Although Requiem was a religious work, it was presented more in concert halls than in churches. Giuseppe Verdi wrote the famous Requiem in honour of his close friend, Alessandro Manzoni, the great Italian poet, writer, and humanist, who died in 1873. It is a powerful fusion of intense drama and passion, with moments of reverent simplicity. Verdi conducted the first performance at St. Mark's Church in Milan on May 22, 1874, the first anniversary of Manzoni's death. Revolutionary composition Verdi's Requiem has been revolutionary in two respects: First, because while the traditional requiem is a prayer of the living for the dead, Verdi's work was a function as much for the living as for the dead. As Verdi would expect, it's a dramatic, theatrical play. Written for four solo voices (soprano, mezzo-soprano, tenor and bass) with full choir and orchestra, it follows the typical Roman Catholic Latin mass for the dead. The "libretto" certainly comes from the dram
Mozart - Concerto for Flute, Harp and Orchestra in C Major, K299
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Mozart composed two flute concertos, even though he didn't particularly love this instrument.
The extraordinary art of the Concerto for Flute, Harp and Orchestra shows Mozart's rare talent to bring out the best in every individual instrument.
Mozart composed this wonderful concerto on his third and final trip to Paris in 1778. It was his only work for flute, harp and orchestra - but not his last for flute.
He arrived in the French capital with his mother on March 23, hoping to repeat the success of his first visit, in 1763, when he was just seven years old. At the time he was treated as a child prodigy and had sat on the knees of the future Queen Marie Antoinette at the Palace of Vesailles. He had even asked her to marry him - a move that had captivated the court.
But this time in his 22 years, he did not repeat his previous triumph. He nevertheless found some students, including Adrien-Louis de Bonnièrs (duc de Guines) and his daughter Marie-Louise-Philippine. They were both enthusiastic amateur musicians. The Duke played well flute and his daughter played an excellent harp - in Mozart's words. That's why Mozart composed this concerto.
It's one of Mozart's kindest concertos. It has three parts and is characterized by the wavy melodies that only the harp is capable of producing.
Movements:
I. Allegro
In the opening movement, harp and flute exhibit together the main melody. This leads to the other small melodies, without any dramatic transaction between the flute, the harp and the orchestra. Finally, the soloists create a melancholy lyricism that is typical of Mozart's genius.
II. Andantino
The second slower movement is sober and soft, with the flute and the harp in perfect agreement, singing to each other. Here, the orchestra's horns and oboes are silenced and only the strings accompany the soloists.
III. Allegro
The last part, is cheerful and dynamic. Flute and harp create several original melodies that would meet the reuirements of two parts of an ordinary concerto. These lead the play to a grand finale, one of Mozart's most delightful.
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