MusiLLection

  Photograph of Anton Bruckner from 1873. Orchestral Works Symphony No. 0 in D minor Symphony No. 1 in C minor Symphony No. 2 in C minor Symphony No. 3 in D minor Symphony No. 4 in E-flat major, “Romantic” Symphony No. 5 in B-flat major Symphony No. 6 in A major Symphony No. 7 in E major Symphony No. 8 in C minor Symphony No. 9 in D minor Introduction in G minor Four Orchestral Pieces Sacred Works Requiem in D minor Missa Solemnis in B-flat major Magnificat in B major Mass No. 1 in D minor Mass No. 2 in E minor Mass No. 3 in F minor Te Deum in C major Ave Maria Chamber Music String Quartet in C minor Abendklänge (Evening Sounds) for Violin and Piano String Quintet in F major Intermezzo for String Quintet Organ Music Four Preludes Prelude and Fugue in C minor Fugue in D minor

Johann Strauss II , celebrated for his waltzes and lively dance music, followed a distinctive creative approach. He consistently sought contemporary and recognizable themes as the inspiration for his compositions, ensuring that his music remained fresh and closely connected to the everyday experiences of his audiences. A characteristic example of this approach can be found in Vergnügungszug (Pleasure Train), a fast polka ( Polka schnell ) composed in 1864. The work was written for one of the famous summer concerts Strauss conducted in Pavlovsk, near St. Petersburg, where he spent several seasons presenting new compositions. For this particular piece, Strauss drew inspiration from a symbol of modern progress at the time: the steam locomotive. The composition vividly captures the energy and motion of a train in full operation. Its driving rhythm evokes the steady chugging of a steam engine, while short, repeated figures suggest the mechanical movement of the wheels along the tracks. Str...

Strauss often played in the glittering Imperial balls, conducting the orchestra and playing the first violin at the same time.   The majestic Emperor Waltz by Johann Strauss II was composed to celebrate the 40th anniversary of Austrian Emperor Franz Joseph’s reign in 1888. Strauss, Music Director of the Imperial Court’s Dance Hesperides from 1863 to 1872, occasionally wrote pieces for imperial anniversaries, and this waltz stands out as one of his most iconic ceremonial works. The waltz’s ingenious melody, originally orchestrated for full orchestra, was so adaptable that Austrian composer Arnold Schoenberg arranged it for a chamber ensemble of four or five instruments in 1925. Tender and somewhat melancholic, the Emperor Waltz often gazes nostalgically toward old Vienna. It celebrates the majesty and dignity of the emperor, devoted to his people, while blending ceremonial grandeur with lyrical charm. The piece opens with a majestic march that soon swells into a full orchestra...

Carl Maria von Weber composed the opera Euryanthe between 1822 and 1823, with its premiere in Vienna on October 25, 1823. The work was based on a 13th-century French medieval tale. The year of its debut saw Vienna enthralled with Italian operas, particularly those of Rossini . Although the initial reception was enthusiastic, Euryanthe ran for only twenty performances, with criticism directed at the libretto’s verbosity and the opera’s length. The poet Helmina von Chézy’s wordy libretto was largely blamed, and even Franz Schubert reportedly remarked, “This is not music.” Nevertheless, the overture stands as an outstanding example of orchestral writing and remains one of Weber’s most admired compositions. The overture opens with an energetic and cheerful phrase. Oboe and clarinet, supported by horns and trombones, introduce a theme of three emphatic notes, followed by a shorter ascending group of notes with a pronounced rhythm. The violins soon return vigorously, presenting a new mel...

George Frideric Handel ’s  Water Music , one of the composer’s most celebrated and enduring works, was first performed on the evening of Wednesday, July 17, 1717. Fifty musicians sailed alongside King George I and his entourage as the royal yacht led a grand flotilla along the Thames from Lambeth to Chelsea. Captivated by Handel’s compositions, the King famously ordered the orchestra to repeat the performance  three times , with the musicians finally allowed to stop at 2 a.m. Suite I in F major (HWV 348) A page from the score of Handel's Water Music written in 1717. This work is the most popular and most beloved of all his numerous compositions. Overture (Largo – Allegro) Adagio e staccato Allegro – Andante – Allegro da capo Passepied Air Minuet Bourrée Hornpipe Andante Allegro Hornpipe Handel’s masterful use of the French horn in this suite reflects the grandeur of the royal Thames procession. The Overture (Largo – Allegro) opens with a s...

Pyotr Ilyich Tchaikovsky ’s 1812 Overture embodies Russia’s national spirit, celebrating the nation’s triumphant victory over Napoleon. In 1880, while working on the radiant Serenade for Strings , Pyotr Ilyich Tchaikovsky undertook the composition of a “ceremonial introduction” for an exhibition of industrial art in Moscow. For its subject, he chose Napoleon’s campaign against Russia—an episode that culminated in the decisive victory of the Russian army. Originally conceived for outdoor performance, the composer imagined the piece as something “very loud and noisy.” Over time, however, this ceremonial introduction evolved into one of his most famous and frequently performed concert works. Despite its title, the 1812 Overture is not an introduction to a larger composition. It is a self-contained orchestral work that vividly narrates the events of 1812: the invasion of Russia by Napoleon’s forces, followed by their catastrophic retreat and defeat during the harsh Russian winter. Alt...

The Piano Concerto in G major was composed between 1929 and 1931 and stands as one of the final creative statements of Maurice Ravel . At the time, the composer was already suffering from serious health problems and did not appear as soloist at the premiere, though he conducted the orchestra. The concerto would become his penultimate completed work, a brilliant synthesis of elegance, rhythm, and colour. Ravel famously claimed that the concerto was written “in the spirit of Mozart and Saint-Saëns,” emphasizing clarity, balance, and formal precision. Yet the musical language of the work reveals a far richer palette of influences. Echoes of Igor Stravinsky ’s rhythmic vitality, the jazz idioms of  George Gershwin , and the composer’s deep connection to the Spanish folk traditions of the Basque Country all coexist within a refined classical framework. Μovements : Ι. Allergamente The concerto opens without an orchestral introduction. The piano enters almost immediately, while the fi...

The Symphony No. 3 in C minor , Op. 78, was commissioned by the Royal Philharmonic Society of London to mark its seventy-third anniversary. It was premiered on 19 May 1886 at St James’s Hall, conducted by the composer himself. This work would become the final symphony of Camille Saint-Saëns and remains his most celebrated contribution to the symphonic repertoire. Saint-Saëns dedicated the symphony to the memory of Franz Liszt , a close friend and admired mentor who had died shortly before the work’s premiere. Though commonly known as the Organ Symphony , the piece is not a concerto-like showcase for the organ. Instead, it is a symphonic work in which the organ plays a structural and colouristic role in two of the four movements. Saint-Saëns himself described it simply as Symphonie No. 3 “avec orgue” —a symphony “with organ.” Movements : I. Adagio - Allegro moderato The symphony opens in a grave and introspective atmosphere. The Adagio introduction unfolds slowly and hesitantly, est...

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

The dark, dramatic atmosphere of Schubert’s “Unfinished” Symphony finds a visual echo in this romantic landscape painted by his brother, Ferdinand Schubert. Schubert’s Symphony No. 8 in B minor stands as one of the great enigmas in the history of music—an acknowledged masterpiece whose incompletion remains unexplained. By October 1822, Schubert had completed the first two movements and had made substantial progress on a third movement, a Scherzo , which survives in sketch form. At that point, he abandoned the symphony and turned his attention to other works, among them the Wanderer Fantasy . In 1823, Schubert sent the unfinished manuscript to his friend Josef Hüttenbrenner , who later passed it on to his brother Anselm , in whose possession the score remained undiscovered for more than forty years. It was not until 1865 that Johann Ritter von Herbeck, conductor of the Vienna Court Opera, persuaded Hüttenbrenner to release the manuscript. The symphony received its first performance i...

Jelly d’Arányi, the Hungarian violinist whose virtuosic playing and deep connection to gypsy musical style inspired Maurice Ravel’s Tzigane . In 1922, Maurice Ravel was profoundly impressed by the Hungarian violinist Jelly d’Arányi, after hearing her perform traditional gypsy music from her homeland. Fascinated by its expressive freedom and virtuosity, Ravel was inspired to compose Tzigane , a work originally written for violin and piano and later orchestrated. The composition was completed in 1924 and stands as one of Ravel’s most striking homages to Hungarian and Romani musical idioms. Tzigane is conceived as a rhapsodic concert piece , rich in stylistic allusions to gypsy performance practice rather than direct folk quotation. It opens with an extended and highly demanding solo violin cadenza , unaccompanied, immediately immersing the listener in an atmosphere of improvisatory intensity. Exotic scales, ornamental inflections, and bold harmonic turns—unusual to the Western ear—d...

  Scene from the 1912 ballet Adélaïde, ou le langage des fleurs , the orchestral and choreographic incarnation of Ravel’s Valses nobles et sentimentales . The seven Valses nobles et sentimentales and their epilogue were originally composed for solo piano in 1911 . With this title, Maurice Ravel paid a conscious homage to Franz Schubert , who had published two collections of waltzes in 1823 under the titles Valses nobles and Valses sentimentales . Rather than imitation, Ravel sought a modern reimagining of the waltz, filtered through his own harmonic language and aesthetic sensibility. The work was first presented in Paris at a concert of anonymous compositions , a fashionable practice of the time. Many listeners reacted with hostility, disturbed by the deliberately abrasive harmonies and unexpected dissonances, never suspecting that the “wrong notes” belonged to one of France’s most admired composers. In 1912 , Ravel orchestrated the suite and transformed it into a ballet titl...

Frühlingsstimmen ( Voices of Spring ) was originally conceived in 1882 as a concert waltz with soprano obbligato , written to showcase a celebrated Italian soprano. Its first reception in Vienna was unexpectedly cool: the audience found the work unremarkable, and the melody insufficiently distinctive. Outside Austria, however, the waltz was received with immediate enthusiasm and soon gained widespread popularity. Its fortunes in Vienna changed when Johann Strauss II arranged the piece as a purely orchestral concert waltz . In this form, Voices of Spring quickly won over audiences and became one of the composer’s most admired works. Among its enthusiastic supporters was Franz Liszt , who greatly admired Strauss’s melodic invention and orchestral finesse. After the waltz rhythm is quietly introduced by the bass, the woodwinds—supported by the full orchestra—unfold a lyrical melody rich in trills, glissandi, and ornamental figures . The music evokes the gentle awakening of nature: t...

“Autumn” by Nicolas Poussin, reflecting the rural imagery and seasonal symbolism echoed in Vivaldi’s concerto. The Sonnet I. Allegro The peasants celebrate with songs and dances The pleasure of a rich harvest; And, fired by Bacchus’ liquor, Many end their revelry in sleep. II. Adagio molto All are made to forget their cares and to sing and dance By the gentle air, tempered with pleasure, And by the season which invites so many To enjoy sweet slumber. III. Allegro At dawn the hunters set out, With horns and dogs and guns. The beast flees, and they follow its trail; Terrified and weary of the great noise Of guns and dogs, wounded, it struggles And, harried, dies. The Four Seasons is a cycle of four violin concertos , each offering a vivid musical portrayal of a season of the year. Autumn ( L’autunno ) is the third concerto , written in F major and published in 1725 as part of Il cimento dell’armonia e dell’inventione , Op. 8. In this concerto, Antonio Vivaldi depic...

Hungarian Dance No. 3 in F major, Allegretto, stands out for its lightness and refined elegance. The main theme unfolds gracefully, often entrusted to the oboes, establishing a character that is both playful and poised. This opening idea is briefly contrasted by a darker, more shaded passage introduced by the remaining woodwinds, adding subtle depth to the musical texture. The central section shifts the atmosphere decisively. Here, the music becomes more dynamic and brilliant, with the full orchestra taking over and the cymbals enhancing the dance’s vibrant, festive energy. This contrast between elegance and exuberance reflects Brahms ’s masterful handling of form and color, as well as his deep engagement with Hungarian musical idioms. A piano performance of this dance further reveals the essence of the work. Stripped of orchestral color, the rhythmic vitality and melodic charm come to the foreground, highlighting Brahms’s affection for Hungarian music and the refined, spirited charac...

Mozart’s penetrating musical insight and finely balanced craftsmanship expanded the expressive boundaries of every musical form he explored. Wolfgang Amadeus Mozart possessed an extraordinary ability to detach himself from the external world during moments of intense creativity. This is evident in the astonishing speed with which he composed his last three symphonies in the summer of 1788, as well as in the artistic clarity and balance that characterize these works. At the time, Mozart was experiencing deep personal distress. Burdened by severe financial difficulties and constant anxiety about the future, his circumstances were far from stable. Yet Symphony No. 40 in G minor reveals none of this turmoil directly. Instead, it presents music of remarkable inner poise and expressive restraint—testimony to a composer who refused to allow personal hardship to intrude overtly upon his art. Μovements : Ι. Molto allegro The first movement opens with a restless, agitated accompaniment in the ...

Carl Maria von Weber Operas: Das Waldmädchen (The Girl of the Forest) Peter Schmoll und seine Nachbarn (Peter Schmoll and his Neighbours) Abu Hassan Der Freischütz (The Freeshooter) Die drei Pintos (The Three Pintos) Euryanthe Oberon Orchestral: Symphony No. 1 in C major Symphony No. 2 in C major Piano Concerto No. 1 in C major, Op. 11 Clarinet Concerto No. 1 in F minor Clarinet Concerto No. 2 in E flat major, Op. 74 Bassoon Concerto in F major Konzertstück in F minor for Piano and Orchestra Chamber music: Clarinet Quintet in B flat major, Op. 34 Piano Quartet in B flat major, Op. 18 Grand duo concertant in E flat major, Op. 48 (Clarinet, Piano) Trio in G minor for flute, violoncello and piano, Op. 63 Songs: Die Kerze Umsonst ensagt ich Entfliehet schnell von mir Wiedersehen Other: Missa sancta No. 1 in E flat major, Op. 75a Missa sancta No. 2 in G, "Jubelmesse", Op. 76

America welcomed Dvořák warmly, and scenes of everyday life inspired the musical imagery of his Symphony “From the New World.” On December 20, 1892, only three months after his arrival in the United States, Antonín Dvořák began planning what would become his most famous symphony. He gave it the subtitle “From the New World” , acknowledging the new cultural environment that inspired him. He completed the final movement on May 24, 1893, writing with relief on the manuscript: “Thank God!” This was the first large-scale work Dvořák composed entirely in America . When accused of borrowing directly from African American spirituals, Dvořák replied: “I have written in the spirit of American folk songs.” Indeed, the melodies are entirely his own, yet they evoke the rhythmic patterns, modal colors, and expressive character of Negro spirituals and Native American music , rather than quoting them literally. The premiere took place on December 16, 1893 , at Carnegie Hall in New York , conducte...

Front cover of the piano transcription of Bizet’s L’Arlésienne , reflecting the work’s popularity beyond the theatre. The Second Suite from L’Arlésienne was compiled after   Georges Bizet ’s death by Ernest Guiraud , a close friend and collaborator of the composer. Drawing material from Bizet’s original incidental music for Alphonse Daudet’s play, Guiraud selected three movements and—somewhat unexpectedly—added a Menuet borrowed from Bizet’s rarely performed opera The Fair Maid of Perth (1866). Although the suite lacks some of the stark dramatic tension and rural tragedy that permeate the original stage music, it remains a brilliantly crafted orchestral work , immensely popular in the concert repertoire for its color, vitality, and melodic charm. Movements : I. Pastorale The opening Pastorale is orchestral scene-painting at its finest. A firm, almost relentless rhythmic motion evokes villagers returning from the fields under the oppressive midday sun. This earthy momentum is ...

Like many composers of his time, César Franck earned his living primarily as a virtuoso performer, with broad recognition of his compositions coming largely after his death. Toward the end of his career, César Franck became increasingly aware that French music lacked a major, truly integrated work for piano and orchestra —one in which the solo instrument would not merely dominate, but participate symphonically in the musical argument. Determined to address this gap, he began experimenting with the relationship between piano and orchestra. An important step in this direction was his symphonic poem Les Djinns (1884), a work inspired by Victor Hugo’s poem. Two years later, in 1885 , Franck achieved his artistic goal with the composition of the Symphonic Variations , a work of remarkable unity, balance, and enduring expressive power. Franck originally conceived the piece as a concert-form structure in which piano and orchestra would share thematic responsibility equally. Influenced by Be...