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Piano Concerto No. 17 (Mozart)
The Piano Concerto No. 17 in G major, K. 453, was written in 1784 by Wolfgang Amadeus Mozart. The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns in G (and C for ''Andante''), and strings. Like most of Mozart's concertos, it is in three movements: According to the date that the composer himself noted on the score, the concerto was completed on 12 April 1784. The date of the premiere is uncertain. In one view, the work is said to have been premiered by Mozart's student Barbara Ployer on June 13, 1784, at a concert to which Mozart had invited Giovanni Paisiello Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini. Life Paisiello was born i ... to hear both her and his new compositions, including also his recently written Quintet in E flat for Piano and Winds. Afterwards, Ployer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Andreas Stein
Johann (Georg) Andreas Stein (16 May 1728 – 29 February 1792) was an outstanding German maker of keyboard instruments, a central figure in the history of the piano. He was primarily responsible for the design of the so-called German hammer action. Pianos with this hammer action, or its more developed form known as the Viennese action, may be said to be appropriate for the performance of the piano music of Haydn, Mozart, and the early works of Beethoven and Schubert.Grove, "Stein" Life Stein was born in 1728 in Heidelsheim in the Upper Palatinate. He died in Augsburg in 1792. He learned his trade as an organ builder from his father in Heidelsheim. From August 1748 to January 1749, he worked as a journeyman at two workshops, those of Johann Andreas Silbermann in Strasbourg and of Franz Jakob Späth in Regensburg. Johann Andreas Silbermann was the eldest of the four sons of Andreas Silbermann, the elder brother of Gottfried Silbermann. Stein settled in Augsburg, probably in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadenza
In music, a cadenza, (from , meaning cadence; plural, ''cadenze'' ) is, generically, an improvised or written-out ornamental passage played or sung by a soloist(s), usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza will usually occur over either the final or penultimate note in a piece, the lead-in (), or the final or penultimate note in an important subsection of a piece. A cadenza can also be found before a final coda or ritornello. Origin Initially, cadenzas were more simple and structured - a performer would add small embellishments such as trills to the end of cadences. These small embellishments of the early cadenza did not affect meter. However, as the improvised embellishments continued, they became longer and more thought out. This made way for the 'composed' cade ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Concertos By Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart's piano concerto, concertos for piano and orchestra are numbered from 1 to 27. The Piano Concertos Nos. 1–4 (Mozart), first four numbered concertos and three unnumbered concertos Piano Concertos K. 107 (Mozart), K. 107 are early works that are arrangements of keyboard sonatas by various contemporary composers. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Many of these concertos were composed by Mozart for himself to play in the Vienna concert series of 1784–86. For a long time relatively neglected, Mozart's piano concertos are recognised as among his greatest achievements. They were championed by Donald Tovey in his Essays in Musical Analysis, ''Essay on the Classical Concerto'' in 1903, and later by Cuthbert Girdlestone and Arthur Hutchings in 1940 (originally published in French) and 1948, respectively. Hans Tischler published a structural ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mozart's Starling
For about three years, the composer Wolfgang Amadeus Mozart kept a pet starling. The starling is remembered for the anecdote of how Mozart came to purchase it, for the funeral commemorations Mozart provided for it, and as an example of the composer's affection in general for birds. Purchase The first record of the starling is the entry Mozart made in his expense book when he bought it on 27 May 1784: :''Starling bird 34'' Kr. : \relative a' :''That was beautiful!'' The music Mozart jotted down in the book is fairly close to the opening bars of the third movement of his Piano Concerto No. 17 in G, K. 453, which Mozart had completed a few weeks earlier (12 April). Presumably, Mozart taught the bird to sing this tune in the pet store, or wherever it was that he bought it. According to Mozart's transcription, the starling incorrectly inserted a fermata on the last beat of the first full measure, and sang G instead of G in the following measure. Correcting for those, the tune w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Regina Strinasacchi
Regina Schlick née Strinasacchi (c. 1761 – 11 June 1839) was a violin virtuoso and guitarist in a time when women rarely performed on the violin in public. She knew Wolfgang Amadeus Mozart well enough that he composed the Sonata in B flat for Violin and Keyboard, "Strinasacchi," ( K. 454) at her request. Strinasacchi was born in either 1761, 1762 or 1764, at Ostiglia, near Mantua. In addition to her skill with the violin, she played guitar and composed, having studied at Vivaldi's school, the ''Ospedale della Pietà'' in Venice. She toured Italy, France and Germany between 1780 and 1783, arriving in Vienna in 1784, where she met Mozart. In a letter to his father, Mozart wrote: "We now have here the famous Strinasacchi from Mantua, a very good violinist. She has a great deal of taste and feeling in her playing. I am this moment composing a sonata which we are going to play together on Thursday at her concert in the theater." On 29 April 1784 she performed a concert with Mozart f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata For Two Pianos (Mozart)
The Sonata for Two Pianos in D major, K. 448 (375a), is a work composed by Wolfgang Amadeus Mozart in 1781, when he was 25. It is written in sonata-allegro form, with three movements. The sonata was composed for a performance he would give with fellow pianist Josepha Auernhammer. Mozart composed this in the ''galant style'', with interlocking melodies and simultaneous cadences. This is one of his few compositions written for two pianos. The autograph manuscript of the sonata is preserved in Veste Coburg. Description The sonata is written in three movements: ;Allegro con spirito :The first movement sets the tonal center with a strong introduction. The two pianos divide the main melody for the exposition, and when the theme is presented, both play it simultaneously. Little time is spent in the development section; a new theme is introduced (unlike most sonata forms) before the recapitulation, repeating the first theme. ;Andante :The second movement is written in ABA form. ; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quintet For Piano And Winds (Mozart)
The Quintet in E major for Piano and Winds, K. 452, was composed by Wolfgang Amadeus Mozart, who entered it in his thematic catalogue of his works on March 30, 1784. It was premiered two days later at the Imperial and Royal National Court Theater in Vienna. Shortly after the premiere, Mozart wrote to his father that "I myself consider it to be the best thing I have written in my life." It is scored for piano, oboe, clarinet, horn and bassoon. Sarah Adams notes that "The four dissimilar wind timbres pitted against the piano in this extraordinary work must have posed Mozart with a compositional challenge. He contended with the instrumental balance by constructing themes easily divisible into small motifs and by changing textural groupings every few bars for a kaleidoscopic array of tone colours." Music There are three movements: The first movement is in sonata form. It opens with a slow introduction, marked ''Largo''. After the slow section cadences on a B dominant chord with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Paisiello
Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini. Life Paisiello was born in Taranto in the Apulia region and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and eventually became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, ''La Pupilla'' and ''Il Mondo al Rovescio'', for Bologna, and a third, ''Il Marchese di Tidipano'', for Rome. His reputation now firmly established, he settled for some years at Naples, where, despite the popularity of Niccolò Piccinni, Domenico Cimarosa and Pietro Guglielmi, of whose triumphs he was bitterly je ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barbara Ployer
Maria Anna Barbara or Babette Ployer (2 September 1765 – before April 1811) was an Austrian piano and composition pupil of Wolfgang Amadeus Mozart, for whom he wrote two piano concertos in 1784, No. 14 KV. 449 and No. 17, KV. 453, which were both premiered at her residence by her in 1784. She was born on 2 September 1765 in Sarmingstein, Austria, and died before April 1811, in Bresane, Croatia. She was the daughter of Franz Kajetan Ployer, a timber-merchant and tax collector. After her mother died in 1779 she moved to Vienna to live with her uncle, Court Councillor Gottfried Ignaz von Ployer, the agent of the Salzburg court in Vienna, where she came in contact with Mozart. After her marriage she moved to Kreuz in Croatia, where her spouse Cornelius Bujánovics von Agg-Telek (c.1770–1844) had his estate. Both the concertos that Mozart wrote for her are of the highest quality, and the piano parts are testing, suggesting she was highly accomplished both technically and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C Major
C major is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. C major is one of the most common keys used in music. Its key signature has no flats or sharps. Its relative minor is A minor and its parallel minor is C minor. The C major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C harmonic major and melodic major scales are: On the piano, the C major scale can be played by playing only the white keys starting on C. Scale degree chords The scale degree chords of C major are: * Tonic – C major * Supertonic – D minor * Mediant – E minor * Subdominant – F major * Dominant – G major * Submediant – A minor * Leading-tone – B diminished Compositions Twenty of Joseph Haydn's 106 symphonies are in C major, making it his second most-used key, second to D major. Of the 134 symphonies mistakenly attributed to Haydn that H. C. Robbins Landon lis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian for 'time'; plural 'tempos', or from the Italian plural), measured in beats per minute, is the speed or pace of a given musical composition, composition, and is often also an indication of the composition's character or atmosphere. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and, if a specific metrical pace is desired, is usually measured in beat (music), beats per minute (bpm or BPM). In modern classical compositions, a "metronome mark" in beats per minute, indicating only measured speed and not any form of expression, may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo (the underlying pulse of the music) is one of the three factors that give a piece of music its texture (music), texture. The others are meter (music), meter, which is indicated by a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
