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
Beethoven - Piano Concerto No. 5 in E-flat major, Opus 73, “Emperor”
Get link
Facebook
Twitter
Pinterest
Email
Other Apps
- Allegro - Adagio un poco mosso
- Rondo: Allegro
The "Emperor Concerto", written in 1809, is Beethoven’s last work of this genre - and arguably the most popular. It is dedicated to Archduke Rudolf of Austria, Beethoven’s pupil and patron.
The first presentation of the work took place in Leipzig on 28 November 1811. In the first Viennese performance of the concerto, the composer, pianist and former student of Beethoven, Carl Caernarfon, was the soloist. The epithet “Emperor” was given to the work by Johann Baptist Cramer, the English publisher of the concerto and reflects the magnificence of music.
Allegro
The first part, Allegro, includes a musical dialogue between the orchestra and the piano. The orchestra plays loud resonant chords, while the piano processes grandiose responses. The orchestra continues the long introduction alone, introducing the two main themes. The first melody played by the violins is strong and unequivocal. The second theme consisting of a short series of unconnected notes, is also introduced by the violins. The horns follow with a gentle variation of this melody. Then the soloist shows up and brings the themes together. All material comes back with great results:
Adagio un poco mosso
The second part, Adagio un poco mosso, is built around a hymnal melody, originally announced by violins. Beethoven soothes the sound of violins with "surdina." The piano soothes the theme in a free, polite and moving way. Later the soloist repeats the melody accompanied by a chord of string pizzicato. Towards the end of the part, the orchestra regains control of the melody, while the piano decorates and enriches it.
Rondo: Allegro
In the third part, Rondo: Allegro, the piano that plays only with a chord of horns, introduces the energetic finale. Later, maintaining the part's lightly playful mood, Beethoven introduces a few metres of a popular folk song. The piano is firmly in the spotlight throughout the part, delivered in a multitude of craftsmanships that lead the work to a dynamic conclusion.
Comments
Post a Comment