Gallo, Domenico
12 Trio Sonatas: No. 1 in G Major
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F2736353
(Accessed 10/03/18)
Gallo, Domenico
12 Trio Sonatas: No. 7 in G Minor: III. Allegro
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2Fei9110%5F001
(Accessed 10/03/18)
Pergolesi, Giovanni Battista
Sinfonia a 3 in F Major
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F5632932
(Accessed 10/03/18)
Listened to the above in preparation for the analysis of Pulcinella and neo-classicism for assignment 4.
Haydn, Joseph
Symphony 104 in D major
https://www.bbc.co.uk/programmes/b01pqdgz
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F3732418
(Accessed 09/03/18)
A performance and introductory commentary on the last of Haydn’s 12 London Symphonies, number 104 ‘The London Symphony’.
Stephen Johnson examines different theories to explore why this symphony is the only one to be called ‘The London Symphony’. Some anecdotes about how Haydn considered London to be very noisy and how he misses the calm and tranquility of Vienna as evidenced in correspondence. He also draws parallels between the different views of London as seen by Haydn’s contemporaries, Dr.Johnson and William Blake, and the contrasting sections within the movements and within the symphony itself. He also argues that Haydn waits until the second movement of this symphony to create the real dramatic weight in the music, rather than the first movement, as was customary at the time, and this also presages something that Beethoven would do in his symphonies.
Adagio – Presto: Dramatic, grand fanfare unison opening – somewhat dark introduction. This is then contrasted by a bouncy ‘major’ allegro section in cut time which always makes it more fun to follow the score as it moves along at lightning speed 😉
Andante – Change of key to G major. A seemingly quite jolly tune by the strings ambles along for a bit with the addition of a bassoon, and hints at something darker. Contrasting quiet wind textures and forte tutti sections. Some ‘searching’ sections… The jolly tune is slightly bent out of shape by the end.
Dynamic & cheerful dance-like menuet that quietens down in the middle but ends with a flourish. Some echoed lines between the bassoon and winds.
Allegro Spiritoso – Long held pedal note on D by the horns and lower strings before the spirited entry of the violins joined shortly after by the oboes…
Sammartini, Giovanni Battista
Symphony in A Major, J-C 62
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F41518
(Accessed 08/02/18)
The liner notes reckon that this work dates from about 1750. Sounds correspondingly Baroque with the Basso Continuo; could be Handel or J.S.Bach. Presto first movement, with chugging quavers on the accompanying instruments with violins playing the melody and trumpets providing added texture. Occasional semi-quavered outlined arpeggiated chords.
Slow second movement, somewhat homophonic texture but some independence in the lines making it sound contrapuntal at times. Very pleasant.
There are 2 versions of the third movement (based on seven copies found dispersed around Europe). Six of them show a Presto Assai third movement which sounds very much like the first movement. The remaining copy from Genoa is scored for horns rather than trumpets and is in the form of a minuet.
Sammartini, Giovanni Battista
Symphony in C Minor, J-C 9
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F102287
(Accessed 08/02/18)
Dotted rhythm in 3/4 of the first movement that bounces along quite happily despite the minor key.
More sedate second movement where the violins have all the action.
Final Allegro movement in 3/8 with unison violins.
The whole piece takes less than 10 minutes to perform.
Sammartini, Giovanni Battista
Symphony in D Major, J-C 16
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F102289
(Accessed 08/02/18)
Alla Breve first movement has a march-like feel to it with repeated motifs that are echoed in a loud – soft way, and a prominent dotted bouncy rhythm to the melody.
Andante sempre piano – pretty much says it all. Flowing legato violin lines.
Presto – A bit more ‘space’ in the violin lines so that there is a bit more of a question and answer type of conversation with the rest of the orchestra.
The whole symphony lasts less than seven minutes.
Instruments of the Orchestra (The) (Siepmann)
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F35286
(Accessed 08/02/18)
Listened to this over the course of several days (and at the time of writing I haven’t quite finished – It’s over 7 hours long!)
Provides an insight into the different tones and techniques that the instruments of the modern orchestra are capable of, with a wide variety of musical examples from different eras.
Mozart, Wolfgang Amadeus
Concerto for Flute and Harp in C Major, K. 299
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F39992
(Accessed 30/01/18)
Lovely texture of the harp that tends to alternate with the continuo harpsichord. Opening of the first movement is reminiscent of Eine Kleine Nachtmusik. The usual Mozart stylistic techniques are present – largely homophonic style, echoed lines, conversational style, music full of ‘grammar and punctuation’, crescendos at important cadence points, etc. Not wanting to be disparaging of Mozart’s genius but it starts to sound very similar after a while.
Part of the melody in the second movement sounds like the melody from the second movement of his Piano Concerto No. 21, K. 467, “Elvira Madigan”.
Mozart, Wolfgang Amadeus
Flute Concerto No. 1 in G Major, K. 313
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F39993
(Accessed 29/01/18)
Krommer, Franz
Partita in E-Flat Major, Op. 45, No. 1, FVK 1
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F7678
(accessed 30/01/18)
First movement and indeed the whole piece sounds light, airy, gay, almost comic in places, particularly in parts when the bassoons, contrabasson, (and horns?), alternate between 2 notes.
More lyrical second movement with more staccato like accompaniment, but still with a lightness and airiness about it.
Dance-like menuet in 3/4 as expected, with some unexpected tutti syncopated moments.
There’s the repeated rhythmic motif of the main theme that the course notes refer to, &a1 &a2 etc… contrasted by the other rondo sections of the movement.
Very enjoyable to listen to this ‘Harmoniemusik’ consisting only of wind instruments – makes a change from the full orchestra.
Mozart, Wolfgang Amadeus
Le nozze di Figaro (The Marriage of Figaro), K. 492 (arr. J. Wendt) (excerpts)
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F6218820
(accessed 30/01/18)
Overture
Cinque … dieci … venti … trenta
Se a caso Madama
Se vuol ballare, Signor Contino
Non più andrai, farfallone amoroso
I’m not sure if this is the recording the course notes are referring to, but it’s a wind arrangement of the ‘best of’ excerpts from The Marriage of Figaro.
Not nearly as much as ‘fun’ as the Krommer and I don’t think it works nearly as well the original orchestral arrangements. I prefer the original orchestral arrangements that have more power, dynamic contrast, and fullness to the sound, not to mention the voices.
Original orchestral arrangements:
Mozart, Wolfgang Amadeus
Le nozze di Figaro, K. 492
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F42453
(accessed 30/01/18)
Sinfonia
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F660102%5F01
Act I No. 1: Duettino – Cinque…dieci…venti…trenta
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F660102%5F02
Act I No. 1: Recitativo – Cosa stai misurando
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F660102%5F03
Act I No. 2: Duettino – Se a caso madama la notte ti chiama
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F660102%5F04
Act I No. 10: Aria – Non più andrai, farfallone amoroso
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F660102%5F20
An Introduction to… MOZART The Magic Flute
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F34902
(accessed 30/01/18)
A few too many superlatives in the commentary, but interesting synopsis and highlights of The Magic Flute.
Die Zauberflote (The Magic Flute), K. 620 (excerpts)
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F26539
(accessed 30/01/18)
Bach, Johann Christian
Keyboard Concerto in E-Flat Major, Op. 7, No. 5, C59
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F144355
(accessed 22/01/18)
The slurred notes towards the beginning of this concerto, as well as scalic runs later, and the Alberti bass, are reminiscent of Mozart, though of course it’s Mozart that partly acquired his style from Bach, not the other way round.
Pizz strings in some of the 3rd movement give an unexpected texture.
Particularly enjoyed the outer movements and the period instruments – a very catchy motif in the opening movement.
Bach, Johann Christian
Keyboard Concerto in G Major, Op. 7, No. 6, C60
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F144356
(accessed 22/01/18)
Not nearly as exciting as the Eb concerto.
Bach, Johann Christian
Bassoon Concerto in B-Flat Major, C83
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F1117453
Written in 1770, the same year as the above keyboard concertos, this bassoon concerto uses the harpsichord as the continuo instrument, not the piano. The cadential trills sound like Mozart. Part of it reminded me of a Mozart horn concerto.
Symphonies of Italian composers
Salieri, Antonio
Sinfonia in D Major, “La Veneziana”
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F200172
(accessed 22/01/18)
The whole 3 movement symphony lasts 10 minutes!
Contrast with the instruments used: Second movement consists of strings only, whilst the winds and horns are more in evidence in the first and third movement. His style sounds like nothing I would associate with another composer.
Cimarosa, Domenico
Symphony in D Major
http://manchesterlib.naxosmusiclibrary.com/stream.asp?s=101977%2Fmancheslibnml11%2Fq14656%5F104
(accessed 22/01/18)
A one movement symphony!
Cimarosa, Domenico
Symphony for Flute, Oboe, Horn and Strings in D Major
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F202497
(accessed 22/01/18)
Symphony in 3 movements. Sounds quite dramatic and almost Romantic in attitude. The first movement reminds me of Beethoven more than anything else.
Paisiello, Giovanni
Symphony in D Major
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F206291
(accessed 22/01/18)
Symphony in 3 movements.
Second movement has some particularly quiet, slightly melancolic moments, that contrast well with the 2 outer movements.
Clementi, Muzio
Symphony in D Major, Op. 18
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F200175
(accessed 28/01/18)
Symphony in 4 movements.
‘The Symphony in D major is longer and seemingly more ambitious…as demonstrated by the Grave introduction with its dotted rhythm and tense harmonies. In the eighteenth-century symphony, a solemn introduction generally denoted the composer’s desire to write a piece of a certain weighty significance’
(NML work information: https://imslp.naxosmusiclibrary.com/work.asp?wid=145327&cid=CDS79)
It’s pleasant enough, pleasant instrumentation, I like the use of the flutes and strings together in the first movement – sounds very classical.
Rossini, Gioachino
Sinfonia in D Major, “Bologna”
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2Fq14662%5F115
(accessed 28/01/18)
One movement symphony.
Thunderous timpani and brass opening sound like he means busines, but this immediately quietens down to a more lyrical quiet feel with pulsing strings and winds on top. Far more contrast than the Clementi in terms of instrumentation, mood, dynamics… Not surprising really as he is more of a Romantic composer.
Bellini, Vincenzo
Symphony in D Major
http://manchesterlib.naxosmusiclibrary.com/stream.asp?s=101977%2Fmancheslibnml11%2Fq14649%5F116
(accessed 28/01/18)
Lovely lyrical solo clarinet moments in the opening section to this one movement symphony. Sounds classical in a Mozart vein.
Donizetti, Gaetano
Symphony in D Major
http://manchesterlib.naxosmusiclibrary.com/stream.asp?s=101977%2Fmancheslibnml11%2Fq14636%5F117
(accessed 28/01/18)
One movement symphony.
Pizz strings opening with a reply by the winds sounds immediately interesting. This conversation continues during the introduction in 3/4, horns and strings then announce the start proper and we then have a 2/4 and 4/4 feel with different motifs that get bounced around the orchestra. Very nice. Memorable and catchy themes, light-hearted winds… I’d hazard a guess that this is late classical bordering on the romantic the way it ends. NML classify him as a Romantic composer.
Jim Mennell Music 