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A. Marcello - Oboe Concerto in d minor (Marcel Ponseele, baroque oboe / Il Gardellino) Alessandro Marcello (1673-1747)

Concerto per Oboe, Archi e Basso Continuo in re minore, SF 935 - Op.1
(First published in 1717)

I. Andante e spiccato - 00:00
II. Adagio - 03:32
III. Presto - 07:09

Marcel Ponseele (Baroque Oboe)

Ensemble Il Gardellino
Marcel Ponseele (conductor)

The Oboe Concerto in D minor, SD 935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello. The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo its oldest extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant of the concerto, SZ 799, was written down.

Bach's keyboard version was published as an arrangement of a concerto by Antonio Vivaldi in the 19th century. In 1923 the C minor version of the oboe concerto was published as a composition by Benedetto Marcello, Alessandro's brother. In the second half of the 20th century several publications indicated Alessandro again as the composer of the piece, as it had been in its early 18th-century print, and the oboe concerto was again published in its D minor version.

In the 20th and 21st centuries the concerto developed into a well-established repertoire piece, as well as an oboe concerto as performed on keyboard.

The Concerto in D minor, SD 935, was published by Jeanne Roger in Amsterdam in 1717, as a Concerto a Cinque (concerto in five parts) for oboe (soloist), strings (two violin and one viola parts) and continuo composed by Alessandro Marcello. No publication date appears in the print: although the year of publication is, depending on author, sometimes given as "ca. 1714-1717" or "c.1716" it can be inferred from the consecutive testaments of the publisher's father (Estienne Roger) and from the sequence of publication numbers.

The publication presents the melody lines unadorned, that is: it is left to the performing musician to embellish melodies with ornaments such as trills, mordents and grace notes. Alessandro Marcello published most of his works under a pseudonym (Eterio Stinfalico): the oboe concerto publication was an exception in that sense as it used his real name.

Bach's manualiter arrangement, BWV 974, of the Marcello concerto was apparently not based on the Amsterdam edition, but must have been based on a (lost) manuscript version of the concerto that circulated before it was printed. The July 1713 to July 1714 timeframe may fit for the production of the arrangement of this concerto, although an earlier or later date is possible too. Bach's autograph of the solo keyboard arrangement is lost, but the arrangement was copied around 1715 by Bach's second cousin Johann Bernhard, as the third item in a manuscript containing 12 of Johann Sebastian's keyboard transcriptions of Italian and Italianate concertos.

In 1739 Johann Bernhard's son Johann Ernst wrote a title page for this collection, suggesting that the collection contained Vivaldi arrangements for organ exclusively. He may have intended this title page for the first concerto in the collection only (which was indeed an arrangement of a Vivaldi concerto), but an unknown hand later added the number "XII" before the title, thus causing the misunderstanding that all 12 were Vivaldi arrangements.

Another copy of Bach's arrangement indicates "Marcello" (without first name) as the composer of the original work, and J. S. Bach as the arranger. That copy, specifying harpsichord as the intended instrument for the arrangement, originated after Johann Bernhard's, but may have been copied from an earlier stage of Bach's arrangement. Another manuscript containing Bach's arrangement of Marcello's oboe concerto indicated "J. S. B." as composer on the title page, without mentioning an earlier model, or its composer, for the composition.

Another transcription of the concerto, as concerto a 5 for oboe, strings and continuo in C minor, is found in a 1717 manuscript. The type of errors in this manuscript seems to suggest that the transposition from D minor to C minor may have been produced by its scribes while copying. This manuscript writes the composer's name as "Marcello" without specifying a first name: as Alessandro's brother Benedetto was far better known as a composer by the name Marcello, later generations would interpret the title of the manuscript as referring to the better known of the "Marcello" composers.

The Best of Bach The Best of Johann Sebastian Bach (31 March [O.S. 21 March] 1685 -- 28 July 1750)

Part II:https://www.youtube.com/watch?v=aF-bE9Tfnyg&list=UU5p_ZYS7lMPpiFijxgLtakA

Bach was born in Eisenach, Saxe-Eisenach, into a great musical family; his father, Johann Ambrosius Bach, was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play violin and harpsichord, and his brother, Johann Christoph Bach, taught him the clavichord and exposed him to much contemporary music. Apparently at his own initiative, Bach attended St Michael's School in Lüneburg for two years. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III. Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia. Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.

0:00 Brandenburg Concerto #3 In G, BWV 1048 - 1. Allegro Moderato
5:36 Orchestral Suite #3 In D, BWV 1068 - 2. Air, "On The G String"
10:06 Orchestral Suite #2 In B Minor, BWV 1067 - Menuet & Badinerie
13:04 Sinfonia In G, BWV 1059R - 2. Adagio
16:11 Brandenburg Concerto #4 In G, BWV 1049 - 3. Presto
21:18 Concerto For Harpsichord & Strings In F Minor, BWV 1056 - 2. Largo
24:42 The Art Of The Fugue BWV 1080: Contrapunctus 9
27:48 Musikalisches Opfer, BWV 1079 - Fuga Canonica In Epidiapente
30:37 Toccata In D Minor, BWV 565
33:26 Violin Concerto In E, BWV 1042 - 1. Allegro
40:58 Minuet In D Minor, BWV Anhang 132
42:14 Orchestral Suite #4 In D, BWV 1069 - Rejouissance
44:54 Christmas Oratorio - Sinfonia
50:32 Mass In B Minor BWV 232: Gloria In Excelsis Deo - Et In Terra Pax
56:15 St.Matthew Passion, BWV 244 - Choral: O Haupt Voll Blut Und Wunden
59:27 St. John Passion BWV 245: Final Chorus - Rubet Wohl, Ihr Heiligen Gebeine

Episode 10: The Rite of Spring by Igor Stravinsky It doesn't get more radical than this - Igor Stravinsky's groundbreaking ballet and the story of that "Riot at the Rite"!

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MUSIC CREDITS (in order of appearance):

Composer: Igor Stravinsky
Work: The Rite of Spring (for piano 4 hands)
Performer: Lidija and Sanja Bizjak
Year: 2013
Label: Mirare
Catalogue No: MIR171

Composer: Igor Stravinsky
Work: The Rite of Spring
Performer: Kirov Orchestra
Conductor: Valery Gergiev
Year: 2001
Label: Philips
Catalogue No: 4680352

With thanks to Leander Mangelsdorf for the German translation, and Emilia Strachevskaia.

Igor Stravinsky - The Rite of Spring (1913) Composer: Igor Fyodorovich Stravinsky (June 17, 1882 – April 6, 1971)
Orchestra: New York Philharmonic Orchestra (1958) conducted by Leonard Bernstein

Part I: Adoration of the Earth
00:00 Introduction
03:28 The Augurs of Spring, Dances of the Young Girls
06:46 Ritual of Abduction
08:03 Spring Rounds
11:45 Ritual of the Rival Tribes
13:37 Procession of the Sage
14:39 Dance of the Earth

Part II: The Sacrifice
15:52 Introduction
21:02 Mystic Circles of the Young Girls
24:20 Glorification of the Chosen One
25:52 Evocation of the Ancestors
26:44 Ritual Action of the Ancestors
30:07 Sacrificial Dance

Score is not the version Bernstein used, but I edited in some missing notes.
The recording has some mistakes, but there is an addicting power and intensity to it that has made it become my favorite recording.

Scores available here: https://www.boosey.com/cr/music/Igor-Stravinsky-The-Rite-of-Spring/5253
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The Best of Wagner Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).

His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music.

Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).

Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.

Richard Wagner
Tracklist
1. A Valquíria:
Cavalgada das Valquírias
2. Rienzi
Abertura em ré maior
3. Lohengrin
Prelúdio do Terceiro At
4. O Idílio de Siegfried
5. Abertura de O Navio Fantasma
6. Abertura de Tannhäuser
7. Os Mestres Cantores de Nuremberg
Abertura
8. Tristão e Isolda
Prelúdio
9. Tannhäuser
Bacanal
10. Lohengrin
Prelúdio
11. O Ouro de Reno
Entrada dos Deuses no Valhalla

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Mozart - Requiem Requiem Mass in D Minor

Wolfgang Amadeus Mozart's final Masterpiece was commissioned in mid 1791 by the Austrian count Franz Von Walsegg, as a Tribute to the passing of his young wife Anna. Mozart began his final composition in Prague, suffering from an undetermined illness, which would eventually take his life and rob him of the chance to see the completion of his Magnum Opus. After Mozart's death, his understudy 'Franz Xaver Süssmayr', at the behest of Mozart's wife, completed the missing parts of the Requiem.

Requiem Mass was first performed on January 2, 1793, in a private concert for the benefit of Mozart's grieving wife, Constanze Mozart.

The Following are the lyrics, translated from their Original Latin

Grant them eternal rest, Lord,
and let perpetual light shine on them.
You are praised, God, in Zion,
and homage will be paid to You in Jerusalem.
Hear my prayer,
to You all flesh will come.
Grant them eternal rest, Lord,
and let perpetual light shine on them.

Lord, have mercy on us.
Christ, have mercy on us.
Lord, have mercy on us.

Day of wrath, day of anger
will dissolve the world in ashes,
as foretold by David and the Sibyl.
Great trembling there will be
when the Judge descends from heaven
to examine all things closely.

The trumpet will send its wondrous sound
throughout earth's sepulchres
and gather all before the throne.
Death and nature will be astounded,
when all creation rises again,
to answer the judgment.
A book will be brought forth,
in which all will be written,
by which the world will be judged.
When the judge takes his place,
what is hidden will be revealed,
nothing will remain unavenged.
What shall a wretch like me say?
Who shall intercede for me,
when the just ones need mercy?

King of tremendous majesty,
who freely saves those worthy ones,
save me, source of mercy.

Remember, kind Jesus,
my salvation caused your suffering;
do not forsake me on that day.

Faint and weary you have sought me,
redeemed me, suffering on the cross;
may such great effort not be in vain.

Righteous judge of vengeance,
grant me the gift of absolution
before the day of retribution.

I moan as one who is guilty:
owning my shame with a red face;
suppliant before you, Lord.

You, who absolved Mary,
and listened to the thief,
give me hope also.

My prayers are unworthy,
but, good Lord, have mercy,
and rescue me from eternal fire.

Provide me a place among the sheep,
and separate me from the goats,
guiding me to Your right hand.

When the accused are confounded,
and doomed to flames of woe,
call me among the blessed.

I kneel with submissive heart,
my contrition is like ashes,
help me in my final condition.

That day of tears and mourning,
when from the ashes shall arise,
all humanity to be judged.
Spare us by your mercy, Lord,
gentle Lord Jesus,
grant them eternal rest. Amen.

Lord Jesus Christ, King of glory,
liberate the souls of the faithful,
departed from the pains of hell
and from the bottomless pit.
Deliver them from the lion's mouth,
lest hell swallow them up,
lest they fall into darkness.

Let the standard-bearer, holy Michael,
bring them into holy light.

Which was promised to Abraham
and his descendants.

Sacrifices and prayers of praise, Lord,
we offer to You.
Receive them in behalf of those souls
we commemorate today.
And let them, Lord,
pass from death to life,
which was promised to Abraham
and his descendants.

Lamb of God, who takes away
the sins of the world,
grant them eternal rest.
Lamb of God, who takes away
the sins of the world,
Grant them eternal rest.
Lamb of God, who takes away
the sins of the world,
grant them eternal rest forever.

Let eternal light shine on them, Lord,
as with Your saints in eternity,
because You are merciful.
Grant them eternal rest, Lord,
and let perpetual light shine on them,
as with Your saints in eternity,
because You are merciful.

Chillout Lounge - Calm & Relaxing Background Music | Study, Work, Sleep, Meditation, Chill Chillout Lounge - Relaxing Background Music | Study, Work, Sleep, Meditation, Chill

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THE BEST OF BACH
Johann Sebastian Bach

1. Brandenburg Concerto No. 1 in F major, BWV 1046
Allegro (00:00)
Adagio (4:43)
Allegro (9:10)
2. Brandenburg Concerto No. 3 in G major, BWV 1048
Allegro (13:40)
Allegro assai (19:11)
Allegro (24:05)
3. Brandenburg Concerto No. 4 in G major, BWV 1049
Presto (31:42)
Andante (36:37)
Affettuoso (39:32)
4. Brandenburg Concerto No. 6 in B flat major, BWV 1051
Allegro (45:02)
5. Concerto for Violin and Oboe in C minor, BWV 1060
Allegro (50:38)
Largo (54:59)
Allegro (59:32)
6. Orchestral Suite No. 2 in B Minor, BWV 1067: Menuet (1:02:35)
7. Orchestral Suite No. 3 in D Major, BWV 1068: Air on the G String (1:05:35)
8. Cantata BWV 147: Jesu, Joy of Man's Desiring (1:10:07)
9. Toccata and Fugue in D Minor, BWV 565 (1:13:32)
10. Harpsichord Invention No. 1 in C major, BWV 772 (1:22:23)
11. Harpsichord Invention No 8 in F major, BWV 779 (1:23:43)
12. Orchestral Suite No. 2 in B Minor, BWV 1067: Badinerie (1:24:42)
13. Notebook for Anna Magdalena Bach: Minuet in G major, BWV Ahn. 114 (1:27:24)
14. Notebook for Anna Magdalena Bach: Musette in D major, BWV Anh.126 (1:28:59)
15. Violin Partita No. 3 in E Major, BWV 1006: Bourée (1:30:06)
16. Sonata for Viola da Gamba & Harpsichord, BWV 1028 (1:31:48)
17. Concerto in D minor, BWV 1059: 2nd Movt. (1:35:44)
18. Cello Suite No. 4 in E-flat major, BWV 1010: Courante (1:38:54)
19. Cello Suite No. 6 in D major, BWV 1012: Gavotte (1:42:32)
20. Cello Suite No. 6 in D major BWV 1012: Prelude (1:46:42)

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The Best of Schumann Robert Schumann (8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.

In 1840, after a long and acrimonious legal battle with Wieck, who opposed the marriage, Schumann married Wieck's daughter Clara. Before their marriage, Clara—also a composer—had substantially supported her father through her considerable career as a pianist. Together, Clara and Robert encouraged, and maintained a close relationship with, German composer Johannes Brahms.

Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded.

Schumann suffered from a mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich near Bonn. Diagnosed with psychotic melancholia, he died two years later at the age of 46 without recovering from his mental illness.

Robert Schumann

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