Title: Candide Overture Composer: Leonard Bernstein The Overture to Candide earned a place in the orchestral repertoire. After a successful first concert performance on January 26, 1957, by the New York Philharmonic under the composer's baton, it quickly became popular and was performed by nearly 100 other orchestras within the next two years. Since that time, it has become one of the most frequently performed orchestral compositions by a 20th centuryAmericancomposer; in 1987, it was the most often performed piece of concert music by Bernstein. Music The overture incorporates tunes from the songs "The Best of All Possible Worlds", "Battle Music", "Oh, Happy We", and "Glitter and Be Gay" and melodies composed specifically for the overture. Much of the music is written in time signatures such as 6/4 and 3/2, which are often combined with 4/4 and 2/2 to make effective 5/2s and 7/2s in places by rapid, regular switching between them and 3/2. Instrumental
"In the Hall of the Mountain King" (Norwegian: I Dovregubbens hall) is a piece of orchestral music composed by Edvard Grieg for the sixth scene of act 2 in Henrik Ibsen's 1867 play Peer Gynt. It was originally part of Opus 23 but was later extracted as the final piece of Peer Gynt, Suite No. 1, Op. 46. Its easily recognizable theme has helped it attain iconic status in popular culture, where it has been arranged by many artists.
The English translation of the name is not literal. Dovre is a highland place in Norway, and "gubbe" translates into (old) man or husband. "Gubbe" is used along with its female counterpart "kjerring" to differentiate male and female trolls, "trollgubbe" and "trollkjerring". In the play, Dovregubben is a troll king that Peer Gynt invents in a fantasy.
Characteristic
The piece is played as the title character Peer Gynt, in a dream-like fantasy, enters "Dovregubben (the troll Mountain King)'s hall". The scene's introduction continues: "There is a great crowd of troll courtiers, gnomes and goblins. Dovregubben sits on his throne, with crown and sceptre, surrounded by his children and relatives. Peer Gynt stands before him. There is a tremendous uproar in the hall." The lines sung are the first lines in the scene.
Grieg himself wrote, "For the Hall of the Mountain King I have written something that so reeks of cowpats, ultra-Norwegianism, and 'to-thyself-be-enough-ness' that I can't bear to hear it, though I hope that the irony will make itself felt." The theme of "to thyself be... enough" – avoiding the commitment implicit in the phrase "To thine own self be true" and just doing enough – is central to Peer Gynt's satire, and the phrase is discussed by Peer and the mountain king in the scene which follows the piece.
Music
The simple theme begins slowly and quietly in the lowest registers of the orchestra, played first by the cellos, double basses, and bassoons. After being stated, the main theme is then very slightly modified with a few different ascending notes, but transposed up a perfect fifth (to the key of F-sharp major, the dominant key, but with flattened sixth) and played on different instruments.
The two groups of instruments then move in and out of different octaves until they eventually "collide" with each other at the same pitch. The tempo gradually speeds up to a prestissimo finale, and the music itself becomes increasingly loud and frenetic.
Lyrics
(The troll-courtiers): Slagt ham! Kristenmands søn har dåret
Dovregubbens veneste mø!
Slagt ham!
Slagt ham!
Slay him! The Christian's son has bewitched
The Mountain King's fairest daughter!
Slay him!
Slay him!
a troll-imp): Må jeg skjære ham i fingeren?
(another troll-imp): Må jeg rive ham i håret?
(a troll-maiden): Hu, hej, lad mig bide ham i låret!
(a troll-witch with a ladle): Skal han lages til sod og sø?
(another troll-witch, with a butcher knife): Skal han steges på spid eller brunes i gryde?
(the Mountain King): Isvand i blodet!
May I hack him on the fingers?
May I tug him by the hair?
Hu, hey, let me bite him in the haunches!
Shall he be boiled into broth and bree to me
Shall he roast on a spit or be browned in a stewpan?
Ice to your blood, friends!
In the Hall of The Mountain King video:
In the Hall of The Mountain King (Full Score) pdf file:
Title: Ride of the Valkyries (German: Walkürenritt or Ritt der Walküren)
Richard Wagner
Composer:Richard Wagner
Fully Orchestrated by the end of the first quarter of 1856
The "Ride of the Valkyries" (German: Walkürenritt or Ritt der Walküren) is the popular term for the beginning of act 3 of Die Walküre, the second of the four operas by Richard Wagner that constitute Der Ring des Nibelungen.
As a separate piece, the "Ride" is often heard in a purely instrumental version, which may be as short as three minutes. Together with the Bridal Chorus from Lohengrin, the Ride of the Valkyries is one of Wagner's best-known pieces.
The "Ride of the Valkyries" in the Walküre Opera
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.
In the Walküre opera, the "Ride", which takes around eight minutes, begins in the prelude to the third 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.
History
The complete opera Die Walküre was first performed on 26 June 1870 in the National Theatre Munich against the composer's intent. 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. 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 "Unsavoury 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 12 May 1877, repeating it as an encore.
As concert repertoire piece
Within the concert repertoire, the Ride of the Valkyries remains a popular encore, especially when other Wagnerian extracts feature in the scheduled program. For example, at the BBC Proms it was 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 in 2008.
Felix Mendelssohn's Violin Concerto in E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos of all time. A typical performance lasts just under half an hour.
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, seeking his advice with the concerto. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.
Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one).
The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions.
Mendelssohn also wrote a virtuoso Concerto for Violin and String Orchestra in D minor between 1821 and 1823, when he was 12 to 14 years old, at the same time that he produced his twelve string symphonies. This work was "rediscovered" in 1951 by Yehudi Menuhin.
Music
Instrumental
two flutes
two oboes
two clarinets
two bassoons
two horns
two trumpets
timpani
I & II violins
violas
cellos
basses
Form
Consist of 3 movements:
1Allegro molto appassionato (E minor)
2Andante (C major)
3Allegretto non troppo – Allegro molto vivace (E major)
Allegro molto appassionato
Instead of an orchestral tutti, the concerto opens with the almost immediate entry of the solo violin, playing the very tune in E minor that gave Mendelssohn no peace. Following a bravura of rapidly ascending notes, the opening theme is then restated by the orchestra. There is then a frenetic chromatic transition passage as the music subsides and modulates into a tranquil second subject theme in G major. The melody is initially played by the woodwinds with the soloist providing a pedal note on an open G string. The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise. The cadenza builds up speed through rhythmic shifts from quavers to quaver-triplets and finally to semiquavers, which require ricochet bowing from the soloist. This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist. During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement. The music gathers speed into the coda, which is marked 'Presto', before a variant of the original chromatic transition passage ends the first movement.
Andante
The bassoon sustains its B from the final chord of the first movement before moving up a semitone to middle C. This serves as a key change from the E minor opening movement into the lyrical C major slow movement. The movement is in ternary form and is reminiscent of Mendelssohn's own Songs without Words The theme to the darker, middle section in A minor is first introduced by the orchestra before the violin then takes up both the melody and the accompaniment simultaneously. The tremulous accompaniment requires nimble dexterity from the soloist before the music returns to the main lyrical C major theme, this time leading towards a serene conclusion.
Allegretto non troppo – Allegro molto vivace
Following the second movement, there is a brief fourteen-bar transitional passage in E minor for solo violin and strings only. This leads into the lively and effervescent finale, the whole of which is in E major and whose opening is marked by a trumpet fanfare. This movement is in sonata rondo form with an opening theme requiring fast passage work from the soloist. The opening exposition leads into a brief second B major theme which is played by the soloist and builds to a series of rapidly ascending and descending arpeggios, reminiscent of the cadenza from the first movement. The orchestra then plays a variation of the opening melody, after which the music moves into a short development section in G major The recapitulation is essentially similar to the exposition, apart from the addition of a counter-melody in the strings. There is almost a small cadenza near the end of the movement when the woodwinds play the main tune against prolonged trills from the solo violin. The concerto then concludes with a frenetic coda.
Analysis
The concerto is innovative in many respects. In the first movement alone, Mendelssohn departs from the typical form of a Classical concerto in many ways, the most immediate being the entry of the soloist almost from the outset, which also occurs in his First Piano Concerto. Although the first movement is mostly in sonata form, Mendelssohn has the first theme played by the solo violin and then by the orchestra. Classical concertos typically opened with an orchestral introduction followed by a version of essentially the same material that incorporates the soloist.
The cadenza is also novel in that it is written out as part of the concerto and located before the recapitulation. In a typical Classical concerto, the cadenza is improvised by the performing soloist and occurs at the end of a movement, after the recapitulation and just before the final coda.
The violin concerto stands out from previous concertos with its connected movements. There is no break between the first and second movements, with a bassoon note held between the two. The bridging passage between the last two movements begins almost immediately after the slow movement. The melody is similar to that of the opening, which hints at the cyclic form of the piece. The linking was designed to eliminate applause between movements. This would have come as a surprise to Mendelssohn's audience, who, unlike today's, were used to applauding between movements.
The concerto also calls on the soloist to be nothing more than an accompanist to the orchestra for extended periods, such as the ricochet arpeggios at the start of the recapitulation. This too was novel for a violin concerto of its time.
Mendelssohn Violin Concerto (Full Movement) video:
Mendelssohn Violin Concerto (Full Score) pdf files:
First premiered by Edmund Neupert on April 3, 1869 in Copenhagen,
with Holger Simon Paulli conducting
The work is among Grieg's earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate, which was warmer than that of his native Norway.
Grieg's concerto is often compared to the Piano Concerto of Robert Schumann — it is in the same key, the opening descending flourish on the piano is similar, and the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both wrote only one concerto for piano. Grieg had heard Schumann's concerto played by Clara Schumann in Leipzig in 1858 (1859 is given by alternative sources), and was greatly influenced by Schumann's style generally, having been taught the piano by Schumann's friend, Ernst Ferdinand Wenzel. Compact disc recordings often pair the two concertos.
Additionally, Grieg's work provides evidence of his interest in Norwegian folk music; the opening flourish is based around the motif of a falling minor second (see interval) followed by a falling major third, which is typical of the folk music of Grieg's native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected.
Music
Instrumental
2 flutes
2 oboes
2 clarinets in A and B flat
2 bassoons
2 horns in E and E flat
2 trumpets in C and B flat
2 trombones
tuba
timpani
I & II violins
violas
cellos
double basses
Grieg later added 2 horns and changed the tuba to a third trombone.
Form
The concerto is in three movements:
1Allegro molto moderato (A minor)
2Adagio (D-flat major)
3Allegro moderato molto e marcato - Quasi presto - Andante maestoso (A minor/F major/A minor/A major)
The first movement is noted for the timpani roll in the first bar that leads to a dramatic piano flourish. The movement is in the Sonata form. The movement finishes with a virtuosic cadenza and a similar flourish as in the beginning.
Beginning of the Piano Concerto
The second movement is a lyrical movement in D-flat major, which leads directly into the third movement.
The third movement opens in A minor 4/4 time with an energetic theme (Theme 1), which is followed by a lyrical theme in F major (Theme 2). The movement returns to Theme 1. Following this recapitulation is the 3/4 A major Quasi presto section, which consists of a variation of Theme 1. The movement concludes with the Andante maestoso in A major, which consists of a dramatic rendition of Theme 2 (as opposed to the lyrical fashion with which Theme 2 is introduced).
Grieg Piano Concerto in A minor (Full Movement) video:
Grieg Piano Concerto In A minor (Composer's Manuscript) pdf file:
Composer: Edward Elgar First Performance at 1899-06-18 in London, St. James Hall (Conducted by Hans Richter)
Augustus J. Jaeger was employed as music editor by the London publisher Novello & Co. For a long time he was a close friend of Elgar, giving him useful advice, but also severe criticism, something Elgar greatly appreciated. Remarkably, Elgar later related on several occasions how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. The name of the variation refers to Nimrod, an Old Testament patriarch described as "a mighty hunter before the Lord" – the name Jäger being German for hunter.
In 1904 Elgar told Dora Penny (“Dorabella”) that this variation is not really a portrait, but "the story of something that happened". Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. “And that is what you must do”, Jaeger said and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 "Pathétique". Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. “Can’t you hear it at the beginning? Only a hint, not a quotation”.
This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph in London on Remembrance Sunday. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. Musicologist Bill McGlaughlin likens its place in British music to the place Samuel Barber's Adagio for Strings holds for Americans. It was also the last piece ever played by the Greek Symphonical Orchestra (besides the Greek National Anthem) when closed down in June 2013.
The best known of the set, it had its premiere, along with the more reserved second March, in Liverpool on 19 October 1901, with Elgar conducting the Liverpool Orchestral Society. Both marches were played two days later at a London Promenade Concert in the Queen's Hall London, conducted by Henry Wood, with March No. 1 played second, and the audience "...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore.”
The Trio contains the tune known as "Land of Hope and Glory". In 1902 the tune was re-used, in modified form, for the Land of hope and glory section of his Coronation Ode for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem.
In the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, "Pomp and Circumstance" March No. 1. Elgar repaid the compliment by dedicating his Introduction and Allegro to Sanford later that year. The tune soon became de rigueur at American graduations, used primarily as a processional at the opening of the ceremony.This piece was also the entrance music for the late professional wrestlers "Gorgeous" George Wagner and "Macho Man" Randy Savage.
Music
Instrumentation
two piccolos (2nd ad lib.)
two flutes
two oboes
two clarinets in A
bass clarinet in A
two bassoons
contrabassoon
four horns in F
two trumpets in F
two cornets in A
three trombones
tuba
three timpani
percussion (bass drum, cymbals, triangle, side drum, jingles, and tambourine ad lib.)
two harps
organ
I & II violins
violas
cellos
basses
March No. 1 opens with an introduction marked Allegro, con molto fuoco. The introduction leads to a new theme: strong pairs of beats alternating with short notes, and a bass which persistently clashes with the tune. The bass tuba and full brass is held back until the section is repeated by the full orchestra. A little rhythmic pattern is played by the strings, then repeated high and low in the orchestra before the section is concluded by a chromatic upward scale from the woodwind. The whole of this lively march section is repeated. The bridging section between this and the well-known Trio has rhythmic chords from the brass punctuating high held notes from the wind and strings, before a fanfare from trumpets and trombones leads into the theme with which the march started. There are a few single notes that quieten, ending with a single quiet tap from side drum and cymbal accompanied by all the bassoons. The famous, lyrical "Land of Hope and Glory" trio follows (in the subdominant key of G), played softly (by the first violins, four horns and two clarinets) and repeated by the full orchestra including two harps. What follows is a repetition of what has been heard before, including a fuller statement of the Trio (this time in the 'home' key of D) in which the orchestra is joined by organ as well as the two harps. The march ends, not with the big tune, but with a short section containing a brief reminder of the brisk opening march.
Pomp And Circumstance March No. 1 video:
Pomp And Circumstance March No. 1 (Full Score) pdf file:
The "Sabre Dance" is a movement in the final act of Aram Khachaturian's ballet Gayane (1942), "where the dancers display their skill with sabres." It is Khachaturian's best known and most recognizable work. Its middle section is based on an Armenian folk song. According to Tigran Mansurian, it is a synthesis of an Armenian wedding dance tune from Gyumri tied in a saxophone counterpoint "that seems to come straight from America.”
In 1948 the "Sabre Dance" became a jukebox hit in the United States. Due to its popularity, Newsweek suggested that 1948 could be called "Khachaturian Year in the United States." In that year, three versions of the "Sabre Dance" (one played by the Chicago Symphony Orchestra and conducted by Artur Rodziński; another one by the New York Philharmonic, conducted by Efrem Kurtz; and by Oscar Levant) reached number one in the Billboard Best-Selling Records by Classical Artists. These three versions were included in the Year's Top Selling Classical Artists by Billboard in 1948. The "Sabre Dance" became the first million-selling record of the Chicago Symphony Orchestra. According to the Current Biography Yearbook, it was Levant's performance that "received popular attention.”
The piece "has entered the realm of popular music as one of the 20th century's signature pieces." It was further made popular by covers by pop artists, first in the US and later in other countries, such as the UK and Germany. Its use in a wide range of films and TV series over the decades have significantly contributed to its renown. The "Sabre Dance" has also been used by a number of figure skaters. Tom Huizenga of NPR describes it as "one of the catchiest, most familiar—perhaps most maddening—tunes to come out of the 20th century." Billboard magazine calls it "a piece that's known to every pops orchestra in existence.”
Composer: Leonard Bernstein
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