Jascha Heifetz Plays Rondo by Mozart Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 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 2/2 time Dawn Chan notes: Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos." update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name. Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars ThÃ©odore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'" In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamyâ€”she does not appear to have been a professional musician, though clearly Mozart admired her playingâ€”Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
The Next Mozart 6-Year Old Piano Prodigy Wows All 6-year old Emily Bear has wowed audiences from the White House to her own house. Playing the piano since age 3, Emily also composes her own music. Has WGN-TV discovered the next Mozart?
Mozart - Aria for Soprano and Orchestra "Per pietà, bell'idol mio Wolfgang Amadeus Mozart (1756 - 1791) Concert Aria for Soprano and Orchestra "Per pietà, bell'idol mio" in C major, KV 78 ·Andante con moto Soprano: Lucia Popp Leopold Hager / Mozarteum-Orchester Salzburg Orchestation: · 2 Oboes · 2 Cornos (C) · [2 Bassoons (optional)] · Strings Pietro Metastasio's libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini's songs, with more than a few devices much more frequently found in arias than in his songs. The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ Anne Feeney, All Music Guide. Composed in 1766, in The Hague. Text from Metastasio "Artarerse", Act II, scene 11: Per pietà, bell'idol mio, non mi dir ch'io sono ingrato; infelice e sventurato abbastanza il Ciel mi fa. Se fedele a te son io, se mi struggo ai tuoi bei lumi, sallo amor, lo sanno i Numi il mio core, il tuo lo sa. Translation to English: For pity's sake, my ...
André Rieu - Die Hochzeit des Figaro - Cavatine (Mozart) Morschi Franz - Tenor „Der Barbier von Sevilla" (Originaltitel: Il barbiere di Siviglia) ist eine komische Oper in zwei Aufzügen von Gioachino Rossini. Das Libretto stammt von Cesare Sterbini und ist eine Bearbeitung des Schauspiels Le Barbier de Séville von Pierre Augustin Caron de Beaumarchais. Die Hauptpersonen des Barbiere sind auch Hauptfiguren der später in deren Leben angesiedelten Handlung der Oper „Le nozze di Figaro" von Wolfgang Amadeus Mozart und Lorenzo da Ponte nach Beaumarchais aus dem Jahr 1778. Die Uraufführung fand am 1. Mai 1786 im Wiener Burgtheaterstatt. Die Oper spielt am Schloss des Grafen Almaviva in Aguasfrescas in der Nähe von Sevilla um 1780. Die Handlung der Oper ist die direkte Fortsetzung von Beaumarchais' Theaterstück „Le Barbier de Séville" (Der Barbier von Sevilla) -- und damit Giovanni Paisiellos „Il barbiere di Siviglia". Die Cavatine (oder Cavata, italienisch) ist in der Oper eine zweiteilige Arie mit einer langsamen Einleitung und einem schnellen Schlussteil. In der Regel ist die Cavatine eine Auftrittsarie (it. sortita), dh die Arie für den ersten Auftritt eines Sängers.
Mozart: Rondo Alla Turca トルコ行進曲 (older version) Online Piano Lessons! All Levels! 8e992hnjrhia1y8ot3h9tp1x30.hop.clickbank.net Wolfgang Amadeus Mozart (1756-1791) has been one of the most enduring composers in history and was the most influential and prominent composer in the Classical Era. Mozart was a child prodigy who was already composing and performing for royalty at age 5 and composed his first opera at age 12. Although Mozart composed in virtually all genres and was especially famous for his serious and comic operas, it was the the piano (pianoforte) that remained the primary source of inspiration throughout his short life. Get Mozart's Complete Sonatas and Fantasias for Piano: www.sheetmusicplus.com Get the excellent Henle edition of the famous K545 Sonata: www.sheetmusicplus.com Get the sheet music to Rondo Alla Turca: www.sheetmusicplus.com BachScholar™ Website: www.bachscholar.com Buy Albums and MP3s: www.cdbaby.com www.amazon.com Download Bach Tempo Studies: stores.lulu.com
Wolfgang Amadeus Mozart - Symphony No 25 in G minor Composed by Wolfgang Amadeus Mozart Performed by Academy of St. Martin-in-the-Fields Conducted by Neville Marriner
Mozart Piano Concerto 20, K 466 (Ivan Klánský) mvt 1, pt 1 go here to see part 2 of the first movement (Allegro):\ www.youtube.com to see score of the K. 466, go here: dme.mozarteum.at Ivan Klánský, Piano Virtuosi Di Praga, Jiri Belohlavek, Conductor Recorded Live At The Rittersaal Of Palais Waldstein, 19--20 November 1990 Charles Rosen ("The Classical Style: Haydn, Mozart, Beethoven") writes: ..But even at a time when Mozart's reputation was low--when his grace obscured his power--the estimation of this work remained high. It is not a work, of course, that is much discussed (it excites no controversy) or much imitated; nor is it the favorite Mozart concerto of many musicians just as no one's favorite Leonardo is the 'Mona Lisa". Like the G minor symphony and 'Don Giovanni', the D minor concerto can be said to transcend it's own excellences. The historic importance of the K. 466 is that it belongs to the series of works that made Mozart the supreme composer in most musician's minds within ten years of his death. It represents the Mozart who was considered the 'greatest' of the Romantic composers, and it was the character of this work and a few others like it that pushed Haydn in the background for more than a century. It was the concerto that Beethoven played and wrote cadenzas for. It is the fullest realization of that aspect of Mozart that the nineteenth century quite rightly named 'daemonic', and which, for so long, made a balanced assessment of the rest of his work so difficult. Wolfgang Amadeus Mozart (1756-1791 ...
Karajan - Mozart: Don Giovanni | "Notte e giorno faticar" | Act 1| Herbert von Karajan plays with the Vienna Philharmonic Orchestra the famous opera "Don Giovanni" by WA Mozart, KV 527. Libretto by Lorenzo Da Ponte. A coperation of Sony BMG,Sony Classical and Medialoft. Recorded at the festivalhouse of Salzbourg in 1984. Leporello + Donna Anna + Don Giovanni + The Commendatore __________________________________________________________________________ Herbert von Karajan spielt mit den Wiener Philharmonikern die berühmte Oper "Don Giovanni" von WA Mozart, KV 527. Librettist ist Lorenzo Da Ponte. Eine Zusammenarbeit von Sony BMG, Sony Classical und Medialoft. Aufgenommen im Salzburger Festspielhaus in 1984. Leporello + Donna Anna + Don Giovanni + Der Komtur __________________________________________________________________________ Samuel Ramey - Don Giovanni Anna Tomawo-Sintow - Donna Anna Gösta Winbergh - Don Ottavio Paata Bruchuladze - The Commentatore / Der Komtur Julia Varady - Donna Elvira Ferruccio Furlanetto - Leporello Alexander Malta - Masetto Kathleen Battle - Zerlina
MOZART: Symphony / Sinfonía nº 40 & Cafés de Viena / The best cla WOLFGANG AMADEUS MOZART , completo era Johannes Chrysostomus Wolfgangus Theophilus Mozart, (nació en Salzburgo, Austria el 27 de enero de 1756 y murió en Viena, Austria el 5 de Diciembre de 1791), fue un compositor y pianista austriaco, maestro del Clasicismo, considerado como uno de los músicos más influyentes y destacados de la historia. La obra mozartiana abarca todos los géneros musicales y alcanza más de 600 creaciones, reconocidas como obras maestras de la música sinfónica, concertante, de cámara, para piano, operística y coral, logrando una popularidad y difusión universal. La obra de Mozart comprende 626 opus. son 41 sinfónias, destacan la n° 35, 36 , 38, n° 39, 40 y 41 ; Conciertos (27 para piano,5 para violín y varios para otros instrumentos , flauta, sonatas para piano, para piano y violín, adagios, 61 divertimentos, serenatas, marchas y 2 óperas. European Baroque architecture famous songs symphonies. French music and relax. Canción, canciones para estudiar , bebes y relax. Mozartmania. MÚSICA : Sinfonía n°40 en sol menor, in g minor K 550 (Symphony n° 40th) ; 1er,1st movement, primer Movimiento, sinfonie, symphonie , en los cafés de Viena , interpretada por "Waldo de los Rios" y su orquesta. Recorrida por los famosos / famous cafés y Konditorei de Viena/Vienna/Wien (confiterías de / Viennese coffe shop), durante la primavera (Mayo) de 2009. Vienna Cafés. Breakfast with intellectuals. Algunos de los cafés de Viena son lugares famosos,Griensteidl,el Landtmann ...