Listening Guide The Work Tempo: Kräftig Bewegt, Doch Nicht Zu Schnell (Powerfully Agitated, But Not Too Fast) Key: A Major (Trio In F Major) Time Signature: 3/4 Form: Scherzo And Trio
Listening Guide The Work Tempo: Langsam. Schleppend (“Wie Ein Naturlaut”); Immer Sehr Gemächlich (Slowly. Dragging (Like The Sound Of Nature); Always Very Relaxed) Key: D Major, D Major Time Signature: 4/4 And Alla Breve (Cut-Time) Form: Modified Sonata With Introduction And Coda.
Listening Guide The Work Date(s) of Composition: 1884-1888; published 1899, revised 1906 Place of Composition: Kassel, Leipzig and Budapest Premiere: 20 November 1889 in Budapest Orchestration: 4 flutes (including piccolo), 4 oboes (including English horn), 4 clarinets in B, A and C (including bass clarinet in B and piccolo clarinet in E-flat), 3 bassoons (including contrabassoon), 7 horns, […]
Listening Guide The Work Key: D minor (E minor in piano version), with modulations to G minor and A minor, ending in C minor (D minor in piano version). Tempo: Gemessen, dumpf (nicht schleppen) (measured, muffled (without dragging)) Time Signature: 2/2 (alla breve) Form: strophic with rondo-like elements in several reprises of the opening theme. […]
Listening Guide The Work Key: D minor/major with various modulations Tempo: Marschierend. In einem fort (In march tempo, without interruption). Time signature: 4/4 Rhythm: march tempo Form: strophic (AA’-BB’-CD-AA) Des Morgens zwischen drei’n und vieren, da müssen wir Soldaten marschieren, das Gässlein auf und ab, tral-la-li, tral-la-ley, tral-la-lera, mein Schätzel sieht herab! Ach, Bruder, jetzt […]
Listening Guide The Work Key: D major (E major in the piano version) Tempo: Keck (arrogantly) Time Signature: 2/4 Form: Simple strophic form (AAABA) Einstmals in einem tiefen Tal Kuckuck und Nachtigall Täten ein Wett’ anschlagen Gewinn’ es Kunst, gewinn’ es Glück, Zu singen um das Meisterstück. Dank soll er davon tragen. Der Kuckuck sprach: […]
Listening Guide The Work Key: D minor with modulations into D major, G-flat major/minor (enharmonic F-sharp), D major and ending in D minor) Tempo: Verträumt. Leise (Dreamily, soft); Sehr gehalten (very steady) Time Signature: 2/4 and 3/4 Form: Rondo [ABA(C)ABA] Premiere: 1900 (sung by Selma Kurz, soprano) ‘Wer ist denn draussen und wer klopfet an, […]
Listening Guide The Work Key: D minor (modulating into G major, G minor, C minor, C major, F major and back to D minor) Tempo: Leidenschaftlich, eigenwillig (Passionately, in fast motion) Time Signature: 12/8 (6/8 for the maiden’s stanzas) Form: Rondo-dialogue (ABABABA) Premiere: 1905 (sung by Anton Moser, baritone) DER GEFANGENE ‘Die Gedanken sind frei, […]
Listening Guide The Work Key: A major Tempo: Gemächlich (Comfortably) Time Signature: 3/8 Form: Tanzlied in Austrian style (ABABA) Premiere: 1893 (sung by Paul Bulss, baritone) Bald gras’ ich am Neckar, Bald gras’ ich am Rhein; Bald hab’ ich ein Schätzel, Bald bin ich allein. Was helft mir das Grasen Wenn d’Sichel nicht schneid’t! Was […]
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We are convinced that lovers of classical music include people who are always looking for(1) music that they have not heard before that might attract them, and (2) the best performance of music that…
they are familiar with and already enjoy.This website was created to help these music lovers achieve both goals. We are uniquely able to fulfill this mission because we bring together two exceptional resources that are not available on any other classical music website: (1) a classical music record collection that includes over 60,000 recordings of more than 35,000 different pieces of music from every corner of the globe, representing every historical period from biblical times to the present — one of the largest collections of classical music in the world; and (2) the expertise of some of the best professional music commentators, musicians, and composers involved in the classical music world.With these unique resources, we present three specialized podcasts and the opportunity to respond to them through our blog: (1) "Buried Treasure" will introduce music from all periods and places, providing an opportunity to explore rarely heard works; (2) panel discussions on the interpretation of classical music in which well-established record critics will review recordings of more familiar works, play excerpts of the performances under review, and explain their individual standards for judging performance; and (3) a podcast in which one of the leading composers in New York interviews notable performers and composers, discussing with them the latest developments in classical music.