Add to EJ Playlist  Title: Fritz Kreisler - Liebeslied From Wikipedia;Fritz Kreisler (February 2, 1875 January 29, 1962) was an Austria-born violinist and composer; one of the most famous violinists of his day. He is noted for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound, which was immediately recognizable as his own. Although he was a violinist of the Franco-Belgian school, his style is nonetheless reminiscent of the gemütlich (cozy) lifestyle of pre-war Vienna.

Add to EJ Playlist  Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14) From Wikipedia,Vocal ise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova. Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.

Add to EJ Playlist  Title: Johannes Brahms , Hungarian Dance No.6 From wikipedia, The Hungarian Dances (German: Ungarische Tänze) by Johannes Brahms (WoO 1), are a set of 21 lively dance tunes based mostly on Hungarian themes. Only numbers 11, 14 and 16 are entirely original compositions. They vary from about a minute to four minutes in length. They are among Brahms' most popular works, and were certainly the most profitable for him. Each dance has been arranged for a wide variety of instruments and ensembles. Brahms originally wrote the version for piano four-hands and later arranged the first 10 dances for solo piano. He wrote orchestral arrangements for No. 1, No. 3 and No. 10. Other composers, including Antonín Dvořák, orchestrated the other dances. The most famous Hungarian Dance is No. 5 in F♯ minor (G minor in the orchestral version).

Add to EJ Playlist  Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[cita tion needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (A-B-A), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat major. It is the familiar part of the piece, and has the left hand moving in pounding octaves. The theme is repeated up an octave with short trills that fill some of the auditory gaps in the theme. There is a brief interlude with a series of chord progressions that lead into a recount of the traditional polonaise melody, with the polonaise rhythm employed in the left-hand accompaniment. The theme of Section A then repeats once before closing. Section B opens with six loud arpeggiando chords before switching to a very soft bass ostinato of descending octaves first in the key of E major and then in D sharp major. A march-like melody follows the descending octaves and this occurs twice. Section B ends, with a long lyrical interlude firstly with harmonic chord progressions and frequent modulations. A flowing sixteenth note melody in the right hand and light accompaniment in quavers (eighth notes). This ends in a descending passage before Section A is replayed. The theme is played louder and more dramatically and ends in a coda which includes material derived from the main theme.

Add to EJ Playlist  Title :Ludwig van Beethoven,(Spri ng Sonata) Sonata for Violin and Piano no 5 in F major, Op. 24 " Spring Sonata ": 2nd movement, Adagio molto espressivo. Performer :Itzhak Perlman (Violin) From Wikipedia,The Violin Sonata No. 5 in F major, Opus 24, is a violin sonata by Ludwig van Beethoven. It is often known as the "Spring" sonata, and was published in 1801. Its dedicatee was Count Moritz von Fries, a patron[1] to whom the fourth violin sonata, the string quintet of the same year, and the seventh symphony were also dedicated. The work is in four movements: Allegro Adagio molto espressivo Scherzo: Allegro molto Rondo: Allegro ma non troppo The Scherzo and its trio are particularly brief (and as pointed out here the scherzo is canonic). Its Adagio movement is feature in the hit stage show of "Fame". The work takes approximately 23 minutes to perform.

Add to EJ Playlist  Title : Saint-Saens : The Swan From Wikipedia: Le Cygne, or The Swan, is the thirteenth movement of The Carnival of the Animals by Camille Saint-Saëns. This piece features a solo cello in tenor clef and two accompaniment pianos.The piece is in 6/4 time, with a key signature of G major. It makes use of legato and slurring, the music should flow like a swan gliding through the water. This piece is often played using much vibrato. This is the only movement from the Carnival of the Animals that the composer would allow to be played in public during his lifetime as he thought the remaining movements were too frivolous and would damage his reputation as a serious composer. The piece was written in tenor clef, although there are some arrangements in bass clef. Because the high range of the cello is displayed in this piece, the voice is often misnamed as the violin. The cello, however, has an extremely large range and can play in this register, and its tones are rounder and more mellow..

Add to EJ Playlist  Title : Franz Schubert :Standchen (Schwanengesang , D 957: no 4)

Add to EJ Playlist  Title : Pyotr Il'yich Tchaikovsky,(No ne But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart. This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic. Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.

Add to EJ Playlist  Title : Sir Edward Elgar ,Salut D'Amour ( Love Greeting ) In the Summer of 1888, Edward Elgar and Alice Roberts were heading towards marriage. Edward decided on a holiday with his long-standing friend, Dr Charles Buck of Settle, Yorkshire. As he left Worcester, Alice presented Edward with a poem she had written and entitled Love's Grace. While on holiday in Settle, Edward reciprocated by writing a short piece of music for her, which he called Liebesgruss (Love's Greeting). The work carried the dedication "To Carice", a contraction of his future wife's forenames Caroline Alice with which they subsequently christened their daughter. On his return from Settle, Elgar presented the work to his wife and proposed to her. They married at the Brompton Oratory in South Kensington, London in May the following year. Towards the end of 1888, Edward submitted three arrangements of the work - for solo piano, for violin and piano, and an orchestral arrangement - to the music publishing firm of Schott who agreed to buy the work outright for a fee of two guineas. At first, the work sold slowly. Apparently with Elgar's approval, Schott's retitled the work Salut d'Amour and gave the composer's name as Ed. Elgar, believing that the French title and a less obviously English composer would help the work gain wider international approval. It did, much to the publisher's satisfaction but with no financial benefit to Elgar. It is easy to dismiss Salut d'Amour as an insignificant trifle, salon music not deserving a wider audience. However, for the work to establish itself so forcefully in what was a fiercely competitive field says much for its charm and quality. And, as Elgar's first published work, it has a historical value, containing pointers to the skills that Elgar was to develop and display in his later works. Elgar subsequently composed a companion piece, Mot d'Amour (Liebesahnung or Love's Word). Although in many ways structurally and dramatically superior to the earlier work, it failed to capture the public affection of its predecessor and is rarely heard today.

Add to EJ Playlist  Title : Jacques Offenbach , Barcarolle , from 'The Tales of Hoffmann' From Wikipedia , Les contes d'Hoffmann (in English: The Tales of Hoffmann) is an opera by Jacques Offenbach. It was first performed in Paris, at the Opéra-Comique, on February 10, 1881. The libretto was written by Jules Barbier, based on three short stories by E.T.A. Hoffmann. E.T.A. Hoffmann himself is a character in the opera just as he often is in his stories. The stories upon which the opera is based are Der Sandmann,Rath Krespel, and Das verlorene Spiegelbild. The opera contains a prologue, three acts and an epilogue. Offenbach did not live to see his opera performed, since he died on October 5, 1880, just over four months before its premiere. Before his death, Offenbach had completed the piano score and orchestrated the prologue and the first act. Since he did not entirely finish the writing, many different versions of this opera emerged, some bearing little resemblance to the original work. The version performed at the opera's premiere was that by Ernest Guiraud, who completed Offenbach's scoring and wrote the recitatives. The Barcarolle The most famous aria from the opera is the "Barcarolle" (Belle nuit, ô nuit d'amour), which is performed in Act 2. Curiously, the aria was not written by Offenbach with Les Contes d'Hoffmann in mind. He wrote it as a ghost-song in the opera Les fées du Rhin (which premiered in Vienna on February 8, 1864 as Die Rheinnixen). Offenbach died with Les contes d'Hoffmann unfinished. Ernest Guiraud completed the scoring and wrote the recitatives for the premiere. He also incorporated this excerpt from one of Offenbach's earlier, long-forgotten operas into the new opera. The Barcarolle has been incorporated into many movies including Life Is Beautiful and Titanic.

Add to EJ Playlist  Title: Erik Satie - Gymnopédie No.1 ( Orchestra ) From Wikipedia, The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.

Add to EJ Playlist  Title : Johann Sebastian Bach, Double Violin Concerto in D minor (2nd movement, Largo Ma Non Tanto (BWV 1043) From Wikipedia , The Concerto for Two Violins in D minor (BWV 1043) is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it in Leipzig sometime between 1730 and 1731, most likely for the Leipzig Collegium Musicum, of which he was the director. It also exists in an arrangement for two harpsichords, transposed into C minor (BWV 1062). In addition to the two soloists, the concerto is scored for strings and basso continuo. The concerto is characterized by the subtle yet expressive relationship between the violins throughout the work. The musical structure of this piece uses fugal imitation and much counterpoint. The concerto comprises three movements: Vivace Largo ma non tanto Allegro

Add to EJ Playlist  Title : Pyotr Ilyich Tchaikovsky , Chinese Dance,The Nutcracker Suite. The Nutcracker Suite has become, with its sumptuous decor and its dazzling character dance numbers, the great classic of the festive season. No other scenic production succeeds as well in depicting the marvel of a childlike dream world. Everything becomes possible: toys come alive, flowers dance and princes transport girls to a happy-ever-afte r world in the clouds. The poetry is enchanting, but it is primarily Tchaikovsky's music which has helped the ballet conquer the public and stand the test of time. Moreover, the Nutcracker Suite -- the shortened orchestral version -- remains one of the most recorded works of the repertory and undoubtedly one of the most loved by the general public. Here are some reference points, the better to understand this uncontested success. A short history of Russian ballet The Russian Ballet tradition dates back to the seventeenth century. The Tsars Alexis Mikhailovich, Peter the Great and Catherine of Russia did much to encourage this artistic form. At the time, the ballet remained primarily entertainment for rich people, usually large landowners, going even so far as to make their serfs dance ballets during soirées. Christian Johansson, a Swedish dancer, arrived in St. Petersburg in 1841. His influence on the Imperial School of Ballet was immediately felt. The ballet became a fashionable art and the inhabitants of St. Petersburg quickly transformed themselves into enlightened amateurs. In spite of its decline in the West, ballet continued to occupy a significant place in Russian cultural life. Marius Petipa, a French choreographer who was very interested in the evolution of ballet in Russia, directed several troupes of professional dancers there. He was the appointed choreographer of Tchaikovsky's ballets: Swan Lake, Sleeping Beauty and The Nutcracker. Tchaikovsky and The Nutcracker Piotr Ilyich Tchaikovsky (1840-1893), an exceptional melodist and brilliant orchestrator, had an innate sense of detail. These qualities enabled him to become one of the greatest composers of ballet music the world has ever known. Before his time, ballet music was often only a collection of popular songs seasoned with an orchestral sauce. Tchaikovsky wrote, without the rigid yoke of the sonata form, a series of charming melodies that admirably expressed the intense emotions of his protagonists. Infusing his rich score with a life of its own, the Russian composer transformed the world of ballet forever. According to musicologists, Sleeping Beauty (1890) remains Tchaikovsky's masterpiece, integrating a complex use of leitmotivs that give fresh continuity to the series of character dances constituting the work. The Nutcracker, however, remains extremely popular with music lovers. Its choreography was started by Marius Petipa, who had presented to Tchaikovsky the ballet's detailed scenario, all the way down to specifying the rhythm, tempo and number of measurements for each dance. When Petipa fell seriously ill, his assistant Leon continued the work. The Nutcracker was first presented on December 18, 1892, and it left critics divided. Tchaikovsky himself had not been filled with enthusiasm at the idea of adapting E.T.A. Hoffmann's tale, contending that the subject was too dark and did not lend itself to scenic presentation. However, The Nutcracker's popularity in Russia was immediate. It was only in 1934 that Nicholas Sergeya first presented it in the West, at Sadler's Wells Theatre in England. The Russian Ballet of Monte-Carlo interpreted it for the first time in the United States in 1940, in a shortened version. In 1954, George Balanchine's choreography became the definitive version that inspired several adaptations throughout the world. With the approach of Christmas, one can count productions of The Nutcracker into the hundreds. This classic has been danced thousands of times, of course, but has also been transformed into theatrical productions, films and figure skating shows. The sales of tickets for The Nutcracker represent manna for dance companies, accounting for approximately half of their annual box office earnings. Why does this work captivate us from the start? No doubt because its charming melodies remain present in the memory for days, but also because of its textures and its perfectly controlled orchestral colours. The melodies are not played solely by strings -- instead, practically every instrument of the orchestra plays at least one small solo, contributing to a large variety of tonal shades. When Tchaikovsky combines the strings, woodwinds and brass, the sound obtained is particularly rich and voluptuous. Like Clara's magic fir tree, which does not stop growing at the end of Act I, The Nutcracker continues to fill our lives with a magic essential to this time of year. A magic which too often escapes us...

Add to EJ Playlist  Title : Richard Wagner , Ride of the Valkyries; from (The Valkyrie) From Wikipedia, The Ride of the Valkyries (German: Walkürenritt), is the popular term for the beginning of Act III of Die Walküre by Richard Wagner. The main theme of the ride, the leitmotif labelled Walkürenritt was first written down by the composer on 23 July 1851. The preliminary draft for the Ride was composed in 1854 as part of the composition of the entire opera which was fully orchestrated by the end of the first quarter of 1856. Together with the Bridal Chorus from Lohengrin, the Ride of the Valkyries is one of Wagner's best-known pieces. It stands out in part because of its references in popular culture, where it is used to represent stereotypical Grand Opera and, perhaps more, to accompany military-like exercises in film and television. In the opera-house, the Ride, which takes around eight minutes, begins in the prelude to the Act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where four of the eight Valkyrie sisters of Brünnhilde have gathered in preparation for the transportation of fallen heroes to Valhalla. As they are joined by the other four, the familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry. Apart from the song of the Rhinemaidens in Das Rheingold, it is the only ensemble piece in the first three operas of Wagner's Ring cycle. Outside the opera-house, it is usually heard in a purely instrumental version, which may be as short as three minutes.The complete opera Die Walküre was first performed on 26 June 1870 in Munich against the composer's wishes. By January of the next year, Wagner was receiving requests for the Ride to be performed separately, but wrote that such a performance should be considered "an utter indiscretion" and forbade "any such thing".However, the piece was still printed and sold in Leipzig, and Wagner subsequently wrote a complaint to the publisher Schott.[2] In the period up to the first performance of the complete Ring cycle, Wagner continued to receive requests for separate performances, his second wife Cosima noting "Unsavory letters arrive for R. requests for the Ride of the Valkyries and I don't know what else." Once the Ring had been given in Bayreuth in 1876, Wagner lifted the embargo. He himself conducted it in London on Saturday 12 May 1877, repeating it as an encore. Within the concert repertoire, the Ride of the Valkyries remains a popular encore, especially when other Wagnerian extracts feature in the scheduled programme. For example, at the BBC Proms it has been performed as such by Klaus Tennstedt and the London Philharmonic Orchestra on 6 August 1992 and also by Valery Gergiev with the Kirov Orchestra on 28 August 2001. It was also performed as part of the BBC Doctor Who Prom on July 27, 2008.

Add to EJ Playlist  Title : Felix Mendelssohn :Symphony No.4 in A, 'Italian', 1st movement Date : 1838 From Wikipedia ,The Symphony No. 4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by German composer Felix Mendelssohn. The work has its origins, like the composer's Scottish Symphony and the orchestral overture The Hebrides (Fingal's Cave), in the tour of Europe which occupied Mendelssohn from 1829 to 1831. Its inspiration is the colour and atmosphere of Italy. The Italian Symphony was completed in 1833, and was first performed in London at a Royal Philharmonic Society concert. However, Mendelssohn remained unsatisfied with the composition and even wrote an alternate version of the second, third, and fourth movements. He never published the symphony, which only appeared in print after his death. The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements: Allegro vivace Andante con moto Con moto moderato Saltarello: Presto The joyful first movement, in sonata form, is followed by an impression in D minor of a religious procession the composer witnessed in Naples. The third movement is a minuet and trio, while the final movement (which is in the minor key throughout) incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella. A typical performance lasts about half an hour.

Add to EJ Playlist  Title :Igor Stravinsky ,The Rite of Spring - Sacrificial Dance From Wikipedia,The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps (Russian: Весна священная, Vesna svjaščennaja) is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impressario Serge Diaghilev. The music is widely acknowledged as one of the greatest, most influential, and reproduced compositions in history. It is iconic for 20th century classical or avant garde European music, with innovative complex rhythmic structures, timbres, and use of dissonance. The scandal of a riot at its 1913 premier, caused by its innovative technique and content, made it one of the most internationally well known and controversial works in performance historyThe music for Le Sacre du Printemps is regarded as one of the pinnacles of human intellectual achievement. Composer and conductor Leonard Bernstein, in his Six Talks at Harvard, said of one passage, That page is sixty years old, but its never been topped for sophisticated handling of primitive rhythms, and of the work as a whole, its also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name.The Rite of Spring is a series of episodes depicting a wild pagan spring ritual: "... the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence," said Stravinsky, of the imagery that prompted the genesis of the work. Though the music is capable of standing alone, and was a great success in the concert hall, in conception it is inextricably tied to the action on stage. The Rite is divided into two parts with the following scenes (there are many different English translations of the original titles; the ones given are Stravinsky's preferred wording[citatio n needed] followed by the original French in parenthesis.

Add to EJ Playlist  Title : Pyotr Ilyich Tchaikovsky - Polonaise, from 'Eugene Onegin' From Wikipedia ,Eugene Onegin (Russian: Евгений Онегин, Yevgény Onégin is an opera ("lyrical scenes"), Opus 24, in 3 acts, 7 scenes, by Pyotr Tchaikovsky. The libretto was written by Konstantin Shilovsky and the (brother of the) composer, and is based on the novel in verse by Aleksandr Pushkin. The opera was first performed in Moscow in 1879. Eugene Onegin is a well-known example of lyric opera; the libretto very closely follows Pushkin's original, retaining much of his poetry, to which Tchaikovsky adds music of a dramatic nature. The story concerns a selfish hero who lives to regret his blasé rejection of a young woman's love and his careless incitement of a fatal duel with his best friend. There are several recordings of it, and it is regularly performed. The work's title refers to the eponymous protagonist. In May 1877, the opera singer Lavrovskaya recommended creating an opera based on the plot of Eugene Onegin to Tchaikovsky. At first this idea seemed wild to the composer, according to his memoirs, however he was soon growing excited about the idea and created the scenarios in one night before starting the composition of the music. Tchaikovsky used the original verses from Pushkin's novel and chose scenes that involved the emotional world and fortunes of his heroes, calling the opera "lyrical scenes." The opera is episodic; there is no continuous story, just selected highlights of Onegin's life. Since the original story was so well known, Tchaikovsky knew his audience could easily fill in any details that he omitted. A similar treatment is found in Puccini's La bohème. The composer had finished the opera by January 1878Tchaikovsky worried whether the public would accept his opera, which lacked traditional scene changes. He believed that its performance required maximum simplicity and sincerity. With this in mind, he entrusted the first production to the students of the Moscow Conservatory: The Moscow Premiere took place on 29 March (17 March O.S.) 1879 at the Maly Theatre in Moscow conducted Nikolai Rubinstein, with set designs by Karl Valts (Waltz). Two years later the first performance at the Bolshoy Theatre in Moscow took place on 23 January (11 January O.S.) 1881 with conductor Enrico Bevignani. The first performance outside Russia took place on 6 December 1888 in Prague conducted by Tchaikovsky himself. It was sung in Czech and translated by Marie Červinková-Rieg rová. The first performance in England took place on 17 October 1892 at the Olympic Theatre in London with Henry Wood conducting. This performance was translated into English by H. S. Edwards and sung in English. At the Metropolitan Opera in New York the US premiere was given on 24 March 1920. The opera was sung in Italian. Other notable performances included one in Hamburg conducted by Gustav Mahler on 19 January 1892.

Add to EJ Playlist  Title : Johann Strauss II , The Blue Danube Waltz Date : 1867 From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener Männergesangsve rein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!" The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion. The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs. It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody. The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent. Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated. A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key. After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer. The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.

Add to EJ Playlist  Title : Franz Liszt , Hungarian Rhapsody No. 2 Orchestra From Wikipedia Hungarian Rhapsody No. 2, S.244/2, is the second in a set of 19 Hungarian Rhapsodies by composer Franz Liszt, and is by far the most famous of the set. Few other piano solos have achieved such widespread popularity, offering the pianist the opportunity to reveal exceptional skill as a virtuoso, while providing the listener with an immediate and irresistible musical appeal. In both the original piano solo form and in the orchestrated version this composition has enjoyed widespread use in animated cartoons. Its themes have also served as the basis of several popular songsThe Hungarian-born composer and pianist Franz Liszt was strongly influenced by the music heard in his youth, particularly Hungarian gypsy music, with its unique gypsy scale, rhythmic spontaneity and direct, seductive expression. These elements would eventually play a significant role in Liszt's compositions. Although this prolific composer's works are highly varied in style, a relatively large part of his output is nationalistic in character, the Hungarian Rhapsodies being an ideal example. Composed in 1847 and dedicated to Count Laszlo Teleky, Hungarian Rhapsody No. 2 was first published as a piano solo in 1851 by Senff and Ricordi. Its immediate success and popularity on the concert stage soon led to an orchestrated version, arranged by the composer in collaboration with Franz Doppler, and published by Schuberth. In addition to the orchestral version, the composer arranged a piano duet version in 1874, published by Schuberth the following year. By the late 19th century and early 20th century, the excruciating technical challenges of the piano solo version led to its acceptance as the "unofficial standard" by which every notable pianist would "prove his salt", usually as a smashing finale. It had become an expected staple of virtually every performance of the greatest pianists of the time. Offering an outstanding contrast to the serious and dramatic lassan, the following friska holds enormous appeal for audiences, with its simple alternating tonic and dominant harmonization, its energetic, toe-tapping rhythms, and breath-taking "pianistics". Most unusual in this composition is the composer's invitation for the performer to improvise an original Cadenza, although most pianists choose to decline the invitation. A noteworthy example of such a cadenza is heard in the performance of Marc-André Hamelin. Other pianists have arranged their own versions of the Rhapsody with changes beyond that of simply adding a cadenza, most notably Vladimir Horowitz in 1953. Eventually the piano solo version of Hungarian Rhapsody No. 2 had run its course with audiences. However, it retains the dubious honor of being perhaps the most over-played composition in the entire piano concert repertoire. Nonetheless, the original piano solo remains an exciting musical experience for pianist and audience alike.The piece consists of two distinct sections.

Add to EJ Playlist  Title : Pyotr Ilyich Tchaikovsky , The Nutcracker Suite , Dance of the Reed Flutes The Nutcracker Suite has become, with its sumptuous decor and its dazzling character dance numbers, the great classic of the festive season. No other scenic production succeeds as well in depicting the marvel of a childlike dream world. Everything becomes possible: toys come alive, flowers dance and princes transport girls to a happy-ever-afte r world in the clouds. The poetry is enchanting, but it is primarily Tchaikovsky's music which has helped the ballet conquer the public and stand the test of time. Moreover, the Nutcracker Suite -- the shortened orchestral version -- remains one of the most recorded works of the repertory and undoubtedly one of the most loved by the general public. Here are some reference points, the better to understand this uncontested success. A short history of Russian ballet The Russian Ballet tradition dates back to the seventeenth century. The Tsars Alexis Mikhailovich, Peter the Great and Catherine of Russia did much to encourage this artistic form. At the time, the ballet remained primarily entertainment for rich people, usually large landowners, going even so far as to make their serfs dance ballets during soirées. Christian Johansson, a Swedish dancer, arrived in St. Petersburg in 1841. His influence on the Imperial School of Ballet was immediately felt. The ballet became a fashionable art and the inhabitants of St. Petersburg quickly transformed themselves into enlightened amateurs. In spite of its decline in the West, ballet continued to occupy a significant place in Russian cultural life. Marius Petipa, a French choreographer who was very interested in the evolution of ballet in Russia, directed several troupes of professional dancers there. He was the appointed choreographer of Tchaikovsky's ballets: Swan Lake, Sleeping Beauty and The Nutcracker. Tchaikovsky and The Nutcracker Piotr Ilyich Tchaikovsky (1840-1893), an exceptional melodist and brilliant orchestrator, had an innate sense of detail. These qualities enabled him to become one of the greatest composers of ballet music the world has ever known. Before his time, ballet music was often only a collection of popular songs seasoned with an orchestral sauce. Tchaikovsky wrote, without the rigid yoke of the sonata form, a series of charming melodies that admirably expressed the intense emotions of his protagonists. Infusing his rich score with a life of its own, the Russian composer transformed the world of ballet forever. According to musicologists, Sleeping Beauty (1890) remains Tchaikovsky's masterpiece, integrating a complex use of leitmotivs that give fresh continuity to the series of character dances constituting the work. The Nutcracker, however, remains extremely popular with music lovers. Its choreography was started by Marius Petipa, who had presented to Tchaikovsky the ballet's detailed scenario, all the way down to specifying the rhythm, tempo and number of measurements for each dance. When Petipa fell seriously ill, his assistant Leon continued the work. The Nutcracker was first presented on December 18, 1892, and it left critics divided. Tchaikovsky himself had not been filled with enthusiasm at the idea of adapting E.T.A. Hoffmann's tale, contending that the subject was too dark and did not lend itself to scenic presentation. However, The Nutcracker's popularity in Russia was immediate. It was only in 1934 that Nicholas Sergeya first presented it in the West, at Sadler's Wells Theatre in England. The Russian Ballet of Monte-Carlo interpreted it for the first time in the United States in 1940, in a shortened version. In 1954, George Balanchine's choreography became the definitive version that inspired several adaptations throughout the world. With the approach of Christmas, one can count productions of The Nutcracker into the hundreds. This classic has been danced thousands of times, of course, but has also been transformed into theatrical productions, films and figure skating shows. The sales of tickets for The Nutcracker represent manna for dance companies, accounting for approximately half of their annual box office earnings. Why does this work captivate us from the start? No doubt because its charming melodies remain present in the memory for days, but also because of its textures and its perfectly controlled orchestral colours. The melodies are not played solely by strings -- instead, practically every instrument of the orchestra plays at least one small solo, contributing to a large variety of tonal shades. When Tchaikovsky combines the strings, woodwinds and brass, the sound obtained is particularly rich and voluptuous. Like Clara's magic fir tree, which does not stop growing at the end of Act I, The Nutcracker continues to fill our lives with a magic essential to this time of year. A magic which too often escapes us...

Add to EJ Playlist  Title : George Frederic Handel , Sarabande Handel 's Sarabnande was played in the movie " Barry Lyndon "

Add to EJ Playlist  Title : Mikhail Glinka - Russian and Ludmilla (Ruslan and Lyudmila) Overture Date : 1842 From Wikipedia , Ruslan and Lyudmila (Russian: Руслан и Людмила, Ruslan i Lyudmila) is an opera in five acts (eight tableaux) composed by Mikhail Glinka between 1837 and 1842. The opera is based on the 1820 poem of the same name by Aleksandr Pushkin. The multi-authored Russian libretto was written by Valerian Shirkov, Nestor Kukolnik, and N. A. Markevich, among others. Pushkin's untimely death in the famous duel prevented him from writing the libretto himself as planned. The premiere took place in St. Petersburg on 27 November (Old Style) 1842 at the Bolshoy Theater. Four years later, the opera was given its Moscow premiere at the Bolshoy Theatre in 1846. Ruslan and Lyudmila ( Russian and Ludmilla ) Overture

Add to EJ Playlist  Title : Johann Strauss II - Die Fledermaus Overture From Wikipedia, Die Fledermaus (in English: The Bat;' in French: La Chauve-souris') is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée. The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811--1873), Das Gefängnis (The Prison). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner. The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

Add to EJ Playlist  Title : Ludwig van Beethoven , Egmont Overture

Add to EJ Playlist  Title : Wolfgang Amadeus Mozart, String Quintet No 4 in C min KV406-516b - Menuetto in canone

Add to EJ Playlist  Title : Johann Strauss II -Vienna Blood - Waltz Date : 1899.

Add to EJ Playlist  Title :Johannes Brahms -Cradle Song For Violin Date : 1868.

Add to EJ Playlist  Title :Dmitri Shostakovich - Romance (from The Gadfly)

Add to EJ Playlist  Title : Ludwig van Beethoven (1770 - 1827) , Romance for Violin and Orchestra no 2 in F major, Op. 50 Date : 1798.

Add to EJ Playlist  Title :Max Bruch , Violin Concerto No. 1 in G Minor, Op. 26 - Adagio.