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percocet · 1 year

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Omg would u be willing to give like piano classical music recs? I just love how pianos sound but I don't know much classical music :(

HI. YES. i feel like i've been waiting for this moment all my life.

so first thing to note is that "classical music" as a genre, as the general public thinks about it, covers like. the 1600s to early 1900s. it's like saying mcr and golden era broadway music are the same genre, which drives me up the wall some days but i've also accepted it as like. general public insistence that all music composed before 1910 is somehow stuffy and elitist to listen to. ANYWAY rant aside this is all to say that the sound and style is going to differ a lot!

without further ado, here's my Certified Fresh™ piano recs for beginners <3

the famous composers you should probably listen to

rachmaninoff - piano concerto no. 2 in c minor. evgeny kissin (<333) has like thee recording ever of this (linked). it's the most famous piano concerto in the world. i've been playing this baby since i was 15 and literally every day i learn something new about it. gift that keeps giving!! and if you like this, then i'd also take a gander at the rhapsody on a theme of paganini, which is a whole piano concerto that's like theme and variations on the melody from the most famous paganini violin caprice (no. 24).

chopin - ballade no. 1 in g minor. krystian zimerman (linked) has probably the most solid recording, but i'm rlly partial to yundi li's interpretation! seong-jin cho is also incredibly impressive, i've seen him twice and his work blows me away... all of chopin's music is quintessential piano listening imo; his collection of waltzes, nocturnes, and études especially are foundational learning material! he's my fav composer of all time <3 (side note: arthur rubinstein is known as The chopin performer, but any of the people i listed will do a great job if you're looking on youtube on spotify for a version to listen to)

liszt - transcendental étude no. 12 "chasse-neige". and if you have time then wough ALL of the transcendental études and listen in order. i don't really like liszt but i worship at the feet of daniil trifonov's album i'm so serious. also gotta plug that i saw him perform live too and he is like the second coming of christ to me. my absolute favourite pianist atm.

beethoven - sonata no. 14 "moonlight". while we're in that fob mood! everybody knows the first movement but rarely do people play it well tbh 💀 the second and third movements are also very famous but they seem to fit on the second tier of the classical music iceberg, so i'll rec it anyway. harder to say who my fav beethoven performers are.. he has the most difficult repertoire for a reason! maybe claudio arrau or alfred brendel (linked), daniel barenboim for more modern recordings (and a complete set of sonatas) but he's not The best..

mozart - fantasia in d minor. sigh. so i'm not the biggest mozart fan, admittedly. but he's got an incomparable place in history, so here we are! this is probably one of the more underrated famous pieces (in comparison to like the turkish march or whatever). linked is trifonov again, but i would rec seong-jin cho's mozart album too, it's solid all around.

bach - partita no. 2 in c minor. probably the most dramatic and accessible of his partitas. you have probably heard of the well-tempered clavier at some point in your life, which is his collection of preludes and fugues! those are worth listening to if you're ever in the baroque mood. i'm so serious when i say bach's music is god to me. not the easiest listening, but worth it tbh... anyway. martha argerich (linked) is goated and one of my main inspirations in music. (and if you find yourself liking her, i'd rec her astor piazzolla interpretations like tres minutos con la realidad, great argentinian music by great argentinian musicians!)

stuff that goes so fucking ham i can only describe it as the closest humanity will ever touch divinity

godowsky - passacaglia. based off schubert's unfinished symphony but that's not super important all you need to know is that it's 20 minutes of insanity

liszt - erlkönig. this is like a veritable nightmare, musically. it's based on schubert's erlkönig and it's absolute hell. holy shit. it's so good. yuja wang (linked) is superhuman

bach (transcribed by ferruccio busoni) - partita no 2. in d minor. this partita was composed for the violin but naturally someone had to put it on the piano and make it go harder than it already does. literally a religious experience, ofc evgeny kissin had to do it to 'em

ravel (transcribed by beatrice rana) - la valse. beatrice rana is so goated, holy shit. this waltz is also musically difficult, but she just knocks it out of the park. every time i listen to this i get chills, esp towards the end. definitely worth watching as well as listening to, she's electric with it

liszt - mephisto waltz. did i say i didn't like liszt already? i feel like liszt is overrepresented here. liszt enjoyers come get your food ig. khatia buniatishvili is just crazy impressive, she's just so effortlessly virtuosic and i live in awe of her work.

this got kinda long but i think it's more bc i can't shut up.. anyway! hope you enjoy!! let me know what you think if you listen to any of this!

#classical music #recs #jukebox #anon #ask #idk how to tag this just take it lol

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elcitigre2021 · 2 years

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Êxtase Musical um Dom da Cura para a Humanidade - 2

NOTAS CHAVE PARA CADA RAIO DIVINO

A Lista de músicas abaixo, foi elaborada pelo grupo de estudos dos Mestres Ascensos da Summit Lighthouse de Minnesota EUA, baseada nos ensinamentos dos Mestres Ascensos.

Estas músicas ajudam muito na elevação das energias de cada um dos 7 chakras e de sua casa também. Quando tocamos a nota chave de um Mestre Ascenso, isto magnetiza a Sua Presença entre nós.

MÚSICAS DO 1º RAIO DA VONTADE DIVINA:

Albinoni: Adagio Aloha Oe Beethoven: Symphony No. 5 Beethoven: The Heavens Are Sounding Bizet: Intermezzo from Carmen Bruckner: Symphony No. 9 Dykes: Eternal Father Elgar: Nimrod Variation Elgar: Pomp and Circumstance March #1 Franck: Panis Angelicus Gounod: Solidier’s Chorus Grieg: Anitra’s Dance Grieg: In the Hall of the Mountain King Khachaturian: Adagio from Spartacus Liszt: Hungarian Rhapsody #15 Respighi: Saint Michael, Archangel Rimsky Korsakoff: Song of India Sibelius: Karelia Suite (Intermezzo) Smetana: Die Moldau Sousa: Semper Fidelis Wagner: Bridal Chorus Wagner: Entrance of the Gods into Valhalla

MÚSICAS DO 2º RAIO DA ILUMINAÇÃO:

Beethoven: Ode to Joy Bethoven: Symphony No. 6 (5th Movement) Beethoven: Victory Symphony Berlioz: La Marseillaise Finden: Kashmiri Song Foster: Beautiful Dreamer Franck: All Music Gliere: Dance of the Golden Fingers Grieg: Dawn Herbert: Ah! Sweet Mystery of Life Nielsen: Helios Overture Pachelbel: Gigue Praise God From Whom All Blessings Flow Puccini: Un Bel Di Rimsky Korsakov: Invisible City of Kitezh Romberg: Golden Days Vaughn Williams: Greensleeves Vaughn Williams: The Lark Ascending Wagner: Evening Star

MÚSICAS DO 3º RAIO DO AMOR:

Bach: Air on a G String Borodin: Polvestian Dances Chopin: Piano Concerto No. 1 Frilm: Indian Love Call Homing: At Dawning Kreisler: Caprice Viennois Lehar: Yours Is My Heart Alone Mascagni: The Lord Now Victorious from Cavalleria Puccini: Intermezzo from Suor Angelica Puccini: Musette Waltz Rachmaninov: Symphony No. 2 (3rd Movement) Saint Saens: The Swan Sibeluis: Finlandia Sibelius: Symphony No. 2 Wagner: Isolde’s Transfiguration

MÚSICAS DO 4º RAIO DA PUREZA

Adams: O Holy Night Bach: Toccata and Fugue in D Minor Beethoven: Leonore No. 3 Beethoven: Nine Symphonies Bethove: Symphony No. 9 (3rd Movement) Gounod: Angel’s Chorus Grieg: Piano Concerto in A Minor Liszt: Benediction of God in the Solititude Liszt: Christus Liszt: Faust Symphony (2nd Movement) Liszt: Hungarian Rhapsody No. 2 Liszt: Liebestraum No. 3 Mahler: Symphony No. 5: Adagietto Mascagni: Intermezzo Rubinstein: Angelique Reve Schubert: Ave Maria Schubert: Symphony No. 9 Verdi: Anvil Chorus Verdi: Celeste Aida Verdi: Triumphal Scene Wagner: Fest March Wagner: Parsifal Prelude Act 1

MÚSICAS DO 5º RAIO DA CURA E DA VERDADE

Beethoven: Moonlight Sonata D’Indy: Symphony on a French Mountain Air Franck: Prelude, Choral and Fugue Glinka: Variations on a Theme by Mozart Handel: Messiah Overture Liszt: Un Sospiro Loewe: Heather on the Hill Mozart: Rondo Alla Turca Mozart: Sinfonia Concertante Pachelbel: Canon Rachmaninoff: 2nd Piano Concerto Sullivan: Onward Christian Soldiers Wagner: Tannhauser Overture

MÚSICAS DO 6º RAIO DA PAZ E DO SERVIÇO

Adams: The Holy City Anon: Londonderry Air Bach: Come Sweet Death Bach: Sleepers Awake Batiste: Pilgrim’s Song of Hope Bohm: Calm as the Night Boito: Prologue in Heaven from Mefistofele Brahms: Lullaby Byrd: Pavane for the Earle of Salisbury Deep River Delibes: Coppelia Suite Delius: On Hearing the First Cuckoo in Spring Gluck: Dance of the Blessed Spirits Handel: Joy to the World Humperdink: Children’s Prayer Leoncavello: Mattinata Mahler: Symphony No. 2 McDowell: To a Wild Rose Mendlessohn: Spring Song Mozart: Laudate Dominum Novello: Rose of England Rachmaninoff: 18th Variation Rimsky Korsakov: Russian Easter Overture Romberg: One Alone Straus: My Hero from The Chocolate Soldier Tchaikovsky: Amen from Peter Noster Verdi: Laudi Alla Vergine Maria Vivaldi: "Spring" from Four Seasons Wagner: Parsifal

MÚSICAS DO 7º RAIO DA LIBERDADE e CHAMA VIOLETA

Bruckner: Syphony No. 7 Hovhaness: Mysterious Mountain J. Strauss Jr.: Tritsch: Tratsch Polka J. Strauss Jr.: Voices of Spring Mendelssohn: War March of the Priests Prokofiev: Classical Symphony R. Strauss: Der Rosenkavalier Watzes Respighi: St. Gregory the Great Rodrigo: Concierto Aranjuez (Adagio) Schumann: Symphony No. 4 Strauss Jr.: Blue Danube Strauss Jr.: Tales from Vienna Woods Strauss Sr.: Radetzky March Tchaikovsky: Trepak from Nutcracker Wagner: Magic Fire Music Wagner: Ride of the Valkries Músicas Frequenciais

Estas freqüências sonoras foram aparentemente utilizadas em cantos gregorianos antigos, tais como o grande hino de São João Batista (…)

Acreditava-se que esses cânticos e os seus tons especiais tinham o poder de transmitir bênçãos espirituais quando cantados em harmonia durante encontros religiosos. Estas poderosas freqüências foram redescobertas pelo Dr. Joseph Puleo, como descrito no livro "Healing Codes" para o "Biological Apocalypse" de Leonard Horowitz.

PESQUISAS CIENTÍFICAS DIVERSAS COMPROVAM QUE O SOM AFETA A ESTRUTURA MOLECULAR DA ÁGUA.

NOSSO CORPO É 70% ÁGUA, NOSSO PLANETA É 3/4 DE ÁGUA, PORTANTO…

Os Seis "Solfeggio Frequencies" incluem:

UT 396 Hz - Libertando-se da Culpa e do Medo

RE 417 Hz - Desfazendo Complicações e Facilitando as Mudanças

MI 528 Hz - Transformação e Milagres (Reparador de DNA)

FA 639 Hz - Melhorando Relacionamentos

SOL 741 Hz - Despertando a Intuição

LA 852 Hz - Amor Incondicional/ Retornando ao Plano Espiritual / Reencontrando nosso EU SUPERIOR

As Músicas foram compostas por Jandy AKA

UT 396 Hz - Libertando-se da Culpa e do Medo

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MI 528 Hz - Transformação e Milagres (Reparador de DNA) 528 HZ É A FREQÜÊNCIA : a) da glândula pineal (centro do cérebro) b) do chakra do coração (centro do corpo) c) da cor verde (centro do spectro luminoso) segundo observações laboratoriais, através desta frequência de SOM, tanto a ÁGUA como o DNA são "milagrosamente" REESTRUTURADOS / REGENERADOS. https://youtu.be/tZrBRQn6K0A

FA 639 Hz - Melhorando Relacionamentos https://youtu.be/hwrMn0_0Phs

SOL 741 Hz - Despertando a Intuição https://youtu.be/YHM8-mT6CBo

LA 852 Hz - Amor Incondicional/ Retornando ao Plano Espiritual / Reencontrando nosso EU SUPERIOR. https://youtu.be/SeMn69Alu8k

936Hz - PARA ATIVAR A GLÂNDULA PINEAL https://youtu.be/3h2mJnvRbZ8

Invocação à Luz

A Invocação à Luz auxilia você a "prender" o Campo Unificado em posição e aumenta a absorção da Luz.

Eu vivo na Luz. Eu amo na Luz. Eu rio na Luz. Eu Sou sustentado e nutrido pela Luz. Eu sirvo alegremente à Luz. Pois EU SOU a Luz. EU SOU a Luz. EU SOU a Luz.

EU SOU. EU SOU. EU SOU.

Arcanjo Ariel

CÉLULAS TUMORAIS EXPOSTAS À "QUINTA SINFONIA", DE BEETHOVEN, PERDERAM TAMANHO OU MORRERAM.

Mesmo quem não costuma escutar música clássica já ouviu, numerosas vezes, o primeiro movimento da "Quinta Sinfonia" de Ludwig van Beethoven. O "pam-pam-pam-pam" que abre uma das mais famosas composições da História, Descobriu-se agora, seria capaz de matar células tumorais - em testes de laboratório.

Uma pesquisa do Programa de Oncobiologia da UFRJ expôs uma cultura de células MCF-7, ligadas ao câncer de mama, à meia hora da obra. Um em cada cinco delas morreu, numa experiência que abre um nova frente contra a doença, por meio de timbres e frequências. A estratégia, que parece estranha à primeira vista, busca encontrar formas mais eficientes e menos tóxicas de combater o câncer: em vez de radioterapia, um dia seria possível pensar no uso de frequências sonoras.

O estudo inovou ao usar a musicoterapia fora do tratamento de distúrbios emocionais. - Esta terapia costuma ser adotada em doenças ligadas a problemas psicológicos, situações que envolvam um componente emocional. Mostramos que, além disso, a música produz um efeito direto sobre as células do nosso organismo - ressalta Márcia Capella, do Instituto de Biofísica Carlos Chagas Filho, coordenadora do estudo.

Como as MCF-7 duplicam-se a cada 30 horas, Márcia esperou dois dias entre a sessão musical e o teste dos seus efeitos. Neste prazo, 20% da amostragem morreu. Entre as células sobreviventes, muitas perderam tamanho e granulosidade. O resultado da pesquisa é enigmático até mesmo para Márcia. A composição "Atmosphères", do húngaro György Ligeti, provocou efeitos semelhantes àqueles registrados com Beethoven.

Mas a "Sonata para 2 pianos em ré maior", de Wolfgang Amadeus Mozart, uma das mais populares em musicoterapia, não teve efeito. - Foi estranho, porque esta sonata provoca algo conhecido como o "efeito Mozart", um aumento temporário do raciocínio espaço-temporal - pondera a pesquisadora. - Mas ficamos felizes com o resultado. Acreditamos que as sinfonias provocaram apenas alterações metabólicas, não a morte de células cancerígenas.

"Atmosphères", diferentemente da "Quinta Sinfonia", é uma composição contemporânea, caracterizada pela ausência de uma linha melódica. Por que, então, duas músicas tão diferentes provocaram o mesmo efeito?

Aliada a uma equipe que inclui um professor da Escola de Música Villa-Lobos, Márcia, agora, procura esta resposta dividindo as músicas em partes. Pode ser que o efeito tenha vindo não do conjunto da obra, mas especificamente de um ritmo, um timbre ou intensidade. Quando conseguir identificar o que matou as células, o passo seguinte será a construção de uma sequência sonora especial para o tratamento de tumores. O caminho até esta melodia passará por outros gêneros musicais.

A partir do mês que vem, os pesquisadores testarão o efeito do samba e do funk sobre as células tumorais. - Ainda não sabemos que música e qual compositor vamos usar. A quantidade de combinações sonoras que podemos estudar é imensa - diz a pesquisadora. Outra via de pesquisa é investigar se as sinfonias provocaram outro tipo de efeito no organismo. Por enquanto, apenas células renais e tumorais foram expostas à música.

Só no segundo grupo foi registrada alguma alteração. A pesquisa também possibilitou uma conclusão alheia às culturas de células. Como ficou provado que o efeito das músicas extrapola o componente emocional, é possível que haja uma diferença entre ouví-la com som ambiente ou fone de ouvido. - Os resultados parciais sugerem que, com o fone de ouvido, estamos nos beneficiando dos efeitos emocionais e desprezando as consequências diretas, como estas observadas com o experimento - revela Márcia.

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Leia mais no Blog "Terapias con Sonidos"

ODE À ALEGRIA - 9ª Sinfonia de Beethoven

Em vez de entrar nas atividades normais, você pode escolher entrar na Vibração Divina dessas 10.000 vozes. Dê-se um tempo, sem pressa. Esta será sua sessão de Cura. Fique confortável e ligue o som. Entregue-se. Abra todos os seus Chakras, Meridianos e Poros para receber em seus corpos (Físico, Emocional, Mental, Espiritual) as ondas sonoras emitidas. Conscientize-se de que essa vibração tem Poder e Cura. Coloque suas mãos aonde dói e onde Você sente que precisa de Energia. Percorra delicadamente com suas mãos todos os locais onde seu corpo está fragilizado.

Acredite. Agradeça. Deus está Presente.

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MÚSICA PARA EQUILIBRAR OS HEMISFÉRIOS CEREBRAIS (melhor se ouvido com fones de ouvido)

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852 Hz➤ LIBERAR MEDO, PENSAMENTOS REPETITIVOS, PREOCUPAÇÕES & ENERGIA

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Música Xamânica - Para ATIVAR ENERGIA DE CURA, Eliminar Ansiedade, Medo e Negatividade

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#conhecimento #curaenergetica #sonsquecuram #sabedoria #discernir #sairdailusão #musicas #frequencia #vibração #despertar #consciência #Youtube

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sheetmusiclibrarypdf · 2 days

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The Library Of Easy Piano Classics, Vol.1 & 2

The Library Of Easy Piano Classics, Vol.1:Best Sheet Music download from our Library.The Library Of Easy Piano Classics, Vol.2:Please, subscribe to our Library. Thank you!

The Library Of Easy Piano Classics, Vol.1:

Contents: The Library Of Easy Piano Classics, Vol.1Download - Butterfly - Rameau: Le Tambourin - Georg Friedrich Händel: Air And Variations - Georg Friedrich Händel: Air - Scriabin: Album Leaf - Wolfgang Amadeus Mozart: Alla Turca Turkish March - Edvard Grieg: Anitra'S Dance Peer Gynt Suite Op.46 No.1 - Ludwig van Beethoven: Bagatelle - Jacques Offenbach: Barcarolle Les Contes D'Hoffmann - Pyotr Ilyich Tchaikovsky: Capriccio Italienne Op.45 - Claude Debussy: Deux Arabesques - Ludwig van Beethoven: Ecossaise - Frédéric Chopin: Fantasie Impromptu - Wolfgang Amadeus Mozart: Fantasy In D Minor - Johann Sebastian Bach: Four Pieces From The Little Notebook - Ludwig van Beethoven: Fur Elise Bagatelle In A Minor Woo 59 - Franz Joseph Haydn: Gipsy Rondo - Claude Debussy: Golliwogg'S Cakewalk - Dmitri Kabalevsky: Having Fun - Edvard Grieg: Humerosque - Antonin Dvorák: Humoresque - Johannes Brahms: Hungarian Dance - Franz Liszt: Hungarian Rhapsody No.1 - Claude Debussy: La Fille Aux Cheveux De Lin - Georg Friedrich Händel: Largo - Louis-Claude Daquin: Le Coucou - Franz Liszt: Liebestraum - Isaac Albéniz: Malaguena - Franz Schubert: March Militaire - Frédéric Chopin: Mazurka In B Flat - Claude Debussy: Minstrels - Minuet Blavet - Ludwig van Beethoven: Minuet In G - Franz Schubert: Moment Musicale Op.94 No.3 - Ludwig van Beethoven: Moonlight Sonata Op.27 No.2 - Fauré: Nocturne - Nocturne In E Flat Op.9 No.2 - Frédéric Chopin: Nocturne Op. 72 No. 1 - Sergei Prokofiev: Peter And The Wolf - Zdenek Fibich: Poem - Dimitri Shostakovich: Polka - Bach: Prelude And Fugue Book 1. No 2 - Bach: Prelude And Fugue Book 2 No. 12 - Frédéric Chopin: Prelude In A Op.28 No.7 - Frédéric Chopin: Prelude In B Minor Op.28 No.6 - Sergei Rachmaninov: Prelude - Bach: Prlude No. 1 - Rondinio Field - Ludwig van Beethoven: Rondo A Capriccio In G Op.129 - Hummel: Rondo - Wolfgang Amadeus Mozart: Rondo In D - Aram Il'yich Khachaturian: Saber Dance - Franz Schubert: Serenade - Ludwig van Beethoven: Six Variations - Franz Joseph Haydn: Sonata In D Major - Wolfgang Amadeus Mozart: Sonata K 543 - Sonate Au Clair De Lune Moonlight Sonata - Nicolay Rimsky-Korsakov: Song Of India Sadko - Isaac Albéniz: Tango - Johann Strauss Jr.: The Blue Danube Waltz Op.314 - Scott Joplin: The Cascades - Franck: The Doll's Complaint - Robert Schumann: The Happy Farmer Op.68 No.10 Album For The Young - Claude Debussy: The Little Negro - Anatol Lyadov: The Music Box - Edward MacDowell: To A Wild Rose Woodland Sketches Op.51 - Traumerei Kinderscenen Op.15 No.7 - Erik Satie: Trois Gnossiennes - Frédéric Chopin: Valse - Johannes Brahms: Waltz In A Flat Op.39 No.15 - Frédéric Chopin: Waltz In C Sharp Minor Op.64 No.2 - Carl Maria von Weber: Waltz

The Library Of Easy Piano Classics, Vol.2:

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#SMLPDF #noten #partitura #sheetmusicdownload #sheetmusicscoredownloadpartiturapartitionspartitinoten楽譜망할음악ноты

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silentfactory · 1 year

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Title: Johann Sebastian Bach: The Genius of Music

Johann Sebastian Bach is one of the greatest composers in history. Born in 1685 in Eisenach, Germany, Bach became one of the most influential and prolific composers of his time, leaving an indelible mark on classical music that still resonates today. In this article, we will explore the life and work of Johann Sebastian Bach, examining his contributions to music and why he remains an enduring figure in the world of classical music.

Early Life and Musical Education

Johann Sebastian Bach came from a family of musicians. His father, Johann Ambrosius Bach, was a musician in the town of Eisenach, and he taught his son to play the violin and harpsichord from an early age. Bach’s musical talent was evident, and he soon caught the attention of local musicians and patrons, who recognized his prodigious abilities.

Bach’s early musical education was shaped by the traditions of the Lutheran church. He was trained as a chorister and later worked as an organist in several churches throughout Germany. These experiences would prove invaluable to Bach, as they allowed him to develop his skills as a composer and to become intimately familiar with the music of his time.

The Musical Genius

Bach’s music is characterized by its technical complexity, emotional depth, and spiritual resonance. He was a master of counterpoint, a technique that involves the interweaving of multiple melodies to create a rich, harmonious sound. Bach’s music is also known for its intricate use of harmony, rhythm, and texture, which reflect his deep understanding of music theory and his creative genius.

One of the hallmarks of Bach’s music is its religious inspiration. As a devout Lutheran, Bach composed music for the church throughout his career. His choral works, such as the Mass in B Minor and the St. Matthew Passion, are among the most celebrated pieces of classical music, and they continue to be performed and studied by musicians and scholars around the world.

Bach’s music was also deeply influential on the development of Western classical music. His compositions helped to establish many of the forms and structures that are still used in music today, such as the fugue and the sonata. He was a master of many different musical styles, including the Baroque, which was characterized by its ornate, decorative style, and the galant, which was more restrained and elegant.

Legacy and Impact

Johann Sebastian Bach’s impact on music cannot be overstated. His music has influenced countless musicians and composers throughout the centuries, and his innovations continue to shape classical music today. His legacy is evident in the work of composers such as Mozart, Beethoven, and Brahms, who all admired and emulated Bach’s music in their own compositions.

Bach’s music has also had a lasting impact on popular culture. Many of his pieces have been adapted and reinterpreted in film, television, and other media. His famous “Brandenburg Concertos” have been used in countless commercials, and his music has even been sampled in contemporary pop songs.

Conclusion

Johann Sebastian Bach was a musical genius whose legacy continues to inspire and influence musicians and audiences around the world. His contributions to classical music are immeasurable, and his influence can still be felt in the work of composers and musicians today. Bach’s music is a testament to the power of creativity, dedication, and passion, and it will continue to be celebrated and enjoyed for generations to come.

Few album recommendations for those who are new to the music of Johann Sebastian Bach:

“Goldberg Variations” (Glenn Gould, 1955 recording) — This recording of the “Goldberg Variations” is considered one of the greatest classical recordings of all time. The piece is a set of 30 variations on a theme, and it showcases Bach’s remarkable ability to create complex, beautiful music.

“Brandenburg Concertos” (Neville Marriner, Academy of St. Martin in the Fields) — The “Brandenburg Concertos” are among Bach’s most famous works, and they are a great introduction to his music. This recording by Neville Marriner and the Academy of St. Martin in the Fields is a classic interpretation of the piece.

“Mass in B Minor” (John Eliot Gardiner, English Baroque Soloists) — The “Mass in B Minor” is one of Bach’s most monumental choral works, and this recording by John Eliot Gardiner and the English Baroque Soloists is a great introduction to the piece. The mass features beautiful choral music and intricate counterpoint.

“The Well-Tempered Clavier” (Angela Hewitt) — “The Well-Tempered Clavier” is a collection of 48 preludes and fugues, and it is considered one of the greatest works of keyboard music. This recording by Angela Hewitt is a wonderful introduction to the piece.

“St. Matthew Passion” (Nikolaus Harnoncourt, Concentus Musicus Wien) — The “St. Matthew Passion” is one of Bach’s most celebrated choral works, and it tells the story of the crucifixion of Jesus Christ. This recording by Nikolaus Harnoncourt and Concentus Musicus Wien is a powerful interpretation of the piece.

These albums are just a few examples of the many great recordings of Bach’s music. As you delve deeper into Bach’s music, you will likely discover many other albums that capture the beauty and complexity of his compositions.

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werewolvesandaccordions · 1 year

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Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained that…

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dariaandjanelanefanboy · 1 year

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tinas-art · 1 year

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hushilda · 1 year

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luthienne · 4 years

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Do you listen to classical music/Piano/Instrumental? If yes can you suggest me some?🤍

classical music is my whole life. my highest highs, my lowest lows, everything in-between. a few of my favorites, categorized by mood:

music that wrecks me:

tomaso antonio vitali: chaconne in g minor

ludwig van beethoven: string quartet no. 15 in a minor

arvo pärt: cantus in memory of benjamin britten / spiegel im spiegel

gregorio allegri: miserere mei, deus

frédéric chopin: nocturne in g minor / prelude in d-flat major

franz schubert: trio no. 2, op. 100, andante con moto

ludwig van beethoven: symphony no. 3, mvt ii

j.s. bach: toccata and fugue in d minor: ii. fugue

johannes brahms: ein deutsches requiem: ii

music that brings me back:

ludwig van beethoven: moonlight sonata: iii. presto agitato

henri vieuxtemps: violin concerto no. 5 in a minor: iii. allegro con fuoco

antonio vivaldi: violin concerto in e minor

j.s. bach: harpsichord concerto in d minor / piano concerto in a minor: iii

ludwig van beethoven: symphony no. 7: ii. allegretto

camille saint-saëns: introduction and rondo capriccioso

niccolò paganini: violin concerto no. 2 in b minor: iii. “la campanella”

franz schubert: quartet no. 14 in d minor (“death and the maiden”)

edvard grieg: piano concerto in a minor, op. 16

pyotr ilyich tchaikovsky: the nutcracker: scene xiv - pas de deux

music that makes me yearn:

w.a. mozart: piano concerto no. 21 in c major, k. 461: ii. andante

ludwig van beethoven: piano concerto no. 5 in e-flat major, op. 73: ii. adagio / sonata “pathetique” op. 13: ii. adagio cantabile

g.f. handel: sarabande in d minor, hwv 437

j.s. bach: adagio from concerto no. 3 in d minor

ludwig van beethoven: piano concerto no. 3 in c minor, op. 37: ii. largo

erik satie: gnossiennes

claude debussy: suite bergamesque, clair de lune, no. 3

franz liszt: liebestraum no. 3, notturno

gabriel fauré: après un rêve

frédéric chopin: nocturne in c-sharp minor / nocturne in b-flat minor

w.a. mozart: piano concerto no. 23: ii. adagio

franz schubert: 4 impromptus, op. 90, d. 899: no. 3 in g-flat: andante

christoph willibald von gluck: dance of the blessed spirits, orfeo ed euridice

music that feels like a dark fairy-tale:

béla bartók: romanian folk dances, sz. 56 - iii.

claude debussy: children’s corner, l. 113: iv. the snow is dancing

hildur guðnadóttir: leyfðu ijósinu

christoph willibald von gluck: melodie, orfeo ed euridice

gabriel fauré: pavane op. 50

jean-philippe rameau: le rappel des oiseaux

camille saint-saëns: le carnaval des animaux: aquarium

jean sibelius: nocturne op. 51, no. 3

heinrich wilhelm ernst: grand caprice on schubert’s der erlkönig, op. 26

pyotr ilyich tchaikovsky: swan lake (suite), op. 20: i. scene (swan theme)

franz schubert: schwanengesang: ständchen, d. 957

music that reminds me of dusty practice rooms, quiet cobblestone streets after the opera, and resonant cathedral bells:

w.a. mozart: piano sonata in c-major, k. 545: ii. adagio

w.a. mozart: piano sonata no. 11, k. 331: i. theme (andante grazioso)

ludwig van beethoven: piano sonata in g-major, op. 49, no. 2

franz schubert: impromptu op. 142, d.935: no. 3 in b-flat, var 3

w.a. mozart: deh vieni non tardar, le nozze di figaro

j.s. bach: invention 1 / invention 6 / goldberg variations

stephen heller: 30 études mélodiques et progressives: op. 46, no. 8

j.b. cramer: 60 selected studies: étude no. 10

arcangelo corelli: concerto grosso in g minor: ii. allegro

some devastatingly beautiful soundtracks and instrumental pieces:

sufjan stevens: untitled (all delighted people side d - ep)

ólafur arnalds: improvisations / loftið verður skyndilega kalt / erla’s waltz

max richter: three worlds - music from woolf works

hildur guðnadóttir: strokur / torrek / Þoka / elevation

keaton henson: romantic works / la naissance

coeur de pirate: pilgrims on a long journey / leave your castle

dario marianelli: atonement / pride and prejudice

abel korzeniowski: evgeni’s waltz / come, gentle night

yann tiersen: comptine d’un autre été, l’après-midi

and some vocal shout-outs:

g.b. pergolesi: stabat mater

j.s. bach: quia respexit, magnificat in d major

a. scarlatti: mentro io godo, il giardino di rose

g.f. handel: ombra mai fu, serse

w.a. mozart: in quali eccessi…mi tradi, don giovanni

gaetano donizetti: il dolce suono, lucia di lammermoor

vincenzo bellini: casta diva, norma

w.a. mozart: requiem in d minor

#ask #anon #music #classical music #recs #listen: mozart and beethoven are bae #don't @ me #there is something so tender and bittersweet in their lines and harmonies that just wounds me #an i will forever and always think of my italian piano teacher who imparted his love for them to me #there are so many more pieces i wanted to include #but this list was getting out of hand #music compilation #music recs #xx #edited to add the richter #resources

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uncharted-passions · 4 years

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Mozart being the ultimate Ling Ling prodigy

In 1770, Mozart, on tour with his father in Italy, gave an exhibition (for it was an exhibition rather than a concert, even though it was "reviewed") at the Reale Accademia in Mantua. At the Accademia there were several professional musicians, and they prepared the program. First, one of the boy's symphonies was played. Then he was soloist in a piano concerto that he had to read at sight from manuscript. Then he was supplied with a solo sonata which he not only had to read at sight but also supply with variations; and, that done, he had to transpose the work to another key. Then he had to compose an aria on the spot, to words given him, sing it himself and accompany himself on the clavier. Following this, the concertmaster of the orchestra gave Mozart a theme, and Mozart had to improvise a sonata from it. Then he had to improvise a strict fugue. Then he had to play the violin in a trio. Finally he conducted, from the clavier, one of his own symphonies. Mozart was fourteen years old at the time.

- The Great Pianists, by Harold Schonberg

#twosetviolin #twosetapparel #brett and eddy #eddy chen #classical concert #classical literature #classical music #mozart #prodigy #piano prodigy #ling ling 40 hours #ling ling chen #practice #go practice #dark academia vibes #dark academia aesthetic #dark academia #dark academia architecture

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pooraurora · 5 years

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rational conversation // a classical lt. edward little playlist

“One hears four rational people conversing with one another and believes he gains something from their discourse...” Goethe

the well-tempered clavier, book i: prelude & fugue no. 1 in c major | bach (1722)

string quartet no. 60 in g major, op. 76: ii. adagio sostenuto | haydn (1798)

piano concerto no. 21 in c major “elvira madigan”: ii. andante | mozart (1785)

*symphony no. 5 in c minor, op 67: iv. allegro | beethoven (1808)

serenade for strings in e major, op 22: ii. tempo di valse | dvorak (1875)

suite no. 3, p. 172: iii. siciliana: andantino | respighi (1932)

nocturne in c sharp minor: lento | chopin (1830)

overture to “a midsummer night’s dream” op. 21: tempo primo | mendelssohn (1826)

6 consolations, s 172: no. 3 in d flat major (lento, placido) | liszt (1850)

dido’s lament (simone dinnerstein & tift merritt) | purcell (1688)

bagatelle no. 25 in a minor: “fur elise” | beethoven (1810)

orchestral suite no. 3 in d major: ii. air | bach (1730)

“giselle” act 2: no. 18 grand pas de deux | adam (1841)

keyboard suite in d minor: iii. sarabande | handel (1733)

variations on an original theme, op. 36, enigma: ix. “nimrod” | elgar (1899)

the lark ascending: opening, excerpt | vaughan williams (1921)

the four seasons, op. 8 l’inverno “winter”: ii. largo | vivaldi (1717)

serenade for strings in c major, op. 48: ii. walzer: moderato | tchaikovsky (1880)

4 impromptus, op. 90, no. 4 in a flat major: iii. allegretto | schubert (1827)

fugue no. 18 in e minor | bach (1722)

piano sonata no. 12 in f: ii. adagio | mozart (1781)

string quartet no. 14 in c sharp minor, op. 131: vi. adagio | beethoven (1826)

täuberln-walzer (little doves waltz) | strauss i (1826)

string symphony no. 8 in d major: iii. menuetto | mendelssohn (1822)

*william tell: overature | rossini (1829)

*(loud)

#edward little #the terror #tunes #liddle #lmao i just wanted to contribute

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nako-doodles · 5 years

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what are sum of ur fave classical music pieces to play on the piano? performed?

where did this question even come from 😂 i didn’t realize people still remember my piano playing orchestra romping days 🤣🤣🤣 lucky you i’ve had the fortune (or i guess my teachers would call it throwing a tantrum and haggling until i got what i want lmfao) but here is an incomplete list of songs i love playing and performing off the top of my head:

Orchestral:

Conti - Gonna Fly Now (theme from “Rocky”)

Grieg - In the Hall of the Mountain King

Mendelssohn - Violin Concerto in e minor mvt. 1

Monti - Czardas

Rossini - William Tell Overture

Sarasate - Zigeurnerweisen

Shostakovich - Waltz no. 2

Strauss II - Don Quixote Act III: Kitri Variation

Tchaikovsky - 1812 Overture

Tchaikovsky - Waltz of the Flowers

Wagner - Tannhäuser Overture

Williams - Star Wars Medley

Piano Solo/Rearrangements:

Bach - Toccata and Fugue in d minor

Beethoven - Moonlight Sonata mvt. 3

Beethoven - Rage over a Lost Penny

Beethoven - Sonata no. 17 in d minor mvt. 3

Beethoven - Sonata no. 21 in C Major mvt. 1

Brahms - Rhapsody in g minor

BTS - I Need U (the transcription of what yoongi was playing)

Chopin - Ballade no. 1 in g minor

Chopin - Etude no. 11 in a minor

Chopin - Nocturne in c# minor

Chopin - Piano Concerto no. 1 mvt. 2 - Largo, Romance

Chopin - Polonaise in A flat Major

Chopin - Waltz no. 1 Grande valse brillante

Chopin - Waltz no. 10 in b minor

Debussy - Arabesque no. 1

Debussy - La Cathédrale Engloutie

Debussy - La Fille aux Cheveux de Lin

Elgar - Salut d’Amour

Glinka - The Skylark

Grieg - Piano Concerto in a minor

Handel - Passacaglia Piano Suite in g minor, HWV 432

Hisaishi - Itsumo Nandemo

Hisaishi - The Merry-Go-Round of Life

Joplin - Maple Leaf Rag

Liszt - Danse Macabre

Liszt - Liebestraum no. 3

Massenet - Méditation de Thaïs

Mendelssohn - Venetian Boat Song

Mozart - Rondo alla Turca

Mozart - Sonatina in C Major

Prokofiev - Piano Concerto no. 2

Rachmaninoff - Piano Concerto no. 2 mvt. 1

Rachmaninoff - Sleeping Beauty Waltz for 4 hands

Saint-Saens - Introduction and Rondo Capriccio

Satie - Gymnopédie no. 1

Schubert - Impromptu in B Major D. 935

Schubert - Ständchen

Strauss II - The Blue Danube Waltz

Tchaikovsky - Piano Concerto no. 2 mvt. 2 - Andante non troppo

Williams - Schindler’s List Theme

Yiruma - Kiss the Rain

Yiruma - River Flows in You

#this took me a while bc i accidentally forgot about it im sorry anon #i havent touched a proper piano in YEARS so dont expect me to be able to play any of these now #you May have noticed that I have a severe lack of baroque and impressionist music #that’s bc my hands are too small and I can’t cheat with the pedal on some of those chords #I have become an expert peddler #in both faking my chords and also I am a broke college student pity me way #I usually really hate minor keys bc of all the stupid key signatures and changing flats and sharps #but almost all the pieces I like are in minor #also I play rage of the lost penny when I learn a piece wrong and it’s in my muscle memory already #and I spend weeks trying to undo the damage #*stares at the cadenzas of fantasied impromptu* I hold a death grudge #I miss playing 4 handed piano pieces 🥺🥺 but no one I know irl I likes or is willing to do it w me #can you tell I only like playing either super fast pieces with set arpeggios and cadenzas or really legato pretty ones?#my piano teacher always yells at me to expand my horizons into those more modern pieces with crazy chords and shit #no ma'am I only want to play fast cadenzas and pretty legatos #this is also why theres so much Chopin and romantic pieces on here im sorry I dont make the rules #ans #recs #piano

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angelofilippoiannonisebastian · 2 years

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PETAR ATANSOV CONCERTI DEL TEMPIETTO - Estate a Roma 2022 Festival Musicale delle Nazioni www.tempietto.it

Petar ATANASOV (pianoforte) – J. S. Bach : Prelude and Fugue in G major – WTC II – W. A. Mozart : Variations on a theme “Ah! vous dirai-je, maman” – F. Chopin : Etude Op 25 No. 6 (Double Thirds) – C. Debussy : Images – Book I

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andrewtheconqueror-blog · 6 years

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Blog No. 6

Group Performance of the Kings of Classical Music (Haydn, Mozart, Beethoven)

Group Mates: Eva Cuenza, Mareal tumanda, joshua Gramaje, Ruzzel Santos, and Trixie Dayrit

Franz Joseph Haydn, (Born March 31, 1732, Rohrau, Austria—died May 31, 1809, Vienna); Austrian Composer

Over the course of his 106 symphonies, Austrian composer Franz Joseph Haydn became the principal architect of the classical style of music.

Synopsis

Franz Joseph Haydn was among the creators of the fundamental genres of classical music, and his influence upon later composers is immense. Haydn’s most celebrated pupil was Ludwig van Beethoven, and his musical form casts a huge shadow over the music of subsequent composers such as Schubert, Mendelssohn and Brahms.

Early Life

Franz Joseph Haydn was recruited at age 8 to the sing in the choir at St. Stephen's Cathedral in Vienna, where he went on to learn to play violin and keyboard. After he left the choir, he supported himself by teaching and playing violin, while studying counterpoint and harmony.

Haydn soon became an assistant to composer Nicola Porpora in exchange for lessons, and in 1761 he was named Kapellmeister, or "court musician," at the palace of the influential Esterházy family, a position that would financially support him for nearly 30 years. Isolated at the palace from other composers and musical trends, he was, as he put it, "forced to become original."

The Mature Artist

While Haydn rose in the Esterházy family's esteem, his popularity outside the palace walls also increased, and he eventually wrote as much music for publication as for the family. Several important works of this period were commissions from abroad, such as the Paris symphonies (1785-1786) and the original orchestral version of "The Seven Last Words of Christ" (1786). Haydn came to feel sequestered and lonely, however, missing friends back in Vienna, such as Wolfgang Amadeus Mozart, so in 1791, when a new Esterházy prince let Haydn go, he quickly accepted an invitation to go to England to conduct new symphonies with German violinist and impresario Johan Peter Salomon. He would return to London again in 1794 for another successful and lucrative season.

Already well known and appreciated in England, Haydn's concerts drew huge crowds, and during his time in England the composer created some of his most popular works, including the "Rider" quartet and the Surprise, Military, Drumroll and London symphonies.

Later Years

Haydn returned to Vienna in 1795 and took up his former position with the Esterházys, although only part-time. At this point, he was a public figure in Vienna, and when he wasn't at home composing, he was making frequent public appearances. With his health failing, his creative spirit outlasted his ability to harness it, and he died at age 77.

Haydn is remembered as the first great symphonist and the composer who essentially invented the string quartet. The principal engineer of the classical style, Haydn exerted influence on the likes of Mozart, his student Ludwig van Beethoven and scores of others.

Works

Haydn is credited as the 'father' of the classical symphony and string quartet, and also wrote many piano sonatas, piano trios, divertmenti and masses, which became the foundation for the Classical style in these compositional types. He also wrote other types of chamber music, as well as operas and concerti, although such compositions are now less known. Although other composers were prominent in the earlier Classical period, notably C.P.E. Bach in the field of the keyboard sonata (the harpsichord and clavichord were equally popular with the piano in this era) and J.C. Bach and Leopold Mozart in the symphony, Haydn was undoubtedly the strongest overall influence on musical style in this era.

The development of sonata form into a subtle and flexible mode of musical expression, which became the dominant force in Classical musical thought, was based foremost on Haydn and those who followed his ideas. His sense of formal inventiveness also lead him to integrate the fugue into the classical style, and to enrich the rondo form with more cohesive tonal logic, (see sonata rondo form). Another example of Haydn's inventiveness was his creation of the double variation form, that is variations on two alternating themes.

Structure and character of the music

A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, usually devised from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly. Haydn's musical practice formed the basis of much of what was to follow in the development of tonality and musical form. He took genres such as the symphony, which were, at that time, shorter and subsidiary to more important vocal music, and slowly expanded their length, weight and complexity.

Haydn's compositional practice was rooted in a study of the modal counterpoint of Fux, and the tonal homophonic styles which had become more and more popular, particularly the work of Gluck and Carl Philipp Emanuel Bach, of the later Haydn wrote 'without him, we know nothing'. He believed that the search for an appropriate melody was essential to the creation of good music, and carefully constructed his around countrapunctal devices, so that it could be overlayed with itself in a variety of ways, and the fragments could be worked with individually, and still retain some degree of unique character.

Haydn's work became central to what was later described as the sonata form, and his work was central to taking the binary schematic of what was then called a 'melodie'. It was a form divided into sections, joined by important moments in the harmony which signalled the change. One of Haydn's important innovations, one which was adopted by Mozart and Beethoven, was to make the moment of transition the focus of tremendous creativity, instead of using stock devices to make the transition, Haydn would often find inventive ways to make the move between two expected keys.

Later musical theorists would codify the formal organization in the following way:

Introduction: If present in an extended form, a slower section in the dominant, often with material not directly related to the main themes, which would then rapidly transition to the

Exposition: Presentation of thematic material, including a progression of tonality away from the home key. Unlike Mozart and Beethoven, Haydn often wrote expositions where the music that establishes the new key is similar or identical to the opening theme: this is called monothematic sonata form.

Development: The thematic material is led through a rapidly-shifting sequence of keys, transformed, fragmented, or combined with new material. If not present, the work is termed a 'sonatina'. Haydn's developments tend to be longer and more elaborate than those of Mozart, for example.

Recapitulation: Return to the home key, where the material of the exposition is re-presented. Haydn, unlike Mozart and Beethoven, often rearranges the order of themes compared to the exposition: he also frequently omits passages that appeared in the exposition (particularly in the monothematic case) and adds codas.

Coda: After the close of the recapitulation on the tonic, there may be an additional section which works through more of the possibilities of the thematic material.

During this period the written music was structured by tonality, and the sections of a work of the Classical era were marked by tonal cadences. The most important transitions between sections were from the exposition to the development, and from the development to the recapitulation. Haydn focused on creating witty and often dramatic ways to make these transitions, by delaying them, or by having the occur so subtly that it takes some time before it is established that the transition has, in fact happened. Perhaps paradoxically one of the ways in which Haydn did this was by reducing the number of different devices for harmonic transitions between, so that he could explore and develop the possibilities he found in the ones he regarded as most interesting. This is perhaps why more than any other composer, Haydn is known for the jokes that he put into his music. The most famous example is the sudden loud chord in his 'Surprise symphony|Surprise' symphony, No. 94, but others are perhaps funnier: the fake endings in the quartets Op. 33 No. 2 and Op. 50 No. 3, or the remarkable rhythmic illusion placed in the trio section of Op. 50 No. 1.

Haydn's compositional practice influenced both Mozart and Beethoven. Beethoven began his career writing rather discursive, loosely organized sonata expositions; but with the onset of his 'Middle period', he revived and intensified Haydn's practice, joining the musical structure to tight small motifs, often by gradually reshaping both the work and the motifs so that they fit quite carefully.

The emotional content of Haydn's music cannot accurately be summarized in words, but one may attempt an approximate description. Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat; this tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive, and often impart a great sense of energy, especially so in the finales. Some characteristic examples of Haydn's 'rollicking' finale type are found in the 'London' symphony No. 104, the string quartet Op. 50 No. 1, and the piano trio Hob XV: 27. Haydn's slow movements, early in his career, are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, the Symphony No. 102, and the piano trio Hob XV: 23. The minuets tend to have a strong downbeat (and upbeat!) and a clearly popular character. Late in his career, perhaps inspired by the young Beethoven (who was briefly his student), Haydn began to write scherzi instead of minuets, with a much faster tempo, felt as one beat to the measure.

Symphony No. 94 in G Major, 2nd Movement (”Surprise”)

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Symphony No. 94

The story of the Surprise Symphony starts with the death of Haydn's great patron, the Austrian prince Nikolaus Esterházy, in 1790. While Haydn's music had been spread across Europe (and even to the Americas in the hands of music aficionado Thomas Jefferson), Haydn himself hadn't left Austria in decades. His music was already popular in England, so a new patron appeared after the death of Esterházy and asked Haydn to come to London for two seasons. An agreement was stuck where Haydn would live in London and compose a total of six symphonies to be performed there.

Symphony No. 94 in G Major was one of these symphonies, which debuted in London on March 23rd of 1791. As the crowd quickly found out, it was full of surprises, showcasing Haydn's wit and ability to play with audiences' expectations.

Haydn knew how to play with audience expectations during a concert

The total work is broken into four movements, a symphonic structure of Haydn's that was still relatively new at the time. The first movement was written in the wrong key, according to the traditions associated with the 4-movement symphony, thus setting up one surprise from the beginning. The first and third movements have a lively feel that was more associated with outdoor concerts than with concert halls. This was especially true of the third movement, a minuet, which was basically the predecessor of the waltz. The second movement contrasts these with a gentler and softer tone, while the fourth escalates it, racing toward its conclusion with a march-like beat.

Overall, Symphony No. 94 in G Major is about 23 minutes of expectation subversion, interplay between tempos and sections of the orchestra, and some very demanding technical sections that reveal Haydn's confidence in the London orchestra. It was one of the works that helped Haydn's 4-movement symphony become the standard that would define orchestral music for generations.

The Surprise

Symphony No. 94 is lively, fun, and full of quirks, but not much more so than any other of Haydn's works. So, why was this one nicknamed the Surprise Symphony? That name actually refers to a single moment in the second movement. In this movement, the pace is gradual, peaceful, and tranquil. The melodies are passive and unencumbered, listing lazily along when out of nowhere BAM! The audience is hit with a jarring and loud chord that crescendos without warning. Surprise!

Wolfgang Amadeus Mozart (27 January 1756–5 December 1791)

Mozart was one of the most influential, popular and prolific composers of the classical period. He composed over 600 works, including some of the most famous and loved pieces of symphonic, chamber, operatic, and choral music.

“Music is my life and my life is music. Anyone who does not understand this is not worthy of God.”

– Wolfgang Amadeus Mozart.

Short Biography of Mozart

Mozart was born in Salzburg to a musical family. From an early age, the young Mozart showed all the signs of a prodigious musical talent. By the age of five he could read and write music, and he would entertain people with his talents on the keyboard. By the age of six he was writing his first compositions. Mozart was generally considered to be a rare musical genius, although he was also diligent in studying other great composers such as Haydn and Bach.

During his childhood, he would frequently tour various palaces around Europe playing for distinguished guests. Aged 17, he accepted a post as a court musician in Salzburg; although this did not suit him very well, the next few years were a time of prolific composition. In 1781, he moved permanently to Vienna where he stayed for the remainder of his life. In Vienna, he became well known and was often in demand as a composer and performer.

“I pay no attention whatever to anybody’s praise or blame. I simply follow my own feelings.”

– Mozart

However, despite his relative fame he struggled to manage his finances and moved between periods of poverty and prosperity. This difficulty was enhanced when, in 1786, Austria was involved in a war which led to lower demand for musicians. In 1782, he married against the wishes of his family; he had six children but only two survived infancy.

The work of Mozart is epic in scope and proportion. There were few branches of music Mozart did not touch. He composed operas, symphonies, concertos, and solo pieces for the piano. His work spanned from joyful light-hearted pieces to powerful, challenging compositions which touched the emotions. In the beginning of his career, Mozart had a powerful ability to learn and remember from the music he heard from others. He was able to incorporate the style and music of people such as Haydn and J.S. Bach. As he matured he developed his very own style and interpretations. In turn, the music of Mozart very much influenced the early Beethoven.

Mozart was brought up a Roman Catholic and remained a member of the church throughout his life.

“I know myself, and I have such a sense of religion that I shall never do anything which I would not do before the whole world.”

Some of his greatest works are religious in nature such as Ave Verum Corpus and the final Requiem.

Mozart was very productive until his untimely death in 1791, aged 35.

“I never lie down at night without reflecting that young as I am I may not live to see another day.”

In the last year of his life, he composed the opera The Magic Flute, the final piano concerto (K. 595 in B-flat), the Clarinet Concerto K. 622, a string quintet (K. 614 in E-flat), the famous motet Ave verum corpus K. 618, and the unfinished Requiem K. 626.

Citation: Pettinger, Tejvan. “Biography of Mozart”, Oxford, UK. www.biographyonline.net, 28th May 2008 Updated 3rd October 2017

Piano Sonata No. 11 in A major ("Alla Turca") K. 331 (K. 300i)

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Musical Analysis

Apart from its foreign influences, the last movement has two other interesting features. The first of these concerns its structure; the movement is a rondo but, unusually, the first theme occurs only twice (traditionally, in rondo form the first theme is presented most frequently in the piece). Therefore, the A major idea from bar 25 becomes the more important as the movement progresses, occurring three times and forming the basis of the coda. Also, Mozart extensively repeats melodic ideas within sections. For example, in bars 8-16 the same melodic idea occurs four times (the second two times transposed down a minor third), and the A major passage at bars 25-32 consists of a repeated motif, with the ending modified on the repeat to allow a perfect cadence to close the phrase. This is a recurrent feature, especially in the coda.

The form of the rondo is A-B-C-D-E-C-A-B-C-coda, with each section (except the coda) being repeated twice.

A: This section, in A minor, consists of a rising sixteenth note melody followed by a falling eighth note melody over a staccato eighth note accompaniment. It is nine measures long.

B: This section introduces new material in a melody in thirds and eighth notes before varying the A section with a cresendo before falling back to piano.

C: A forte march in octaves over an arpeggiated chord accompaniment. The key changes to A major.

D: A piano continuous sixteenth note melody over a broken chord accompaniment.

E: A forte scale-like theme followed by a modification of section D.

Coda: A forte theme consisting mostly of chords (arpeggiated and not) and octaves. There is a brief piano restatement of the theme in the middle of the coda. The movement ends with alternating A and C-sharp octaves followed by two A major chords.

It is worth noting that each movement of the sonata is based around the tonality of A. This is unusual as there is typically a change of key for the second movement to provide a necessary tonal contrast. One can only presume that Mozart considered the huge diversity of material presented in the piece to be sufficient to dispense with this need.

Bar 1-24 The opening theme consists of rising turn-figures which outline an a minor arpeggio. The use of ornamentation continues in bar 5 with grace notes helping to accent the first beat of the bar. A brief diversion to C major in bars 9-12 is short-lived, since it is followed by a return to the tonic. The repeat of the opening idea in bars 17-20 leads to a tonic cadence in a minor, following the reharmonisation of the top C in bar 20 with an Italian 6th chord. This opening section (A) is in itself a miniature ternary form. A surprising number of keys are used at this early stage; a minor, e minor (bar 5) and C major (bar 9) before a return to a minor (bar13). Bars 1-8 have a natural rhythmic accent on the first beat of the bar.

Bar 25-32 A sudden change to the tonic major starts a brash, loud passage which provides an immediate contrast to the preceding passage. The LH uses arpeggiated grace notes for percussive effect. See the background notes for the influence of Turkish music evident here.

Bar 32-56 Once again, a sudden contrast is created through a change of key (f-sharp minor), sudden reduction in dynamics, thinning of texture and bubbling semiquaver passages in the RH. The LH reverts to the texture found at the movement’s opening. In bar 38 the key changes to c-sharp minor to bring the phrase to a close; however, the music then leaps into A major for some scalic RH features that carry on the stream of semiquavers. The f-sharp minor passage returns in bars 48-56, although the second half of this is modified to keep the music in that key and closes with a perfect cadence. This is the ‘C’ section of the structure. The RH melodic cells that open this section contrast well with the a minor theme at the beginning of the movement, since their general shape is an inversion of the turns in the a minor theme. They also start in a descending series, whereas the a minor theme consists of ascending motivic cells.

Bar 56-64 Repeat of bars 24.2-32.1 (the ‘B’ section)

Bar 64-88 Repeat of bars 1-24 (the ‘A’ section)

Bar 88-96 Repeat of the ‘B’ section again, but with the RH octaves broken into pairs of octave-leaping semiquavers. This RH change adds to the percussive, brash nature of the original.

Bar 96.2-127 The coda consists of four presentations of the same A major phrase (bars 96.2-102), with subtle changes, variations in ornamentation and, in bars 109-115, a different texture in the LH accompaniment (an Alberti bass). Other than this , the LH utilises the percussive figure from the previous A major theme. The chord progression in this repeated figure is a very strong I – IV – I – V (resolving onto the tonic to start the next version of the phrase). The last six bars of the piece consist of an affirmation of the tonic A major harmony, bringing the work to a rousing and boisterous close.

"Queen of the Night" aria from "The Magic Flute" by Mozart

The Queen of the Night sings this aria to express her fury and longing for revenge (‘rache’). Mozart chose the key of D minor for this aria. It is a key often associated with tragedy, and prevalent in the Requiem that Mozart was writing, that would dominate his thoughts in the weeks following the premiere of Die Zauberflöte.

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The aria contains marked dynamic contrasts, accents land on and off the beat and the vocal line is often highly chromatic. Rather unexpectedly, after the opening bars the music suddenly moves to F major, the relative key of D minor. Gaining in confidence, the Queen scales the vocal heights. The Queen tells Pamina that if she does not kill Sarastro as the mother has asked then she will no longer be her daughter, and sings a series of repeated notes on a high C before climbing even further to several dizzying top Fs. Nothing, it seems, can stop her.

After Sarastro’s thoughtful hymnic aria ‘O Isis und Osiris’, the Queen’s virtuosity is all the more staggering. And however hollow her threats will prove – she clearly does not know her daughter’s moral strength – the aria could not make its point any clearer. The recurrent gestures, manic twists and turns and final ferocious D minor cadence place a thrillingly thunderous cloud of wrath over the proceedings.

Sources:

“Franz Joseph Haydn.” Biography.com, A&E Networks Television, 5 Jan. 2017, www.biography.com/people/franz-joseph-haydn-9332156.

“Franz Josef Haydn.” Prince Biography, www.8notes.com/biographies/haydn.asp.

Study.com, Study.com, study.com/academy/lesson/haydns-surprise-symphony-analysis.html.

https://www.biographyonline.net/music/mozart.html

https://sensq.com/blog/story-of-rondo-alla-turca-turkish-march

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