As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. Get bonus content on Patreon

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Schubert String Quintet, D. 956

The String Quintet in C major, D. 956 - and often referred to as Op. posth. 163- was Franz Schubert's final chamber work. It is a cello quintet, in the sense that it is scored for a standard string quartet lineup plus an additional cello -with the viola being by far the most common choice. The work has been described as a chamber music masterpiece, and since its public performance in 1850 and its publication in 1853, it has gained status as one of Schubert's finest works. Get bonus content on Patreon

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Johann Sebastian Bach wrote his Partita in D minor for solo violin, BWV 1004, from the year 1717 to 1723. It has been suggested that this partita, and especially its last movement, was conceived as a tombeau in memory of Bach's first wife Maria Barbara Bach (who died in 1720). The partita contains five movements, given in Italian as: Allemanda, Corrente, Sarabanda, Giga and Caccona. Get bonus content on Patreon

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Storms have also been portrayed in many works of music. Examples of storm music include Vivaldi's Four Seasons violin concerto RV 315 (Summer) (third movement: Presto), Beethoven's Pastoral Symphony (the fourth movement), a scene in Act II of Rossini's opera The Barber of Seville, the third act of Giuseppe Verdi's Rigoletto, and the fifth (Cloudburst) movement of Ferde Grofé's Grand Canyon Suite. #ourtownlive.net #herbw79 Get bonus content on Patreon

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George Gershwin was an American composer, pianist and painter whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue and An American in Paris, the songs "Swanee" and "Fascinating Rhythm", the jazz standard "I Got Rhythm", and the opera Porgy and Bess, which gave birth to the hit "Summertime".Wikipedia
Born:
Jacob Bruskin Gershowitz, September 26, 1898, Brooklyn, New York City, U.S.
Died:
July 11, 1937, Los Angeles, California, U.S.
Resting place:
Westchester Hills Cemetery Get bonus content on Patreon

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Sergey Rachmaninov was the last, great representative of the Russian Romantic tradition as a composer, but was also a widely and highly celebrated pianist of his time. His piano concertos, the Rhapsody on a Theme of Paganini, and his preludes famously test pianists' skills. His Symphony No. 2, the tone poem Isle of the Dead, and his Cello Sonata are also notable. The passionate melodies and rich harmonies of his music have been called the perfect accompaniment for love scenes, but in a greater sense they explore a range of emotions with intense and compelling expression.

Sergey Vasilyevich Rachmaninov, born in Semyonovo, Russia, on April 1, 1873, came from a music-loving, land-owning family; young Sergey's mother fostered the boy's innate talent by giving him his first piano lessons. After a decline in the family fortunes, the Rachmaninovs moved to St. Petersburg, where Sergey studied with Vladimir Delyansky at the Conservatory. As his star continued to rise, Sergey went to the Moscow Conservatory, where he received a sound musical training: piano lessons from the strict disciplinarian Nikolay Zverev and Alexander Siloti (Rachmaninov's cousin), counterpoint with Taneyev, and harmony with Arensky. During his time at the Conservatory, Rachmaninov boarded with Zverev, whose weekly musical Sundays provided the young musician the valuable opportunity to make important contacts and to hear a wide variety of music. Get bonus content on Patreon

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The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. They were written around 1716–1717 and published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).

The Four Seasons is the best known of Vivaldi's works. Though three of the concerti are wholly original, the first, "Spring", borrows patterns from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.

They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.

Unusual for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections. Get bonus content on Patreon

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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, and sometimes on a modern F trumpet, a French horn, or even a B♭ piccolo trumpet.

The clarino does not play in the second movement, as is common practice in baroque era concerti. This is due to its construction, which allows it to play only in major keys. Because concerti often move to a minor key in the second movement, concerti that include the instrument in their first movement and are from the period before the valved trumpet was commonly used usually exclude the trumpet from the second movement.

The first movement of this concerto was chosen as the first musical piece to be played on the Voyager Golden Record, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes. The first movement served as a theme for Great Performances in the early-to-mid 1980s, while the third movement served as the theme for William F. Buckley Jr.'s Firing Line; a revival featuring Margaret Hoover would also use the first movement.

Recent research has revealed that this concerto is based on a lost chamber music version for quintet called "Concerto da camera in Fa Maggiore" (Chamber Concerto in F major): catalogue number is BWV 1047R. It's similar to the orchestra version, in that the trumpet, flute, oboe and solo violin parts are the same, but the orchestra part has been arranged for basso continuo (or piano) by Klaus Hofmann. This reconstructed quintet arrangement is also the very first piano reduction of the 2nd Brandenburg Concerto ever published by Bärenreiter Verlag (Product Number BA 5196). Get bonus content on Patreon

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The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.

Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians." Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.

The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.

As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history. Get bonus content on Patreon

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time you talk with your kids about the sea and the underwater world, add some music to your story – play them “The Aquarium – Carnival of the Animals“The Aquarium – Carnival of the Animals” by Camille Saint-SaënsC. If they like it and want more, let them listen “Hens and Roosters”, “Royal March of the Lion”, “Kangaroos”, “The Elephant”… Tell them that they can even hear how different spring, summer, fall and winter sound on a violin. Get bonus content on Patreon

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Grieg (1843-1907) was one of the definitive leaders of Scandinavian music and his influence was great. Although composing many short piano pieces and chamber works, the work Grieg did for Henrik Ibsen stood out. Originally composing 90 minutes of orchestral music for the play, he later went back and extracted certain sections for the suites. Peer Gynt's travels around the world and distant lands are represented by the instruments Grieg chooses to use.

When Ibsen asked Grieg to write music for the play in 1874, he reluctantly agreed. However, it was much more difficult for Grieg than he imagined. "Peer Gynt progresses slowly," he wrote to a friend in August 1874, “and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.”


Letter from Henrik Ibsen to Grieg, January 23, 1874.
"The more he saturated his mind with the powerful poem, the more clearly he saw that he was the right man for a work of such witchery and so permeated with the Norwegian spirit," his wife wrote of him and his music. Even though the premiere was a "triumphant success", it prompted Grieg to complain bitterly that the Swedish management of the theatre had given him specifications as to the duration of each number and its order: "I was thus compelled to do patchwork... In no case had I opportunity to write as I wanted... Hence the brevity of the pieces," he said.
For many years, the suites were the only parts of the music that were available, as the original score was not published until 1908, one year after Grieg's death, by Johan Halvorsen.
classical music ,classical music news ,classicalmusicworldusic youtube ,classical music composers ,classical music radio ,music history ,classicalmusic lover ,classicalmusicblog ,classical music downloads ,classical music concerts ,classical music for babies ,classical music for studying ,classical music for kids ,classical music online ,classical music of the united kingdom ,australian classical music ,classical period (music) ,italian classical music ,music of ireland ,classical music mp3 ,classical music symphonies operas and ballets ,classical baby music show ,what is classical music ,modern classical music ,best classical music ,1905 regina music box: classical overture ,classic music or classical music ,the best of classical music ,greatest russian classical music ,chopin relaxing classical music ,contemporary classical music Get bonus content on Patreon

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Yehudi Menuhin was born in New York City to a family of Lithuanian Jews. Through his father Moshe, he was descended from a distinguished rabbinical dynasty.[1] In late 1919, Moshe and his wife Marutha (née Sher) became American citizens, and changed the family name from Mnuchin to Menuhin.[2] Menuhin's sisters were concert pianist and human rights activist Hephzibah, and pianist, painter and poet Yaltah.

Menuhin's first violin instruction was at age four by Sigmund Anker (1891–1958); his parents had wanted Louis Persinger to teach him, but Persinger refused. Menuhin displayed exceptional musical talent at an early age. His first public appearance, when he was seven years old, was as solo violinist with the San Francisco Symphony Orchestra in 1923. Persinger then agreed to teach him and accompanied him on the piano for his first few solo recordings in 1928–29. Get bonus content on Patreon

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Frédéric François Chopin, born Fryderyk Franciszek Chopin (1 March 1810 – 17 October 1849), was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation."

Chopin was born in Żelazowa Wola in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter – in the last 18 years of his life – he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries, including Robert Schumann.


After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.

All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument, his own performances noted for their nuance and sensitivity. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzos, preludes and sonatas, some published only posthumously.
Among the influences on his style of composition were Polish folk music, the classical tradition of J. S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.

Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Parliament of Poland to research and promote his life and works. It hosts the International Chopin Piano Competition, a prestigious competition devoted entirely to his works. Get bonus content on Patreon

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A Certain Smile - A Teenager's Romance
Among My Soveniers- Anytime Anywhere
April Love - At The Hop
Baby Talk - Bad Motorcycle
Bananna Boat Song - Be My Guest
Beep Beep - Beyond The Sea
Bill Naley and The Comets
Blue Suede Shoes - Blue Berry Hill
Bobby Darin - Bonie Maronie
Book Of Love - Born Too Late
Bossa Nova Cassanoves - Party Doll Get bonus content on Patreon

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George Gershwin (/ˈɡɜːrʃ.wɪn/; born Jacob Bruskin Gershowitz, September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs Swanee (1919) and Fascinating Rhythm (1924), the jazz standard I Got Rhythm (1930), and the opera Porgy and Bess (1935) which spawned the hit Summertime.

Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.

Gershwin moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor. His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations. Get bonus content on Patreon

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Johan Halvorsen composed his Passacaglia for Violin and Viola in 1893. It is based on Passacaille (no. 6) from the Suite in G minor, HWV 432, by George Frideric Hande Get bonus content on Patreon

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The Piano Concerto No. 2 in C minor, Op. 18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on 9 November 1901, with his cousin Alexander Siloti conducting. This piece is one of Rachmaninoff's most enduringly popular pieces, and established his fame as a concerto composer. Get bonus content on Patreon

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The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes #Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures, and Piano Concerto No. 2. The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 30 and 40 minutes.Wikipedia Get bonus content on Patreon

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Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher, impresario, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, Vivaldi is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe, being paramount in the development of Johann Sebastian Bach's instrumental music. He composed many instrumental concertos, for the violin and a variety of other musical instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.

Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 18 months and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died in poverty less than a year later.

After almost two centuries of decline, Vivaldi's music underwent a revival in the early 20th century, with much scholarly research devoted to his work. Many of Vivaldi's compositions, once thought lost, have been rediscovered - in one case as recently as 2006. His music remains widely popular in the present day and is regularly played all over the world. Get bonus content on Patreon

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Bach begins his epic journey through all the keys in C major for the first Prelude and Fugue. He then moves to C minor for the second then chromatically upwards to C sharp major for the fourth and C sharp minor for the fifth and so on. The importance of these works cannot be overstated. They not only offer every aspiring pianist the opportunity to immerse themselves in the world and style of Bach but also to develop their polyphonic technique in playing fugues of three and four voices. One key consideration Tovey makes in his editorial notes to the ABRSM collection is that “Bach writes very accurately what is to be played but, he leaves the performer free as to how it is played.” Taking the time to understand the time in which these works were composed is also crucial regarding any decision in how they are played. Ensuring the clarity of Bach’s part-writing is paramount as is being able to mark the climatic moments in each piece. Bach could not have known how the piano of today would sound and this needs thought when approaching these works.

There are many subtle differences in how these pieces would sound between these instruments, but what can be agreed is the ingenuity and skill with which Bach composed these works regardless of the instrument on which they are performed. In a way, it is all the more remarkable, as the compositions are perfectly convincing on modern instruments and do not detract from the genius of the work. Get bonus content on Patreon

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The William Tell Overture was written to open an opera by Gioachino Rossini. The opera is based on a legend about the Swiss hero William Tell. According to the legend, William Tell was an expert with a bow and arrow who shot an apple off his son's head.

Gioachino Antonio Rossin (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.

Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Get bonus content on Patreon

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"The Blue Danube" is the common English title of "An der schönen, blauen Donau", Op. 314, a waltz by the Austrian composer Johann Strauss II, composed in 1866. Get bonus content on Patreon

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The Goldberg Variations, BWV. 988, are a set of 30 variations for harpsichord by Johann Sebastian Bach. First published in 1741 as the fourth in a series Bach called Clavier-Übung, "keyboard practice", the work is considered to be one of the most important examples of variation form. It is named after Johann Gottlieb Goldberg, who may have been the first performer. Get bonus content on Patreon

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A string orchestra is an orchestra consisting solely of a string section made up of the bowed strings used in Western Classical music. The instruments of such an orchestra are most often the following: the violin, which is divided into first and second violin players (each usually playing different parts), the viola, the cello, and usually, but not always, the double bass.

String orchestras can be of chamber orchestra size ranging from between 12 (4 first violins, 3 second violins, 2 violas, 2 cellos and 1 bass = 12) and 21 musicians (6 first violins, 5 second violins, 4 violas, 4 cellos and 2 double basses= 21) sometimes performing without a conductor. It could also consist of the entire string section of a large symphony orchestra which could have 60 musicians (16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double basses = 6 Get bonus content on Patreon

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The Well-Tempered Clavier (Das Wohltemperierte Klavier), BWV 846–893, is a collection of solo keyboard music composed by Johann Sebastian Bach. He first gave the title to a book of preludes and fugues in all 24 major and minor keys, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study." Bach later compiled a second book of the same kind, dated 1742, but titled it only "Twenty-four Preludes and Fugues." The two works are now usually considered to make up a single work, The Well-Tempered Clavier, and are referred to respectively as Books I and II Get bonus content on Patreon

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Suite no. 4 is one of the most technically demanding of Bach's suites, as E-flat is an uncomfortable key on the cello and requires many extended left hand positions. The Prelude primarily consists of a difficult flowing quaver movement that leaves room for a cadenza before returning to its original theme. The very peaceful Sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the 3/4 dance, since, in this particular Sarabande, almost every first beat contains a chord, whereas the second beat most often doesn't. Get bonus content on Patreon

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The Toccata and Fugue in D minor, BWV 565, is a piece for organ attributed to Johann Sebastian Bach. First published in 1833, the piece quickly became popular, later becoming one of the most famous works in the organ repertoire. The attribution of the piece to Bach, however, has been challenged since the 1970s by a number of scholars. Get bonus content on Patreon

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While the composition of Swan Lake came in the period of 1875-1876, it incorporated music from an 1871 unpublished effort entitled The Lake of the Swans, the composer's first attempt at ballet. In addition, a second-act waltz was said to have been adapted from his 1869 opera Undine. Swan Lake was not a success initially, but shortly after the composer's 1893 death, it began to take hold. The work was then staged in the Riccardo Drigo version, which, with many excisions, additions, and reordering of numbers, became the standard performing version for many years. For Swan Lake Tchaikovsky composed an introduction and 29 dance numbers, which fall into four acts. The story, set in medieval Germany, centers on Prince Siegfried and his Princess-mother, who, reproaching her son for a lavish celebration at his chateau, commands him to take a bride from among a group of princesses invited to a ball for him the following day. Get bonus content on Patreon

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The Year 1812 (festival overture in E♭ major, Op. 49), also known as 1812 Overture, is an orchestral work by Pyotr Ilyich Tchaikovsky commemorating the unsuccessful French invasion into Russia, and the subsequent devastating withdrawal of Napoleon's Grande Armée, an event that marked 1812 as the major turning point of the Napoleonic Wars. The work is best known for the sequence of cannon fire, which is sometimes performed, especially at outside festivals, using live cannons. When performed indoors, orchestras may use computer generated cannon sounds or huge barrel drums. Although the composition has no historical connection with the America-Britain War of 1812, it is often performed in the US alongside other patriotic music. The overture debuted in the Cathedral of Christ the Saviour in Moscow on August 20, 1882. Get bonus content on Patreon

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Mozart Piano Sonata no. 16 'Facile', K. 545
Sheet MusicWolfgang Amadeus MozartPianoPiano Sonata no. 16 'Facile', K. 545
Wolfgang Amadeus Mozart's Piano Sonata No. 16 in C major, K. 545, is a piece in three movements. Mozart added the work to his catalogue on June 26, 1788, the same date as his Symphony No. 39. A typical performance takes about 14 minutes. Although it is well-known piece today, it was not published in Mozart's lifetime, and it first appeared in print in 1805. Get bonus content on Patreon

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The Orchestral Suite no. 3 in D major, BWV 1068, was composed by Johann Sebastian Bach at some point between the years 1717 and 1723, for his patron Prince Leopold of Anhalt. From this work comes the famous Air on the G string, titled after violinist August Wilhelmj's late 19th century arrangement of the air movement for violin and piano. By transposing the key of the piece from its original D major to C major and transposing the melody down an octave, Wilhelm was able to play the piece on only one string of his violin, the G string. Get bonus content on Patreon

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Although Paul Pitman is primarily known for his piano virtuosity, he has held a position as church organist since the age of eighteen. He started piano lessons at age twelve, and, two years later, began playing for his family church in Oklahoma, where he was born and raised. He was principal organist for his Army base while stationed in Germany. He earned his Master's Degree and Doctorate in Music from USC. Besides his busy schedule of teaching and providing master classes, he manages to frequently perform at chamber music concerts and to give an occasional solo piano and organ recital in and around the Greater Los Angeles area.

The Moonlight Sonata no. 14, Op. 27, no. 2, was completed in 1801 and dedicated to 17-year-old Countess Guicciardi, with whom Beethoven was, or had been in love. The nickname Moonlight derives from an 1832 description of the first movement by poet Ludwig Rellstab, who compared it to moonlight shining upon Lake Lucerne.

Beethoven included the phrase Quasi una fantasia in the title (as well as in the other sonata of Op. 27) partly because the work does not follow the traditional sonata pattern where the first movement is in regular sonata form, and where the three or four movements are arranged in a fast-slow-[fast]-fast sequence. Get bonus content on Patreon

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Sebastian Bach Harpsichord Concerto no. 1 in D minor
This work, scored for harpsichord, two violins, viola and continuo section, and clocking in 22 minutes, is tought to be based o a lost violin concerto, which was later arranged as an organ concerto in 1728 for use in two of Bach's cantatas.

This concerto has remained the most popular of the collection from the 19th century onwards; Felix Mendelssohn played it and Brahms wrote a cadenza for it; the first publication of it was in 1838 by the Kistner Publishing House.

It was often played and recorded with the piano in the 20th century, though with the rise of historically informed performance from the 1960s, it is now regularly played on the harpsichord again. Get bonus content on Patreon

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The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies,[1] and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies in the classical period, Beethoven's Fifth Symphony is in four movements.

Like Beethoven's Eroica (heroic) and Pastorale (rural), Symphony No. 5 was given an explicit name besides the numbering, though not by Beethoven himself. It became popular under "Schicksals-Sinfonie" (Fate Symphony), and the famous five bar theme was coined "Schicksals-Motiv". This name is also used in translations.

The Fifth Symphony was premiered on 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor's podium. The concert lasted for more than four hours. The two symphonies appeared on the programme in reverse order: the Sixth was played first, and the Fifth appeared in the second half. The programme was as follows:

The Sixth Symphony
Aria: Ah! perfido, Op. 65
The Gloria movement of the Mass in C major
The Fourth Piano Concerto (played by Beethoven himself)
(Intermission)
The Fifth Symphony
The Sanctus and Benedictus movements of the C major Mass
A solo piano improvisation played by Beethoven
The Choral Fantasy

The Theater an der Wien as it appeared in the early 19th century
Beethoven dedicated the Fifth Symphony to two of his patrons, Prince Franz Joseph von Lobkowitz and Count Razumovsky. The dedication appeared in the first printed edition of April 1809. Get bonus content on Patreon

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Schubert String Quintet

The String Quintet in C major, D. 956 - and often referred to as Op. posth. 163- was Franz Schubert's final chamber work. It is a cello quintet, in the sense that it is scored for a standard string quartet lineup plus an additional cello -with the viola being by far the most common choice. The work has been described as a chamber music masterpiece, and since its public performance in 1850 and its publication in 1853, it has gained status as one of Schubert's finest works. Get bonus content on Patreon

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Verdi Attila
Sheet MusicGiuseppe VerdiVoice(s) and Piano Attila
Attila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the 1809 play Attila, König der Hunnen (Attila, King of the Huns) by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 1846.
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American banjo musician, comedian, actor, songwriter and entertainer who gained fame as a featured member of the Spike Jones Band from 1947 to 1958. Born in New York City and raised in Cleveland Ohio, he went by "Freddy" since childhood. At age of 9, he began playing the ukulele after recovering from a serious accident. He studied banjo with Eddie Connors and at the age of 14, then teamed up with a school mate and fellow banjo enthusiast named Leo Livingston. The pair billed themselves as Morgan and Stone, and struck out for Broadway where they met with success. Morgan and Stone went on a 36-week nationwide tour, then traveled Europe and played the vaudeville circuit. Next, he teamed up with Australian banjoist Wally Hadley to form Morgan and Hadly from which a few recordings were produced in England.

At the outbreak of WWII, he was stranded in Europe, and helped found the European Theater Artists Group, a forerunner to the United Service Organization (USO) to entertain troops abroad. When the war ended, Morgan auditioned for Spike Jones by telephone, spending 35 minutes barking like a dog and imitating Edward G. Robinson during the effort. For 11 years, he performed as a featured banjo player for Spike Jones, bringing laughter to audiences with his bowl haircut, his goofy grin and his absolute comedic personality.

Morgan was always a first-rate player whose spirited performances contributed to a rise in banjo popularity over his lifetime. By the mid to late 1950's, he began branching out, first forming a banjo troup called the Sunnysiders which produced a hit record in 1955 called "Hey, Mr. Banjo", a nickname that stuck with him thereafter in show billings and musical references. A solo recording for Verve records came out in 1957 with his iconic mug gracing the cover. His final year with the City Slickers was in 1958.

He was perpetually busy entertaining in clubs, fairs and concerts to his very last day, a Christmas time performance for veterans at the Oak Knoll Veterans Hospital in Oakland, California, when a heart attack ended his life during his performance. He was 60 years old. Get bonus content on Patreon

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Carles Trepat is a Spanish classical guitarist. He has won several international prizes, including the "Premio Tárrega" in the "Certamen Internacional Francisco Tárrega de Benicàssim". In July 2014, he was awarded with the "Honorific Prize José Tomás" in Petrer Get bonus content on Patreon

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Verdi's last opera, Falstaff, was his first comic opera in over 50 years. Verdi and his librettist, Boito, kept the composition secret since Verdi was somewhat less comfortable with comic opera, and he wanted to have the option of canceling the production—even after the dress rehearsal. Boito's libretto has its basis in Shakespeare's The Merry Wives of Windsor with additional material from Henry VI, parts 1 and 2. The premiere at the Teatro alla Scala was a triumph, but, as always, Verdi continued to make adjustments to the score for both the Rome and Paris premieres; these changes were incorporated into the final version of the score. Get bonus content on Patreon

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The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for keyboard between 1722-25. Although suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. They were later given the name French. Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who mentioned they were written in the French style. This, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably lead to the tradition of calling them "French" Suites. Get bonus content on Patreon

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The Magic Harp (Die Zauberharfe), D.644, is the incidental music composed for the play of the same name by F. Schubert. Written in 1819, premiered in 1820 in Vienna, and first published in 1891, the overture to this work has been long asociated with the Rosamunde incidental music, probably because they were first published together. Get bonus content on Patreon

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Requiem in D minor, K. 626 - VI. Benedictus Wolfgang Amadeus Mozart started composing the Requiem Mass in D minor (K. 626) in Vienna in 1791, following an anonymous commision from Count Franz von Walsegg, who requested the piece to commemorate the anniversary of his wife's death. Mozart passed away on December of 1791, however, having finished and orchestrated only one movement. The Requiem is widely considered one of Mozart's greatest works, and its composition process is surrounded a shroud of mistery and myths, usually attributed to Mozart's wife Constanze, who had to keep secret the fact that Mozart hadn't completed the work in order to be able to collect the final payment from the commision. It is commonly accepted that Mozart finished the Introitus, and left detailed sketches of the Kyrie and Dies Irae all the way to the first eight bars of the Lacrimosa and parts of the Offertory. There are now several completions of the Requiem Mass, though the most common by far (considered the standard version of the piece) is the one by Franz Xaver Süssmayr. He not only completed the movements Mozart left (borrowing an unespecified amount from Joseph von Eybler's previous attemps at completing the work) but also added several movements of his own: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass. The myth surrounding this work was increased by the fictional rivarly between Mozart and Antonio Salieri first expressed in 'Mozart and Salieri', a play by Alexander Pushkin, which in turn inspired an opera by Rismky Korsakov of the same name, the inmensely popular 1979 play 'Amadeus', by Peter Shaffer, and it's 1984 film adaptation by Miloš Forman. The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, bass soloists, and an SATB mixed choir. Get bonus content on Patreon

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Frédéric Chopin wrote his Fantaisie in F minor, Op. 49, in 1841 (when he was 31 years old), and dedicated it to Catherine de Souzzo. It is a single movement piece that evolves through a number of sections and reflects a number of different moods: Chopin allegedly used the title Fantaisie to convey a sense of freedom from rules and a romantic expression. Get bonus content on Patreon

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The Trio in E flat, Op. 38 is a 1805 arrangement of the earlier Septet in E flat, Op. 20 by Ludwig van Beethoven. The original piece, completed in 1800, was scored for clarinet, horn, bassoon, violin, viola, cello and double bass. This version was rewritten for clarinet (or violin), cello, and piano. The overall layout of the work resembles a serenade, closely mimicking Mozart's K. 563 trio, but enjoying substantial additions. Conductor Arturo Toscanini rearranged the string section of the Septet so that it could be played by the full string section of the orchestra, but he did not change the rest of the scoring. Get bonus content on Patreon

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The Symphony No. 5 in C minor, Op. 67, was finished and first performed in 1808. It achieved fame soon enough, going on to become one of the most popular compositions in classical music. Beethoven was in his mid-thirties: his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars. The symphony soon acquired status as a central item in the repertoire: groundbreaking in terms of both technical and emotional impact, it had a large influence on composers and music critics, and inspired work by such composers as Brahms, Tchaikovsky, Bruckner, Mahler, and Berlioz. Get bonus content on Patreon

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Frédéric Chopin wrote his Ballade no. 1 in G minor, Op. 23, in 1831. During those years he had taken residence in Vienna, and as the war between his native land and the Russian Empire grew longer so did his music become increasingly dramatic, a reflection of his feelings of loneliness and alienation. The Ballade no. 1 wasn't published until Chopin moved to Paris, where he dedicated it to Baron Nathaniel von Stockhausen. Chopin may be said to be the creator of the Ballade as a distinct genre, inspiring many musicians (such as Liszt and Brahms) to write their own Ballades. Though the pieces seem to be entirely different between them, analysts have shown that the Ballades share a number of traits, like a mirror reexposition (where the order of the first and second themes are inverted), and the so called ballade meter (a 6/8 or 6/4 meter). The Ballade no. 1 in G minor is one of the more popular Chopin pieces. being prominently featured in the 2002 Roman Polanski film The Pianist. Get bonus content on Patreon

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We're America's old as continuously operated jazz supper club almost a half a century old. Now you are engaged tonight in an historic moment I can look back here upon the orchestra and I can honestly say that you are seeing one of the swinging as bands in America today and I'm just once again humbled and proud to present the United States army blues under the musical direction of chief warrant Officer Charles Wal Hurst here to my right Let's give a big hand a big blues alley Welcome to the United States army blues Get bonus content on Patreon

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Fear a' Bhàta is a Scots Gaelic song from the late 18th century, written by Sìne NicFhionnlaigh of Tong who was courting a young fisherman from Uig, Dòmhnall MacRath. The song captures the emotions that she endured during their courtship. The part of the story that is rarely told is that they were married not long after she composed the song. Get bonus content on Patreon

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