MusiLLection

  Telemann played a key role in shaping musical professionalism, encouraging public performance and cultivated listening. The Double Concerto for two horns and orchestra in E-flat major belongs to the third collection of Telemann’s Tafelmusik ( Musique de Table ), published in 1733—one of the most ambitious and representative instrumental publications of the Baroque era. Far from being conceived as mere background music, Tafelmusik was intended for attentive listening within cultivated social circles, a purpose reflected in the compositional care, formal clarity, and stylistic variety of its contents. This concerto is of particular interest from an organological perspective. Telemann designates the two solo instruments as tromba selvatica , a term that has long puzzled musicologists. It likely does not refer to the trumpet in the strict sense, but rather to a high-pitched natural brass instrument related to the early horn, lacking valves and possessing limited chromatic flexibi...

The monumental, triumphant spirit of Beethoven’s Fifth Symphony evokes vivid images of struggle and victory. Ludwig van Beethoven ’s Fifth Symphony stands as one of the most concentrated expressions of struggle and triumph in Western music. Few works have achieved such immediacy, symbolic power, and historical resonance. The symphony’s legendary opening—four stark, urgent notes—has often been described as fate knocking at the door. Beethoven himself reportedly alluded to this image, while his friend and student Carl Czerny suggested a more prosaic origin: the call of a yellowhammer heard during a walk in Vienna. Whatever its source, these opening measures, and indeed the entire symphony, channel Beethoven’s inner turmoil as his deafness advanced and his personal crisis deepened. Sketches for the symphony date from 1804, but the work was not completed until 1808, partly because Beethoven habitually worked on several compositions simultaneously. Its premiere took place during the monu...

A manuscript page from Bruckner’s Symphony No. 2, initially rejected by the Vienna Philharmonic as “unperformable.” During the 19th century, composers increasingly turned toward works of greater scale and ambition. No one had pushed musical architecture to the monumental extremes of Richard Wagner , whose music dramas reshaped ideas of duration, weight, and expressive density. Anton Bruckner , a devoted admirer of Wagner, absorbed these qualities into his symphonic thinking, expanding his works toward breadth, grandeur, and spiritual gravity. Like Wagner, Bruckner labored over his compositions for years. His symphonies underwent repeated revisions, often driven by insecurity and external pressure. Some critics famously—and unfairly—claimed that Bruckner had written the same symphony nine times (or ten, counting the anomalous “Symphony No. 0”). While it is true that he wrestled with similar formal and stylistic problems throughout his life—particularly those of extended form and large-...

Hector Berlioz, a composer of emotional extremes, transformed personal crisis into music of dramatic beauty and psychological depth. Hector Berlioz was born on December 11, 1803, in La Côte-Saint-André, a small town near Lyon, France. The eldest of five children, he was educated at home by his father, Louis-Joseph, a respected physician who introduced him to literature, science, and languages. Music, at least initially, was regarded as cultivated leisure rather than a professional destiny. The house in La Côte-Saint-André near Lyon where Hector Berlioz spent his childhood years. From an early age, Berlioz displayed an unusually sensitive temperament. Stories moved him to tears; sounds and images left indelible emotional impressions. At twelve, he fell passionately in love with his neighbor’s eighteen-year-old daughter, Estelle Dubœuf, and instinctively sought musical expression for feelings he could not articulate otherwise. Beginning with a simple recorder found in a drawer, he soon...

Peer Gynt, Suite No. 1, Op. 46 , by Edvard Grieg , was published in 1888 and consists of four orchestral movements selected from the extensive incidental music he composed for Peer Gynt , the dramatic poem by Henrik Ibsen . Although the complete stage music was written earlier (1874–75), Grieg later extracted the most vivid and autonomous numbers, shaping them into two concert suites. Suite No. 1 remains the most frequently performed and has become one of the defining works of musical Romantic nationalism. Movements: I. Morning Mood The opening movement, Morning Mood , depicts Peer Gynt watching the sunrise in the Sahara Desert. Despite the exotic setting, the gentle flute melody—decorated with birdlike trills—evokes a distinctly Nordic dawn rather than an African landscape. The theme soon passes to the oboe, with the two instruments alternating gracefully before the full orchestra enters, led by the strings. A flowing, wave-like texture suggests the shimmering play of sunlight on wa...

  The Trocadéro concert hall in Paris, whose monumental organ provided the ideal setting for the premiere of Franck’s Pièce héroïque . In 1878, César Franck was invited to participate in the inauguration of the monumental pipe organ built by Cavaillé-Coll for the Trocadéro concert hall in Paris. For this historic occasion, Franck composed Trois Pièces pour Grand Orgue , a triptych designed to reveal the expressive and architectural power of the modern concert organ. The third and most imposing of these works bears the title Pièce héroïque . In it, Franck explicitly aims to demonstrate the grandeur, strength, and symphonic potential of the organ as an autonomous concert instrument, no longer confined to liturgical function. The Trocadéro organ itself was a marvel of its time: equipped with four manuals and sixty-six stops , installed in a vast concert hall with a capacity of nearly 5,000 listeners. The image is striking—France’s most distinguished organist performing on a colos...

  The famous Viennese theatre where Schubert dreamed of staging his works—dreams largely unfulfilled during his lifetime. The creative legacy of Franz Schubert is vast and astonishing, especially considering the brevity of his life. His output spans symphonic music, piano works, chamber music, and an unparalleled contribution to the art song. Much of this music remained underappreciated during his lifetime, yet today it stands at the core of the Romantic repertoire. Schubert’s music reveals a unique synthesis of lyricism, structural clarity, and emotional depth. Though recognition came largely after his death, his works have since secured an enduring place in the musical consciousness of humanity. Below is a representative selection of Schubert’s most significant and enduring works. Symphonies Symphony No. 4 in C minor,  “Tragic” , D. 417 Symphony No. 5 in B-flat major, D. 485 Symphony No. 6 in C major, D. 589 Symphony No. 8 in B minor,  “Unfinished” , D. 759 Symphony N...

Camille Saint-Saëns, composer, virtuoso pianist, and one of the defining voices of French music in the nineteenth century. Brilliant, multifaceted, and irreversibly Romantic, Camille Saint-Saëns played a decisive role in liberating French music of the second half of the nineteenth century from dominant German models. Through his work, French music reclaimed a sense of national identity and artistic autonomy, grounded in clarity, balance, and formal elegance. Saint-Saëns was exceptional both as a composer and as a performer. A celebrated organist and an astonishingly gifted pianist from early childhood—often compared, with justification, to the young Mozart —he served the ideals of beauty and craftsmanship without compromise throughout his long and productive life. His virtuosity never eclipsed his discipline; rather, it reinforced his devotion to musical integrity. A pupil of the Greek-born composer and pedagogue Camille-Marie Stamaty , Saint-Saëns inherited a profound respect for t...

The lute, a plucked string instrument whose gentle and intimate sound shaped centuries of European music. The lute is among the most ancient string instruments known to humanity. Its origins can be traced back more than 4,500 years to ancient Mesopotamia in the Near East. The Western lute, however, has a shorter and more specific history: it entered Europe during the period of Moorish rule in Spain, which lasted from 711 to 1492. The very name of the instrument derives from the Arabic al-ʿūd , meaning “wood.” Lute virtuosos became highly esteemed figures at European courts, where the instrument’s refined and intimate tone was ideally suited for both solo performance and accompaniment. Throughout the thirteenth and fourteenth centuries, the lute played a central role in supporting the love songs of troubadours, its gentle resonance perfectly aligned with the aesthetics of courtly expression. Two centuries later, German craftsmen settled in Italy and established celebrated centers of lut...

Claudio Monteverdi in early adulthood. Only one other authentic portrait of the composer survives, dating from his later years. Claudio Giovanni Monteverdi was born on May 15, 1567, in Cremona, a northern Italian city famed for its violin-making tradition and situated on the banks of the river Po. His father, Baldassare, worked initially as an apothecary and later trained as a physician, though financial stability always remained elusive. Monteverdi lost his mother at a young age, and his father remarried for a third time—an early encounter with loss and instability that would later resonate deeply in his music. Encouraged by his teacher, the music director of Cremona Cathedral, Monteverdi published his first work while still a child: a collection of sacred music for three voices. He remained in Cremona for several years, composing and publishing the madrigals that would establish his early reputation. In 1592, his life changed decisively when he moved to Mantua, ruled by the powerfu...