Classical Era : Top 50 Picks

W.A Mozart Flute Concerto No.2 In D Major I. Allegro aperto

Antonio Salieri: Lieder

Artists: Annelie Sophie Müller (Mezzosoprano), Ilse Eerens (Soprano), Ulrich Eisenlohr (Pianoforte)

1 CD - Full Price

Order-No. 93.307
EAN 4010276026051

- A rarely seen side of Antonio Salieri
- World Premiere recordings of this rare repertoire
- Excellent interpretations by Annelie Sopie Müller, Ilse Eerens 
and Ulrich Eisenlohr

Antonio Salieri had long arrived at the height of his European fame as an opera composer when he began to deal with smaller forms of vocal music, including several collections of Scherzi armonici, canons, divertimenti vocali, as well as many duets and trios. 
This new recording is destined to come as a bit of a sensation to both aficionados and scholars in presenting an area of Salieri’s output that had previously been overlooked. But it’s the performer that elevates this recording in something much more than an academic curiosity!
Ilse Eerens, Annelie Sophie Müller and their experienced and sensitive accompanist Ulrich Eisenlohr create sparks with these magical little pieces. A must-have disc with NO competition in the marketplace.

Music:
Excerpts from: 
Divertimenti vocali: X. Ch’io mai vi possa

Divertimenti vocali: XVII. Tornate sereni

Sonetto – Il Genio degli Stati Veneti

Divertimenti vocali: XVI. Ombre amene

Ode – Deh, si piacevoli

Andenken 

Antonio Salieri: Lieder

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Napster

Piano Sonata No.12 in F-Major, K. 332: I. Allegro

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Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form.

The first movement begins darkly, not with its first theme but with accompaniment, played by the lower strings with divided violas. The technique of beginning a work with an accompaniment figure was later used by Mozart in his last piano concerto (KV. 595) and later became a favourite of the Romantics.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No.40 in G-Minor, K. 550: ‘Great’ I. Molto Allegro

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

I. Allegro con spirito

When communicating with his father Leopold, Mozart stated that this movement was to be played with fire. The movement is in sonata form with a short development section. The exposition commences with no introduction with all instruments in unison, this opening motive is quite powerful – the result of cleverly using sharp dotted rhythms to arrest the listener's attention.

The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104).

Mozart places no repeat signs at the end of the exposition. This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (No's. 31, 33 and 34).

The development begins with an A unison as a transition from A major to D minor (bars 95–104). After three beats silence, Mozart shifts from the dominant of D minor to an F♯ chord, and then begins a series of rapid chord changes, namely – F♯7 (bar 106), B (bar 109), B minor (bar 110), C♯7 (bar 110). Finally, using C♯7 as the dominant for F♯ minor, Mozart briefly delves in this key (bars 111–120) before using a string of consecutive dominant 7ths (bars 120–129) to work back to the dominant 7th of D major in preparation for the recapitulation. 

The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. This movement closes with a short four-bar coda.

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Google Play
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Napster
https://us.napster.com/artist/wolfgang-amadeus-mozart/album/mozart-the-essential-collection

Deezer
https://www.deezer.com/us/album/12179034

Spotify
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Amazon
https://www.amazon.com/Mozart-Collection-Haydn-Light-Orchestra/dp/B015NQQFHC/

Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ I. Allegro con Spirito

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SCHUBERT Nachtstück D. 672

Album release: October 2016

MOZART
The Vienna Concert, 23 March 1783
Millenium Orchestra, Jodie Devos, Sebastian Wienand, Leonardo García Alarcón

MOZART // Die Zauberflöte, K. 620: Ouverture

The “Waldstein Sonata” is one of Beethoven's most famous sonatas, and is an excellent example of one of his more Romantic sonatas. Its first movement is a sonata in somewhat standard sonata form; however, Beethoven modulates to the mediant when moving from theme I to theme II, which is not a typical key relation in a classical sonata. The development involves repeated instances of various themes from the exposition set over myriad modulations throughout various obscure keys.
	The second movement is an extremely slow introduction to the third movement. Its slow speed is not calm, but rather tense. The tension increases slowly throughout the piece, reaching a strong climax and then leading the listener to a suspenseful transition into the third movement. Most of the material of the piece is built on a simple dotted rhythm with a rising interval.
	The final movement of the Waldstein sonata is a long journey from a large variety of emotions, from dark and blisteringly fast, to soft and quiet. This is perhaps the most romantic of the movements of the sonata, with many blurred harmonies due to long pedal markings, dramatic moments, and extreme emotions. It achieves a sort of transcendental feeling found in compositions of the Romantic periods with its long pedal markings, shimmering textures, and its slow harmonic rhythm. These characteristics foreshadow elements of Beethoven's later sonatas where he capitalized on slow harmonic rhythm and muddied textures that seem to lose any melodic content.

This is from my senior recital on December 2, 2012.

Classical Era : Top 50 Picks

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