Classics

I've never been able to find much information on this beautiful aria by G F Handel. It was originally written for soprano voice, oboe and harpsichord, and even though it doesn't appear in an opera it retains the Italian operatic style of which Handel was a master. I love the counterpoint between the two melodic parts so I have arranged this version for two clarinets.

davemckeown.co.uk

Meine Seele hört im Sehen, G.F. Händel, Dave McKeown

Mozart : Violin Concerto No. 3 in G major, K. 216
(I. Allegro)

Kumiko _____, violin
Pierre Feraux, piano

(Rec. 6 May 2015, "Studio Primo", Andenne/BE)


Mozart - Violin Concerto No. 3 In G Major, K. 216 (Kumiko)

Questa mia musica ha la capacità di catapultarmi nel fantastico mondo della fantasia, facendomi così distrarre un pò dalla bruttezza di questa vita piena di male, dove i bambini, invece di morire sotto le bombe, possono gioire e vivere la loro vita sotto un cielo pieno di sole e stelle, dove erba e fiori fungono da tappeto per i loro giochi. Buon ascolto! 


This song has the ability to catapult me into the fantastic world of fantasy, thus making me distract myself a little from the ugliness of this life full of evil, where children, instead of dying under bombs, can rejoice and live their lives under a sky full of sun and stars, where grass and flowers act as a carpet for their games. Happy listening! 

A FANTASY WORLD

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Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon in an early arrangement for piano.

The four movements are arranged in the traditional symphonic form of the Classical era:

Allegro vivace, 4/4
Andante cantabile, 3/4 in F major
Menuetto: Allegretto - Trio, 3/4
Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

Finally, a remarkable characteristic of this symphony is the five-voice fugato (representing the five major themes) at the end of the fourth movement. But there are fugal sections throughout the movement either by developing one specific theme or by combining two or more themes together, as seen in the interplay between the woodwinds. 

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

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No. 41 in C-Major, K. 551: ‘Jupiter’ IV. Molto 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

The minuet begins with an angry, cross-accented hemiola rhythm and a pair of three-bar phrases; various commentators have asserted that while the music is labeled "minuet," it would hardly be suitable for dancing. The contrasting gentle trio section, in G major, alternates the playing of the string section with that of the winds.

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

Symphony No.40 in G-Minor, K. 550:  ‘Great’  III. Menuetto, Allegretto

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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.

III. Menuetto

The D major minuet provides a bright change of atmosphere from the previous slow, serious "Andante" movement. One may notice when listening to this movement the constant tug between two main chords – the tonic and dominant keys. Only three times do we see chords other than the tonic or dominant.

Also notable is that the dynamics for the whole "Menuetto" is marked forte. However, in both instances where chord IV and vi appear, Mozart marked these sections piano. These changes produce a pleasant contrast, both melodically and dynamically.

Leading straight on from the "Menuetto", the "Trio" provides a complement to the character of this "Menuetto". As indicated by Mozart in the score, the "Trio" immediately follows the "Menuetto" without a moment of silence. Stepping up into the key of A major, it soon becomes apparent that the "Trio" is also in Ternary form, like the "Menuetto". 

One may note the fact that no sections of the "Trio" are marked as forte. All is marked as piano, with the exception of bars 33–36, and 43–44, where Mozart has indicated a small crescendo. Perhaps to supplement the fact of any clear contrast in dynamics, Mozart has freely used sforzandos throughout the "Trio". 

The same type of suspense and resolution is present in the "Trio" as that found in the "Menuetto". In fact, Mozart takes a step further in the "Trio" by adding a pedal note on the dominant. This dominant pedal then subtly slips back into the tonic by means of a chromatic B sharp. 

When comparing the character of the "Menuetto" with that of the "Trio", a number of individual "personalities" are apparent. The "Menuetto" is brighter and lighter; whereas the "Trio" creates a more flowing effect. Also notable is that Mozart used chromaticism freely in the "Trio", but limited its use within the "Menuetto".

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

Symphony No.35 in D-Major, K. 385: ‘Haffner’ III. Menuetto

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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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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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The Ocean

#824: Mar. 18, 2016: The moon and the sun.. Today's pure piano music here.. Happy if you would love this tune.. : )
Regards,
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The Moon And The Sun  - #824

Eine Kleine Nachtmusik
------------------------------
Composer: W.A.Mozart

Rhetoric Orchestra

Conductor: Reza Marivand

Violin :
Farbod Latifi
Masoud Norouzi
Bita Dinbali
Amir reza Alizade
Matin Norouzi
Sina Eftekhari Nia
Farahnaz Barzmehri
Paria Khadem
Marjan Zeid Abadi
Arash Rezaei
Hanie Babarabi
Arefe Mohamadalizade
Bardia Darvish
Paria Ghaderi
Mehdi Sedigh Sharif

Viola:
Soheil Bahman
Jafar Rostami
Mehdi Neshat
Roozbeh Hojatpanah

Cello:
Elmira Rahmani
Mohsen Tahunian
Mahrokh Sharifzade

Contrabass: Amin Shokoohi

Eine Kleine Nachtmusik

J. S. Bach: Partita No. 2  I, II

Violin: Ainhoa Galvany
Piano: Theofilos Lamprianidis

Recorded at the Fentener van Vlissingenzaal
Recording: NanoGrammophon

June 2013
Utrecht

PABLO DE SARASATE - Caprice Basque for violin and piano, Op.24

Solo Violin: Ainhoa Galvany
Violins: Laura Torcal & Raquel Paleo
Viola: Isa Juarez
Cello: Queralt Garcia
Harpsichord: Ilil Danin

Recorded at the Fentener van Vlissingenzaal
Recording: NanoGrammophon

June2013
Utrecht

J. S. BACH - Violin Concerto in D minor BWV 1052. IIl. Allegro

Wolfgang Amadeus Mozart - 1756–1791
is unarguably one of the most prolific and notable classical composers of all time. A child prodigy, Mozart was already proficient on the keyboard and violin by the age of five, composing remarkable works and performing before European royalty. At just 17 years old, he was engaged as a musician at the Salzburg court but, driven by ambition and a restless spirit, he embarked on travels to seek better opportunities.

In 1781, while visiting Vienna, Mozart’s dismissal from his Salzburg post marked a turning point in his life. He chose to remain in the imperial capital, where he gained widespread fame but struggled to achieve lasting financial stability. It was during his final years in Vienna that Mozart created many of his most celebrated works, including symphonies, concertos, operas, and the unfinished Requiem.

Over the course of his short but extraordinary life, Mozart composed more than 600 works, spanning symphonic, concertante, chamber, operatic, and choral genres. These masterpieces are recognized as pinnacles of Western art music and continue to inspire audiences and musicians alike. His enduring influence on classical music is profound, solidifying his legacy as one of history’s greatest composers.

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

Mozart

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