederick William II of Prussia (the first edition bore no dedication, however), is often polyphonic in a way uncharacteristic of the earlier part of the classical music era. The menuetto and its trio give good examples of this in brief, with the brief irregular near-canon between first violin and viola in the second half of the main portion of the minuet, and the double imitations (between the violins, and between the viola and cello) going on in the trio.
Joseph Haydn String Quartet op. 33/6 (mov 2+3+4/4) in D-Major
Joseph Haydn String Quartet op. 33/6 (mov 2+3+4/4) in D-Major Joseph Haydn String Quartet op. 33/6 Quatuor Mosaiques (Franz) Joseph Haydn[1][2] (March 31, 1732 May 31, 1809) was an Austrian composer. He was one of the most prominent composers of the classical period, and is called by some the "Father of the Symphony" and "Father of the String Quartet". The Op. 33 String Quartets were written by Joseph Haydn in the summer and fall of 1781 for the Viennese publisher Artaria. This set of quartets has several nicknames, the most common of which is the "Russian" quartets, because Haydn dedicated the quartets to the Grand Duke Paul of Russia and many (if not all) of the quartets were premiered on Christmas Day, 1781, at the Viennese apartment of the Duke's wife, the Grand Duchess Maria Feodorovna This quartet in D major is numbered in variously as No. 33, Hob. III:42 and FHE No. 75. 1. Vivace assai 2. Andante 3. Scherzo: Allegretto 4. Finale: Allegretto The finale is in double variation form (ABA1B1A2) with themes in D major and D minor.
Hummel Piano Concerto 5 in A-Flat (1/3) OP. 113
Hummel Piano Concerto 5 in A-Flat (1/3) OP. 113 Howard Shelley London Mozart Players Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (Pozsony) (present-day Bratislava, Slovakia), but a part of Kingdom of Hungary when he was born. His music reflects the transition from the Classical to the Romantic musical era.
Hummel Piano Concerto 5 in A-Flat (3/3) OP. 113
Hummel Piano Concerto 5 in A-Flat (3/3) OP. 113 Howard Shelley London Mozart Players Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (Pozsony) (present-day Bratislava, Slovakia), but a part of Kingdom of Hungary when he was born. His music reflects the transition from the Classical to the Romantic musical era.
Mozart Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271 (
Mozart Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271 ( Viviana Sofronitzki Fortepiano The Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271, by Wolfgang Amadeus Mozart was written in Salzburg in 1777, when Mozart was 21 years old. The work has long been known as the "Jeunehomme" Concerto. It was said that Mozart wrote the piece for a French pianist "Jeunehomme" when she visited Salzburg. But scholars couldn't identify the woman for whom he actually wrote it. Recently, the musicologist Michael Lorenz has argued that the woman was actually Victoire Jenamy (1749-1812), a daughter of Jean-Georges Noverre, a famous dancer who was one of Mozart's best friends.[1] The work is scored for solo piano, two oboes, two horns, and strings. It consists of three movements: 1. Allegro, in E-flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and cut time. The first movement opens, unusually for the time, with interventions by the soloist, anticipating Beethoven's Fourth and Fifth Concertos. As Girdlestone (1964) notes, its departures from convention do not end with this early solo entrance, but continue in the style of dialogue between piano and orchestra in the rest of the movement. Mozart wrote two cadenzas for this movement. The second movement is written in a minor key. In only five of Mozart's piano concertos is the second movement in a minor key (K. 41, K. 271, K. 456, K. 482, and K. 488. K. 41 is an arrangement). Mozart wrote two cadenzas for this movement. The third movement ...
YesNo