Wundervölker, Monstrosität und Hässlichkeit im Mittelalter (German Edition)

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Other austrian artists.

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Program Information Past Commissions Apply. Symphony No. The score calls for pairs of oboes, bassoons, horns and trumpets, with timpani and strings.

Wolfgang Amadeus Mozart. MIDI (free download) & MIDI/ZIP

Duration, 28 minutes. He had met her four daughters? A year later, however August 4, , 18 days after the premiere of The Abduction from the Seraglio , over his father's objections, he married the year-old Constanze Weber in St. Stephen's Cathedral. The couple's departure from Vienna was delayed by a threat of arrest for a minor debt, and that proved to be an omen for the frustrating expedition itself. According to most of Mozart's biographers, Constanze was either incapable of making conciliatory gestures or simply unconcerned about the need for them.

Three unpleasant months in Salzburg passed with neither Constanze nor Leopold doing anything to lessen the hostility between them. The trip home, though, proved to be both restorative and productive. On their way back to Vienna Wolfgang and Constanze stopped in Linz, where they stayed for more than two weeks as gusts of Count Thun, whose daughter-in-law was one of Mozart's Viennese piano pupils. Toward the end of that sojourn Mozart, who had a talent for drawing, sketched one of the paintings in the Count's palace and presented it to Constanze with the mock-serious inscription,?

Of the music he composed in Linz, and the hospitality he enjoyed there, he wrote to his father with some excitement on October When we arrived at the gates of Linz, a servant was standing there to conduct us to the Old Count Thun's, where we are still living. I really cannot tell you how they overwhelm us with kindness in this house. On Thursday, the Fourth of November, I am going to give a concert in the theater, and, as I have not a single symphony by me, I am writing away over head and ears at a new one, which must be ready by then.

The Symphony in C major composed for that occasion, apparently in the incredibly brief period of four days, is clearly Mozart's finest work in this form up to that time; it marked the beginning of a new and magnificent phase for him as a symphonist. The mellowness a term Joseph Haydn would use in describing his own symphonies for London, which share certain characteristics of this work , the self-confidence and all-round maturity of this music not only belie the haste in which it was created, but reflect the therapeutic effect of the elegant hospitality and cheerful surroundings in Linz following the dispiriting sojourn in Salzburg.

It need not surprise us, perhaps, that Mozart would respond to his contrasting experiences in that city and in Linz by producing a masterwork in a fury of inspiration, by way of reassuring both himself and his obdurate father of his stature as an artist. The slow introduction to the first movement represents Mozart's first use of such a format in his symphonies; he was to repeat the gesture only in his next two: the? Symphony in D major, K.

This kind of opening is far more characteristic of Haydn than of Mozart, and this work throughout its four movements bears a closer kinship with the symphonies of Haydn that Mozart revealed in any of his other symphonies. This kinship extends down to the shape of the themes themselves, as the onset of the Allegro spiritoso emphasizes, but it must be added that the Haydn likenesses most strongly evoked in this splendid movement are in fact among the symphonies composed for London after Mozart's death.

Symphony No 36., The Linz by Richard Meyer – Score & Sound

Apparently while he was in Linz, Mozart created another slow introduction, for a symphonic opening movement that documents a different kind of? For use in his Vienna concerts he composed a slow introduction for an already existing Symphony in G major by his erstwhile Salzburg colleague Michael Haydn, the younger brother of the illustrious Joseph. If you hear it played well, please clap loudly for the poor first fiddles. They probably endured some trying rehearsals. Prokofiev fashioned this incredible work using musical ideas from his ballet The Prodigal Son.

There are actually two very different versions of the piece, op 47 and op Both are cool. Pure genius- we tend to think of Stravinsky as ballet composer, but his forays into the symphony are pure gold.

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Dukas is the one composer who makes Brahms look like he lacked the last ounce of self-criticism. Dukas was so self-critical that he only allowed about fourteen pieces to see the light of day.

Mozart, WA: Symphonies Complete. 4 Volume Study Score Edition (Urtext)

The upshot is that all of them are pretty darned good. Serious stuff, but incredibly enjoyable. One of the most influential symphonies ever written, it had a huge impact on Schumann, Bruckner and Brahms. It seems to strike fear into the hearts of orchestral musicians and audience members in equal measure. It does, however, more than live up to its nickname, and remains one of the most important symphonies ever written, casing a long shadow on the music of later German masters.

So, here it is. In this short, modestly scored and slightly understated work, Sibelius reinvents the post-Beethoven-ian symphonic model, trading closure for culmination, clarity for concision, epic drama for focused intensity.

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The sheer range of musical ideas and styles is awe-inspiring, from the folksy good-humor of the opening to the disjunct weirdness which opens the third movement. Sibelius would go on to develop all of the threads in this remarkable piece further in the four works that would follow it, but none of them could have been written had he not written this one first. An incredibly beautiful slow movement, and the Finale is pure genius.

And it is good to name a symphony after the mighty Ursus family.