K mozart 1051

Primary Concerto Repertoire A Minor E Major For two violins, D Minor Concerto Op. 14 D Major, Op. 61 "Triple" in C Major, Op. 56 Serenade (after Plato's "Symposium") D Major, Op. 77 Violin and Cello in A Minor, Op. 102 No. 1 in G Minor, Op. 26 No. 2 in D Minor, Op. 44 Scottish Fantasy A Minor, Op. 53 A Minor, Op. 82 Op. 28 C Major Concerto Symphony Espagnole, Op. 21 E Minor No. 3 in G Major, K. 216 No. 4 in D Major, K. 218 No. 5 in A Major, K. 219 Sinfonia Concertante for Violin and Viola E-flat No. 1 in D Major, Op. 6 No. 2 in B Minor, Op. 7 (La Campanella) No. 1 in D Major, Op. 19 No. 2 in G Minor, Op. 63 No. 3 in B Minor, Op. 61 Concerto D Minor, Op. 47 D Major, Op. 35 No. 1 in E Major, Op. 10 No. 2 in F# Minor, Op. 19 No. 4 in D Minor, Op. 31 No. 5 in A Minor Four Seasons No. 1 in F# Minor No. 2 in D Minor Johann Sebastian Bach Johann Sebastian Bach Johann Sebastian Bach Samuel Barber Ludwig Van Beethoven Ludwig Van Beethoven Leonard Bernstein Johannes Brahms Johannes Brahms Max Bruch Max Bruch Max Bruch Antonin Dvorák Alexander Glazunov Carol Goldmark Franz Joseph Haydn Aram Khachaturian Eduardo Lalo Felix Mendelssohn Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Nicolo Paganini Nicolo Paganini Sergei Prokofieff Sergei Prokofieff Camille Saint-Saëns Camille Saint-Saëns Jean Sibelius Piotr Ilich Tschaikowsky Henri Vieuxtemps Henri Vieuxtemps Henri Vieuxtemps Henri Vieuxtemps Antonio Vivaldi Henri Wieniawski Henri Wieniawski Short pieces with orchestra Romance in F Major, Op. 50 Poème, Op. 25 Romance in F Minor Op. 11 Tzigane Rhapsodie de Concert Havanaise, Op.

The time. But hopes that Leopold had entertained of his son’s securing an appointment in Milan were disappointed. Back in Salzburg, Mozart had a prolific spell: he wrote eight symphonies, four divertimentos, several substantial sacred works, and an allegorical serenata, Il sogno di Scipione. Probably intended as a tribute to the Salzburg prince-archbishop, Count Schrattenbach, this work may not have been given until the spring of 1772, and then for his successor Hieronymus, Count Colloredo; Schrattenbach, a tolerant employer generous in allowing leave, died at the end of 1771. The third and last Italian journey lasted from October 1772 until March 1773. Lucio Silla (“Lucius Sulla”), the new opera, was given on December 26, 1772, and after a difficult premiere (it began three hours late and lasted six) it proved even more successful than Mitridate, with 26 performances. This is the earliest indication of the dramatic composer Mozart was to become. He followed Lucio Silla with a solo motet written for its leading singer, the castrato and composer Venanzio Rauzzini, Exsultate, jubilate (K 165), an appealing three-movement piece culminating in a brilliant “Alleluia.” The instrumental music of the period around the Italian journeys includes several symphonies; a few of them are done in a light, Italianate style (e.g., K 95 and K 97), but others, notably the seven from 1772, tread new ground in form, orchestration, and scale (such as K 130, K 132, and the chamber musical K 134). There are also six string quartets (K 155–160) and three divertimentos (K 136–138), in a lively, extroverted vein. Early maturity More symphonies and divertimentos, as well as a mass, followed during the summer of 1773. Then Leopold, doubtless seeking again a better situation for his son than the Salzburg court (now under a much less sympathetic archbishop) was likely to offer, took him to Vienna. No position materialized, but Mozart’s contact with the newest Viennese music seems to have had a considerable effect on him. He produced a set of six string quartets in the capital, showing in them his knowledge of Haydn’s recent Opus 20 in his fuller textures and more intellectual approach to the medium. Soon after his return he wrote a group of symphonies, including two that represent a new level of achievement, the “Little” G Minor (K 183) and the A Major (K 201). Also dating from this time was Mozart’s first true piano concerto (in D, K 175; earlier keyboard concertos were arrangements of movements by other composers). The year 1774 saw the composition of more symphonies, concertos for bassoon and for two violins (in a style recalling J.C. Bach), serenades, and several sacred works. Mozart was now a salaried court Konzertmeister, and the sacred

Music in particular was intended for local use. Archbishop Colloredo, a progressive churchman, discouraged lavish music and set a severe time limit on mass settings, which Mozart objected to but was obliged to observe. At the end of the year he was commissioned to write an opera buffa, La finta giardiniera (“The Feigned Gardener Girl”), for the Munich carnival season, where it was duly successful. It shows Mozart, in his first comic opera since his childhood, finding ways of using the orchestra more expressively and of giving real personality to the pasteboard figures of Italian opera buffa. A period of two and a half years (from March 1775) began in which Mozart worked steadily in his Salzburg post. The work was for him undemanding and by no means compatible with his abilities. During this period he wrote only one dramatic work (the serenata-like Il rè pastore, “The Shepherd King,” for an archducal visit), but he was productive in sacred and lighter instrumental music. His most impressive piece for the church was the Litaniae de venerabili altaris sacramento (K 243), which embraces a wide range of styles (fugues, choruses of considerable dramatic force, florid arias, and a plainchant setting). The instrumental works included divertimentos, concertos, and serenades, notably the Haffner (K 250), which in its use of instruments and its richness of working carried the serenade style into the symphonic without prejudicing its traditional warmth and high spirits. The five concertos for violin, all from this period (No. 1 may be slightly earlier), show a remarkable growth over a few months in confidence in handling the medium, with increasingly fanciful ideas and attractive and natural contexts for virtuoso display. The use of popular themes in the finales is typically south German. He also wrote a concerto for three pianos and three piano concertos, the last of them, K 271, showing a new level of maturity in technique and expressive range.

Soprano I SUSANNE BURGESS, Soprano II CAITLIN REDDING, Mezzo-soprano Free and open to the public Wednesday, July 18, 2018 — Apollo Theater, 8:30pm ROSSINI: La Cenerentola (1817) GIOVANNI PACOR, Conductor (Italy) DETLEF SÖLTER, Stage Director (Germany) JENS HUEBNER, Lighting and Set Design (Germany) Grand Tier, lower and upper boxes: €24 Lower and upper balconies: €16 Tickets for this event are available starting May 1, 2018 at www.ticketservices.gr and at the Apollo Theater - +30 22810 85192 Thursday, July 19, 2018 — Apollo Theater, 8:30pm A Herculean Symphonic Evening: Two Symphonies that Changed Music Forever Pan-European Philharmonia (Warsaw) TCHAIKOVSKY: Symphony No. 5 in E minor, Op. 64 (1888) PETER TIBORIS, Conductor (United States) BEETHOVEN: Symphony No. 3 in E-flat major, Op. 55 “Eroica” (1804) MARTA KLUCZYŃSKA, Conductor (Poland) Grand Tier, lower and upper boxes: €24 Lower and upper balconies: €16 Tickets for this event are available starting May 1, 2018 at www.ticketservices.gr and at the Apollo Theater - +30 22810 85192 Friday July 20, 2018 – St. Nicholas Church, 6:00pm 12th Annual Sunset Concert Featuring visiting American a cappella choirs in sacred music performances Performing Choruses: Rincon/University High School Concert Choir, Tucson, AZ (Mareena Boosamra-Ball, Director) Bethel College Voices of Triumph, Mishawaka, IN (Jeshua Franklin, Director) Second Presbyterian Church Sanctuary Choir, Indianapolis, IN (Michelle L. Louer, Director) Northeast Louisiana Chorus, Monroe, LA (Deborah Chandler, Director) & Winston-Salem Youth Chorus / Salem College Choirs and Palmetto Voices, Winston-Salem, NC (Sonja Sepulveda, Director) Solartissimo Choir of Conservatory K. Matsigos, Thessaloniki, Greece (Nikos Efthymiadis, Director) Free and open to the public Friday, July 20, 2018 — Apollo Theater, 8:30pm ROSSINI: La Cenerentola (1817) GIOVANNI PACOR, Conductor (Italy) DETLEF SÖLTER, Stage Director (Germany) JENS HUEBNER, Lighting and Set Design (Germany) Grand Tier, lower and upper boxes: €24 Lower and upper balconies: €16 Tickets for this event are available starting May 1, 2018 at www.ticketservices.gr and at the Apollo Theater - +30 22810 85192 Saturday, July 21, 2018 — Apollo Theater, 11:00am Mozart for Kids and their Families Pan-European Philharmonia (Warsaw) MOZART: Overture to Cosi Fan Tutte, K. 558 (1790) MOZART: Overture to The Marriage of Figaro, K. 492 (1786) MOZART: Piano Concerto No. 20 in D minor, K. 466 (1785) LEFKI KARPODINI, Pianist (Greece) MARTA KLUCZYŃSKA, Conductor (Poland) Free admission for children and their families Tickets for this event are available at the Apollo Theater - +30 22810 85192 Saturday July 21, 2018 – Apollo Theater, 8:30pm Pan-European Philharmonia (Warsaw) Apollo Theater “Great Opera Moments from Great Operas – A Grand Evening” Act I VERDI: Overture from La forza del destino (Orchestra) VERDI: “Ecco L’orrido campo” from Un Ballo in Maschera (Ms. Lappalainen) VERDI: “La donna è mobile” from Rigoletto (Mr. Pasolini) VERDI: “Di Provenza il mar” from La Traviata (Mr. Persson) VERDI: “Non m’inganno” and “Qual voce!” from Il Trovatore (Act I Trio) (Ms. Lappaleinen, Mr. Persson, & Mr. Pasolini) VERDI: “Di quella pira” from Il Trovatore (with short introduction) (Mr. Pasolini and TB Chorus) VERDI: “Mira, di acerbe lagrime” and “Vivrà!...contende il giubilo”

Sino por su habilidad para inspirar a generaciones de nuevos pianistas, incluso hoy. El Preludio n.º 1 en do mayor es la primera obra de su colección El clave bien temperado, compuesta según el autor "para el provecho y disfrute de los jóvenes músicos deseosos de aprender".Si estás leyendo estas líneas, es porque tú también tendrás "deseos de aprender", así que tocar esta pieza te ayudará a desarrollar un sentido natural del ritmo y a mejorar tu digitación. Es mucho más que un simple ejercicio; el fluir de esta pieza, compuesta de acordes rotos ascendentes, es de una hipnótica belleza.3. Sonata en do mayor – Wolfgang Amadeus MozartOtra muestra de acordes rotos sumamente encantadoresI. Allegro – Sonata No. 16 in C, K. 545Wolfgang Amadeus Mozartsales.LearnSongAndMoreMozart fue un niño prodigio y creció hasta convertirse, probablemente, en uno de los compositores clásicos más respetados de todos los tiempos. Tuvo una vida frenética que se apagó a los 35 años; y muchas piezas, como esta, se quedaron sin publicar hasta décadas después de su muerte.Seguir leyendo: La mejor guía para aprender pianoEl mismo Mozart describió esta pieza como "para principiantes" pero, en realidad, es más apropiada para pianistas de nivel intermedio o avanzado. Aún así, tocar solamente la parte de la mano izquierda o la de la derecha es un formidable ejercicio para principiantes ambiciosos. La combinación de acordes rotos que toca la mano izquierda con la melodía que toca la derecha te ayudará a mejorar la coordinación entre ambas manos, por no hablar de que es una delicia de pieza.4. Eine kleine Nachtmusik - Serenata n.º 13 – Wolfgang Amadeus MozartUna pieza vibrante y alegre, la quintaesencia de MozartSerenata n.º 13 en sol mayor, KV 525Wolfgang Amadeus Mozartsales.LearnSongAndMoreLa lista quedaría coja si incluimos una pieza de Mozart solamente. Por eso, vamos a añadir esta otra que escribió para un cuarteto de cuerda, pero adaptándola al piano. A menudo, el título se traduce literalmente como “Una pequeña música nocturna”, pero podemos decir que Mozart se estaba refiriendo de esta manera en sus notas a la “pequeña serenata” que había compuesto. Y así se quedó.Lectura interesante: Las 9 piezas de Mozart que todo pianista debería saberEsta es una de las piezas de Mozart más conocidas e interpretadas, y por una buena razón: la inconfundible melodía de esta pieza vibrante y alegre representa de lleno la esencia de Mozart. Se trata de una pieza llena