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Transcriptions By Franz Liszt
This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers. These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, ''fantaisies'', ''reminiscences'', ''paraphrases'', ''illustrations'', variations, and editions. Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works. In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Berlioz, Donizetti, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Verdi, Wagner, and Weber. The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born ). Jacques Arcadelt was born earlier (), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mikhail Vielgorsky
Count Mikhail Vielgorsky ( pl, Michał Wielhorski, russian: Михаил Юрьевич Виельгорский) (1788-1856) was a Russian official and composer of Polish descent. He composed romances, symphonies, an opera and was an amateur singer, violinist, and patron of the arts. He is considered to be one of the major influences on the musical arts in Russia during the 19th-century because of his salons, responsible with bringing the string quartet to Russia. Along with his brother Matvey Vielgorsky, they were considered the "''brothers of harmony''" for their intrepid and comprehensive patronage of the musical arts. Vielgorsky was a friend of Ludwig van Beethoven and an admirer of his music; the Russian premiere of Beethoven's Ninth Symphony took place at Vielgorsky's home in Saint Petersburg in 1836. The same year, Mikhail Glinka rehearsed parts of his new opera ''A Life for the Tsar'' at Vielgorsky's home, accompanied by the enserfed orchestra of Prince Yusupov. In th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Great Fantasia And Fugue In G Minor, BWV 542
__NOTOC__ The Great Fantasia and Fugue in G minor, BWV 542, is an organ prelude and fugue by Johann Sebastian Bach. It acquired that name to distinguish it from the earlier Little Fugue in G minor, which is shorter. This piece is not to be confused with the Prelude and Fugue in A minor, which is also for organ and also sometimes called "the Great". Bach's biographer Spitta and some later scholars think that the Fugue was improvised in 1720 during Bach's audition for an organist post at St. James' Church in Hamburg. Assuming this is correct, the theme or subject of the Fugue, a Dutch popular tune (called 'Ik ben gegroet van...'), would have been given to Bach for him to demonstrate his talents as an improviser. It has been suggested by musicologist Christoph Wolff that the choice of a Dutch tune was in homage to Johann Adam Reincken, the long-serving organist at St. Catherine's Church, Hamburg, who was born in the Netherlands. During his 1720 trip to Hamburg Bach is belie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aus Tiefer Not Schrei Ich Zu Dir, BWV 38
(Out of deep anguish I call to You), 38, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724. The cantata is part of Bach's second cantata cycle, which focused on Lutheran hymns. The chorale cantata is based on Martin Luther's penitential hymn "", a paraphrase of Psalm 130. Luther's first and last stanza are used unchanged: the former treated as a chorale fantasia, the latter as a four-part closing chorale. An unknown librettist paraphrased the three inner stanzas as two sets of recitatives and arias. Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of four trombones, two oboes, strings and continuo. The cantata is unusual in its use of the chorale tune not only in the outer movements, but as material for motifs in recitative and aria, once even taking the chorale melody as a continuo line. In keepin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ich Hatte Viel Bekümmernis, BWV 21
Johann Sebastian Bach composed the church cantata (I had much grief), 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as (and for all times), indicating that due to its general theme, the cantata is suited for any occasion. The text is probably written by the court poet Salomon Franck, who includes four biblical quotations from three psalms and from the Book of Revelation, and juxtaposes in one movement biblical text with two stanzas from Georg Neumark's hymn " Wer nur den lieben Gott lässt walten". The cantata possibly began as a work of dialogue and four motets on biblical verses. When Bach performed the cantata again in Leipzig in 1723, it was structured in eleven movements, including an opening sinfonia and additional recitativ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass In B Minor
The Mass in B minor (), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo. As usual for its time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass In B Minor Structure
The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the . Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex, unified structure. Bach structured the work in four parts: # # # # The four sections of the manuscript are numbered, and Bach's usual closing formula (S.D.G = ) is found at the end of the . Some parts of the mass were used in Latin even in Lutheran Leipzig, and Bach had composed them: five settings of the Missa, containing the and the , and several additional individual settings of the and the . To achieve the , a setting of the complete text of the mass, he combined his most elaborate Missa, the Missa in B minor, written in 1733 for the court in Dresden, and a written for Christmas of 1724. He added a few new compositions, but mostly derived movements from cantata movements, in a technique known as parody. The Mass is a compendium of many different styles i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Weinen, Klagen, Sorgen, Zagen, BWV 12
(Weeping, lamenting, worrying, fearing), 12, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Jubilate, the third Sunday after Easter, and led the first performance on 22 April 1714 in the , the court chapel of the ''Schloss'' in Weimar. Bach was appointed in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed ''Weinen, Klagen, Sorgen, Zagen'' as the second cantata in the series, on a text probably written by court poet Salomon Franck. The work is structured in seven movements, an instrumental ''Sinfonia'', a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as ''Thomaskantor'' – director of chur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frédéric Chopin
Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 181017 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. Thereafterin the last 18 years of his lifehe 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 fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Muette De Portici
''La muette de Portici'' (''The Mute Girl of Portici'', or ''The Dumb Girl of Portici''), also called ''Masaniello'' () in some versions, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe. The work has an important place in music history as the earliest French grand opera. It is also known for its alleged role in the Belgian Revolution of 1830. Background The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828. The role of Masaniello was taken by the famous tenor Adolphe Nourrit and Princess Elvire was sung by Laure Cinti-Damoreau. The dancer Lise Noblet played the mute title role, a part later taken by other dancers such as Marie Taglioni, Fanny Elssler and Pauline Leroux, also the actress Harriet Smithson (the future wife of Hector Berlioz). Alphonse was created by Alexis Dupont, who was Lise Noblet's brother-in-law. The conductor at the premiere was Henri Valentino.; ; ; . Other sou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daniel Auber
Daniel-François-Esprit Auber (; 29 January 178212 May 1871) was a French composer and director of the Paris Conservatoire. Born into an artistic family, Auber was at first an amateur composer before he took up writing operas professionally when the family's fortunes failed in 1820. He soon established a professional partnership with the librettist Eugène Scribe that lasted for 41 years and produced 39 operas, most of them commercial and critical successes. He is mostly associated with opéra-comique and composed 35 works in that genre. With Scribe he wrote the first French grand opera, ''La Muette de Portici'' (The Dumb Woman of Portici) in 1828, which paved the way for the large-scale works of Giacomo Meyerbeer. Auber held two important official musical posts. From 1842 to 1871 he was director of France's premier music academy, the Paris Conservatoire, which he expanded and modernised. From 1852 until the fall of the Second Empire in 1870 he was director of the imperial chap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
%2C_Brussels%2C_Belgium_(ca._1890-1900).jpg "Click for more on -> La Muette De Portici")
