BACH Cello Suites

The six Cello Suites, BWV 1007 to 1012, are suites for unaccompanied cello by Johann Sebastian Bach. They are some of the most frequently performed and recognizable solo compositions ever written for cello. Bach most likely composed them during the period 1717–23, when he served as a Kapellmeister in Köthen. The title of the Anna Magdalena Bach manuscript was Suites á Violoncello Solo senza Basso (Suites for cello solo without bass). WIKIPEDIA Suite No. 5 was originally written in scordatura with the A-string tuned down to G, but nowadays a version for standard tuning is included in almost every edition of the suites along with the original version. Some chords must be simplified when playing with standard tuning, but some melodic lines become easier as well. The Prelude is written in an A–B form, and is a French overture. It begins with a slow, emotional movement that explores the deep range of the cello. After that comes a fast and very demanding single-line fugue that leads to the powerful end. This suite is most famous for its intimate Sarabande, which is the second of only four movements in all six suites that doesn't contain any chords. Rostropovich describes it as the essence of Bach's genius; Tortelier views it as an extension of silence. Yo-Yo Ma played this movement on September 11, 2002 at the site of the World Trade Center, while the first of the names of the dead were read in remembrance on the first anniversary of the attack. The fifth suite is also exceptional as its Courante and Gigue are in the French style, rather than the Italian form of the other five suites. An autograph manuscript of Bach's lute version of this suite exists as BWV 995. VIDEO: Mischa Maisky - Bach - Cello Suite No 5 in C minor, BWV 1011

Offenbach "La belle Hélène" Overture

La belle Hélène (French pronunciation: ​[la bɛl elɛn], The Beautiful Helen), is an opéra bouffe in three acts by Jacques Offenbach to an original French libretto by Henri Meilhac and Ludovic Halévy. The operetta parodies the story of Helen's elopement with Paris, which set off the Trojan War. It was first performed at Paris's Théâtre des Variétés on December 17, 1864, starring Hortense Schneider and José Dupuis. While some experts (cf Grove) are of the opinion that the creation of La belle Hélène was a "largely untroubled" affair, others (cf Jacob) paint a different picture: Although Offenbach had managed at great cost to persuade Schneider, known by then as "La Snédèr", to accept the role of Helen, the premiere remained in doubt to the very last minute. During rehearsals, La Snédèr constantly complained that the extravagant Léa Silly (in a male role as Oreste) was trying to upstage her: La Silly extemporized (a privilege reserved for the prima donna); she imitated her; she danced a cancan in her back while she was singing an important aria, etc. etc. La Snédèr not only walked off the set repeatedly, but kept threatening to leave the world, or at least Paris, altogether! It took all of Offenbach's skills at creating harmony to see the production through. WIKIPEDIA
La belle Hélène was an instant success with both the public and the critics and enjoyed an initial run of 700 performances. Premieres in Vienna (1865), Berlin (1865), London (1866), and Chicago (1867) followed shortly. It also had a run in New York City at the Grand Opera House beginning on April 13, 1871. It had its Czech premiere in Prague in 1875, under Adolf Čech.

VIDEO: Overture to La belle Hélène The beautiful Helena Die schöne Helena by Jacques Offenbach (1819-1880) Vienna State Opera Orchestra 

Berlioz Beatrice et Benedict overture

 Béatrice et Bénédict (Beatrice and Benedick) is an opéra comique in two acts by Hector Berlioz. Berlioz wrote the French libretto himself, based closely on Shakespeare's Much Ado About Nothing. Berlioz had been interested in setting Shakespeare's comedy since his return from Italy in 1833, but only composed the score of Béatrice et Bénédict following the completion of Les Troyens in 1858. It was first performed at the Theater der Stadt, Baden-Baden on 9 August 1862. Berlioz conducted the first two performances of a German version in Weimar in 1863, where, as he wrote in his memoirs, he was "overwhelmed by all sorts of kind attention." It is the first notable version of Shakespeare's play in operatic form, and was followed by works by among others Árpád Doppler, Paul Puget and Reynaldo Hahn. Berlioz biographer David Cairns has written "Listening to the score's exuberant gaiety, only momentarily touched by sadness, one would never guess that its composer was in pain when he wrote it and impatient for death". WIKIPEDIA

 VIDEO: Academy of St. Martin in the Fields, Sir Neville Marriner conducting. Overture to "Beatrice et Benedict," Berlioz. Carnegie Hall 1994. 

Bach - Brandenburg Concerto No. 6 in B-flat major BWV 1051

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt,[2] in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. In the Brandenburg Concerto No. 6 in B-flat major BWV 1051 the absence of violins is unusual. Viola da braccio means the normal viola, and is used here to distinguish it from the "viola da gamba". When the work was written in 1721, the viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopold, also points to a likely reason for the concerto's composition—Leopold wished to join his Kapellmeister playing music.
 VIDEO: Herbert Blendinger, viola Ingo Sinnhofer, viola Oswald Uhl, viola da gamba Hans Dieter Kruse, viola da gamba Peter Steiner, cello Franz Ortner, double bass Karl Richter, Münchener Bach Orchester
 

Bach: Brandenburg Concerto No. 5 in D major, BWV 1050

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. The harpsichord is both a concertino and a ripieno instrument: in the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on its own for the middle movement. It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Köthen court.WIKIPEDIA

VIDEO: From the "Spiegelsaal" Castle Cöthen (Schloß Köthen) Freiburger Barockorchester
 

Bach: Brandenburg Concerto No. 4 in G major, BWV 1049

The fourth Brandenburg Concerto is scored for violin, two flutes, strings, and continuo. The Fourth Brandenburg Concerto is unique in that it is the only of the six in which all instruments are used in all movements. Composition 1719–20 First Publication 1851 - Leipzig: C.F. Peters The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. VIDEO: Soloists / Solisten: Gottfried von der Goltz: violin / Violine / violon Isabel Crijnen & Thera de Clerck: recorder / Blockflöte / flûte à bec Recorded at the Hall of Mirrors, Palace of Cöthen, 23-26 March 2000

Bach: Brandenburg Concerto No. 3 in G major, BWV 1048

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. No. 3 in G major, BWV 1048
  VIDEO: From the "Spiegelsaal" Castle Cöthen (Schloß Köthen) Freiburger Barockorchester 

Bach: Brandenburg Concerto No. 2 in F major, BWV 1047

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. No. 2 in F major, BWV 1047 The trumpet part is still considered one of the most difficult in the entire repertoire, and was originally written for a clarino specialist, almost certainly the court trumpeter in Köthen, Johann Ludwig Schreiber. After clarino skills were lost in the eighteenth century and before the rise of the historically informed performance movement of the late twentieth century, the part was usually played on the valved trumpet. VIDEO: From the "Spiegelsaal" Castle Cöthen (Schloß Köthen) Freiburger Barockorchester Recorded at the Hall of Mirrors, Palace of Cöthen, 23-26 March 2000 Directed by Hans Hadulla,

J.S. Bach - Brandenburg Concerto No. 1 in F major BWV 1046

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. Bach's dedication to the Margrave was dated 24 March 1721. Most likely, Bach composed the concertos over several years while Kapellmeister at Köthen, and possibly extending back to his employment at Weimar (1708–17). This concerto No. 1 in F major BWV 1046, is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a), which does not use the violino piccolo, may have been used for the opening of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208, which was first performed in 1713. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet – Trio I – Menuet – Trio II – Menuet. The first movement can also be found as the sinfonia of a later cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of the cantata Vereinigte Zwietracht der wechselnden Saiten, BWV 207. VIDEO: Pinchas Zukerman Members of the Los Angeles Philharmonic Orchestra

FINZI Five Bagatelles Op 15

Finzi discussed publication of the Bagatelles with Leslie Boosey (co-founder of Boosey & Hawkes) the latter wanted to print them separately; however, the composer stuck to his belief that they should be published together, and won the argument, albeit with the compromise that he would add a fast additional movement, following comments after the premiere that a quick finale was needed. When published in July 1945 the Five Bagatelles rapidly became Finzi’s most popular work, the initial print run selling-out within a year. However, their success vexed Finzi – ‘they are only trifles’ – he complained, and ‘not worth much, but got better notices than my decent stuff’. Firmly within the capabilities of amateur musicians and students, though, they have remained a staple part of the clarinet repertoire and ‘set pieces’ for examination boards.

 

 Gerald Finzi - Five Bagatelles for Clarinet and Piano
 

RESPIGHI Brazilian Impressions

Ottorino Respighi was born in Bologna, Italy. He was taught piano and violin by his father, who was a local piano teacher. He went on to study violin and viola with Federico Sarti at the Liceo Musicale in Bologna, composition with Giuseppe Martucci, and historical studies with Luigi Torchi, a scholar of early music. A year after receiving his diploma in violin in 1899, Respighi went to Russia to be principal violist in the orchestra of the Russian Imperial Theatre in Saint Petersburg during its season of Italian opera. While there he studied composition for five months with Rimsky-Korsakov. A visit to Brazil resulted in the composition Impressioni brasiliane (Brazilian Impressions). He had intended to write a sequence of five pieces, but by 1928 he had completed only three, and decided to present what he had. Its first performance was in 1928 in Rio de Janeiro. The first piece, "Tropical Night", is a nocturne with fragments of dance rhythms suggested by the sensuous textures. The second piece is a sinister picture of a snake research institute, Instituto Butantan, that Respighi visited in São Paulo, with hints of birdsong (as in Pines of Rome). The final movement is a vigorous and colorful Brazilian dance.

                                    

VIDEO:Ottorino Respighi Brazilian Impressions 1. Tropical Night 2. Butantan 3. Song and Dance Antal Dorati and The London Symphony Orchestra 1957
 

Respighi, The Birds (Gli Uccelli)

The Birds (Italian: Gli uccelli) is a suite for small orchestra by the Italian composer Ottorino Respighi. Dating from 1928, the work is based on music from the 17th-century and represents an attempt to transcribe birdsong into musical notation, and illustrate bird actions, such as fluttering wings, or scratching feet. The work is in five movements: "Prelude" (based on the music of Bernardo Pasquini) "La colomba" ("The dove"; based on the music of Jacques de Gallot) "La gallina" ("The hen"; based on the music of Jean-Philippe Rameau) "L'usignuolo" ("The nightingale"; based on the folksong "Engels Nachtegaeltje" transcribed by recorder virtuoso Jacob van Eyck) "Il cucù" ("The cuckoo"; based on the music of Pasquini) The suite was used for the ballet of the same name, with choreography by Cia Fornaroli, first performed at Sanremo Casinò Municipale on 19 February 1933; with choreography by Margarita Walmann at the Colòn Theatre, Buenos Aires, on 27 February 1940; and by Robert Helpmann, with design by Chiang Yee, by the Sadler's Wells Ballet at the New Theatre, London on 24 November 1942.

                                                    WIKIPEDIA              

VIDEO: The Atlanta Symphony Orchestra performs under Louis Lane. 

Sibelius The Bard - Symphonic Poem, Op64

The Bard, Op. 64, is a brief tone poem for orchestra composed in 1913 by Finnish composer Jean Sibelius. It was first performed in Helsinki on 27 March 1913 by the Philharmonic Society Orchestra, conducted by the composer himself, but he revised it in 1914. The new version was first performed in Helsinki on 9 January 1916, again under the baton of the composer. It was premiered in England in a broadcast conducted by Adrian Boult in 1935. The first public performance was given by Sir Thomas Beecham in 1938. The tone poem itself provides a profound, yet cryptic glimpse of an elegiac, poetic world: an initial, harp-led stillness and reflection are succeeded by elemental, eruptive surges and, finally, a sense of renunciation or maybe death.

                                           WIKIPEDIA                                                     

VIDEO: Jean Sibelius Barden [The Bard] symphonic poem Op 64 Paavo Berglund Finnish RSO 

Rachmaninov, The Bells Symphony Op 35

The Bells (Russian: Колокола, Kolokola), Op. 35, is a choral symphony by Sergei Rachmaninoff, written in 1913. The words are from the poem The Bells by Edgar Allan Poe, very freely translated into Russian by the symbolist poet Konstantin Balmont. The traditional Gregorian melody Dies Irae is used frequently throughout the work. It was one of Rachmaninoff's two favorite compositions, along with his All-Night Vigil, and is considered by some to be his secular choral masterpiece. Rachmaninoff called the work both a choral symphony and (unofficially) his Third Symphony shortly after writing it; however, he would later write a purely instrumental Third Symphony during his years in exile. Rachmaninoff dedicated The Bells to Dutch conductor Willem Mengelberg and the Concertgebouw Orchestra

              WIKIPEDIA            

VIDEO: Boston University Symphony Orchestra Symphony Hall Concert April 2, 2012 

FAURE Barcarolles

Gabriel Urbain Fauré (French: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes and barcarolles. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

  WIKIPEDIA

 The title barcarolles implies no specific form. From the French meaning "trifle," it ... Other composers who wrote barcarolles for piano are Faure, Anton Rubinstein, Balakirev, Glazunov, and MacDowell

The Brandenburg Concertos by Johann Sebastian Bach

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on its own for the middle movement. It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Köthen court. It is also thought that Bach wrote it for a competition at Dresden with the French composer and organist Louis Marchand; in the central movement, Bach uses one of Marchand's themes. Marchand fled before the competition could take place, apparently scared off in the face of Bach's great reputation for virtuosity and improvisation. WIKIPEDIA



 VIDEO: Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 (Freiburger Barockorchester) 

Berceuse by Faure

Faure 'Berceuse', Op 16

A Lullabye originally a berceuse for violin and piano composed in 1880.

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Gabriel Urbain Fauré (pronounced: "4-A")

(12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th century composers. Wikipedia | Search Amazon.com for Faure