External links
- Cantata on the Death of Emperor Joseph II : Scores at the International Music Score Library Project
- The libretto by Severin Anton Averdonk, on the German Wikipedia page.
| International | |
|---|---|
| National | |
Ludwig van Beethoven's Cantata on the Death of Emperor Joseph II, WoO 87 is a cantata with a libretto by Severin Anton Averdonk (1768-1817), written in 1790 and intended for a memorial service for Joseph II, Holy Roman Emperor to be held in Bonn. Composed when Beethoven was nineteen, it was neither published, nor apparently performed until it premiered in Vienna in November 1884, fifty-seven years after Beethoven's death, and it was first printed in an 1888 supplement to the Complete Works. It remains one of Beethoven's lesser-known works.
Another cantata written more or less in tandem with WoO 87 is the Cantata on the Accession of Emperor Leopold II, WoO 88.
The cantata, written in C minor, has seven movements.
The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, strings and SATB chorus with solo soprano and bass (there is also a solo semichorus SSATB). The seven movements take approximately 35 minutes to perform.The ária with Chorus, the fourth section, will be used in the ópera Fidelio
| International | |
|---|---|
| National | |
Ludwig van Beethoven's Opus 1 is a set of three piano trios, first performed in 1795 in the house of Prince Lichnowsky, to whom they are dedicated. The trios were published in 1795.
The Symphony No. 2 in D major, Op. 36, is a symphony in four movements written by Ludwig van Beethoven between 1801 and 1802. The work is dedicated to Karl Alois, Prince Lichnowsky.
Die Schuldigkeit des ersten Gebots, K. 35, is a sacred musical play composed by Wolfgang Amadeus Mozart in 1767 when he was 11 years old. It is Mozart's first opera or, more specifically, sacred drama, as is suggested by the name. The libretto is now attributed to Ignatz Anton von Weiser, although Johann Adam Wieland or Jakob Anton Marianus Wimmer had been suggested earlier. Only the first part of the opera was composed by Mozart; the second and third parts were contributed by Michael Haydn and Anton Cajetan Adlgasser respectively. However, these other two parts have not survived. Part 1 of the opera was first performed on March 12, 1767, in the Knight's Hall of the Palace of the Archbishop, the Salzburg Residenz. Part 2 was performed on March 19, and part 3 on March 26.
Great Mass in C minor, K. 427/417a, is the common name of the musical setting of the mass by Wolfgang Amadeus Mozart, which is considered one of his greatest works. He composed it in Vienna in 1782 and 1783, after his marriage, when he moved to Vienna from Salzburg. The large-scale work, a missa solemnis, is scored for two soprano soloists, a tenor and a bass, double chorus and large orchestra. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei.
Christus am Ölberge, Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber, editor of the Wiener Zeitung, with whom Beethoven worked closely. It was written in a very short period; in a letter to Breitkopf & Härtel written shortly after the oratorio's completion, Beethoven spoke of having written it in "a few weeks", although he later claimed that the piece required no more than 14 days to complete. It was first performed on April 5, 1803 at the Theater an der Wien in Vienna; in 1811, it was revised by Beethoven for publication by Breitkopf & Härtel. The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number. The piece premiered in the United States in 1809; it was Beethoven's first success in the United States.
Ludwig van Beethoven's Piano Concerto No. 1 in C major, Op. 15, was written in 1795, then revised in 1800. It was possibly first performed by Beethoven at his first public concert in Vienna on 29 March 1795. It was first published in 1801 in Vienna with dedication to his pupil Princess Anna Louise Barbara Odescalchi, known to her friends as "Babette".
Ascanio in Alba, K. 111, is a pastoral opera in two parts by Wolfgang Amadeus Mozart to an Italian libretto by Giuseppe Parini. It was commissioned by the Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771.
An organ concerto is an orchestral piece of music in which a pipe organ soloist is accompanied by an an orchestra, although some works exist with the name "concerto" which are for organ alone.
The Piano Sonata No. 1 in C major, Op. 1, of Johannes Brahms was written in Hamburg in 1853, and published later that year. Despite being his first published work, he had actually composed his Piano Sonata No. 2 first, but chose this work to be his first published opus because he felt that it was of higher quality. The piece was sent along with his second sonata to Breitkopf & Härtel with a letter of recommendation from Robert Schumann. Schumann had already praised Brahms enthusiastically, and the sonata shows signs of an effort to impress in its symphonic grandeur, technical demands, and dramatic character. It was dedicated to Joseph Joachim.
Antonín Dvořák composed his oratorio Saint Ludmila for soloists, choir and orchestra, between September 1885 and May 1886. The oratorio was written to a text by the leading Czech poet and writer Jaroslav Vrchlický. Saint Ludmila is Dvořák's third oratorio, and is considered one of his foremost works.
O ewiges Feuer, o Ursprung der Liebe, BWV 34.2 is an incomplete wedding cantata composed by Johann Sebastian Bach, of which only the complete libretto and some parts have survived.
The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino trio of two violins and cello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became in a second edition two years later Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.
The Musette, or rather chaconne, in this Concerto, was always in favour with the composer himself, as well as the public; for I well remember that HANDEL frequently introduced it between the parts of his Oratorios, both before and after publication. Indeed no instrumental composition that I have ever heard during the long favour of this, seemed to me more grateful and pleasing, particularly, in subject.
Davide penitente, K. 469, is a cantata by Wolfgang Amadeus Mozart, to texts by Saverio Mattei. The cantata was commissioned by the Wiener Tonkünstler-Societät, and first performed on 13 March 1785 in the Vienna Burgtheater. Most of the music is derived from the unfinished Great Mass in C minor, K. 427 (1782–83), although two arias and a cadenza for the last movement were newly composed for the work.
Il Serpente di Bronzo, ZWV 61 is a sacred cantata composed by the Czech composer Jan Dismas Zelenka (1679–1745).
Moscow is a cantata composed by Pyotr Ilyich Tchaikovsky in 1883 for the coronation of Alexander III of Russia, to a Russian libretto by Apollon Maykov. It is scored for mezzo-soprano, baritone, mixed chorus (SATB), 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp and strings.
Stabat Mater (P.77) is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo.
Stabat Mater in F minor, D 383, is a musical setting of the Stabat Mater sequence, composed by Franz Schubert in 1816. It is scored for soprano, tenor and bass soloists, SATB choir, 2 flutes, 2 oboes, 2 bassoons, contrabassoon, 2 french horns, 3 trombones, violin I and II, viola, cello and double bass.
The Piano Quartets, WoO 36, by Ludwig van Beethoven are a set of three piano quartets, completed in 1785 when the composer was aged 14. They are scored for piano, violin, viola and cello. He composed a quartet in C major, another in E-flat major, and a third in D major. They were first published posthumously in 1828, however numbered in a different order: Piano Quartet No. 1 in E-flat major, Piano Quartet No. 2 in D major, and Piano Quartet No. 3 in C major.
Il mondo della luna is a 211-minute studio album of Joseph Haydn's opera, performed by Luigi Alva, Arleen Augér, Anthony Rolfe Johnson, Edith Mathis, Frederica von Stade, Lucia Valentini Terrani and Domenico Trimarchi with the Chœurs de la Radio Suisse Romande and the Orchestre de Chambre de Lausanne under the direction of Antal Doráti. It was released on LP in 1978 and on CD in 1992. Its CD version included nine bonus arias of Haydn's, mostly written to be inserted into other composers' works, performed by Mathis and the Orchestre de Chambre de Lausanne under the direction of Armin Jordan.
