Clássico Leve

Elgar: Enigma Variations & Pomp & Circumstance Marches Nos 1-5

Variations on an Original Theme, Op. 36 "Enigma": Variation IX. Nimrod

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Elvira Madigan, byname of Piano Concerto No. 21 in C Major, K 467,  three-movement concerto for piano and orchestra by Wolfgang Amadeus Mozart, the best known of his many piano concerti. It was completed on March 9, 1785. Its wide recognition is in large part due to the Swedish film Elvira Madigan (1967), in which its lyrical second movement was featured and from which it derives its byname.

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

Mozart - The Essential Collection

Piano Concerto No. 21 in C-Major, K. 467 "Elvira Madigan": II. Allegro maestoso

Audius

Please, remember: listening without wired headphones results in the loss of quality of the sound. The use of cabled headphones or earphones preserves the richness of the sound of all orchestral sections. This is very crucial for classical music.

Andante per Violino e Orchestra n6

This piece moves gently, carrying a subtle sadness, but never sinking into despair. Its mood feels like quiet reflection — tinged with melancholy but also with warmth and dignity.
The music opens with a French horn solo, soft and resonant, its tone suggesting both distance and intimacy, like a voice calling from memory. The horn’s melodic line is simple yet noble, setting the reflective character of the work.
As the clarinet enters, it answers the horn in a lighter, more lyrical voice, bringing a hint of comfort and movement. The bassoon follows with a deeper, more grounded timbre, adding weight and gentle sorrow to the texture. Underneath, the cello provides sustained tones and subtle, pulsing rhythms — not heavy, but steady, anchoring the ensemble.
Through the middle section, the four instruments weave together in a chamber-like conversation: the horn’s phrases stretching long and noble, the clarinet offering sigh-like responses, the bassoon coloring the harmony with a touch of gravity, and the cello carrying a quiet undercurrent of resilience.
The piece gradually thins out near the close, leaving the French horn once again in solitude. The final horn solo mirrors the opening, but softer, as if the memory has faded — not with sorrow, but with acceptance.
The overall impression is of a slightly sad but tender piece, evoking reflection, farewell, or the quiet turning of a page.


Echoes of Tomorrow

This is the second of the 3 songs by Frank Bridge setting poems by Rabindranath Tagore, which I am orchestrating. 

Debussy: Prélude à l'après-midi d'un faune, CD 87a

Timothy Hutchins

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