Classical Music P.D.

Composition Year: 1854–59 First Performance: 1859-1-22 in Hanover, Kgl. Hoftheater. Johannes Brahms (piano solo) ; Hoftheater Hofkapelle / Joseph Joachim ~ Performers: Performers: Cleveland Orchestra • Leon Fleisher - Piano • George Szell - Conductor Recorded: 21-22 Februari, 1958, Severance Hall, Cleveland, Ohio Recording quality: High ~ 00:01 1. Maestoso 21:19 2. Adagio 35:55 3. Rondo. Allegro non troppo ~ Work: The Piano Concerto No. 1 in D minor, Op. 15, is a work for piano and orchestra completed by Johannes Brahms in 1858. The composer gave the work's public debut in Hanover, the following year. It was his first-performed orchestral work, and (in its third performance) his first orchestral work performed to audience approval. ~ Biography: Johannes Brahms 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. ~ Brahms composed for symphony orchestra, chamber ensembles, piano, organ, violin, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. ~ Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Embedded within those structures are deeply romantic motifs. While some contemporaries found his music to be overly academic, his contribution and craftsmanship were admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The detailed construction of Brahms's works was a starting point and an inspiration for a generation of composers. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ ATTRIBUTION Music contained in this video is licensed to: Epic, Sony Music.

Composition Year: 1723 in Leipzig First Performance: 1723-12-27 in Leipzig Dedication: 3rd day of Christmas ~ Performers: Edith Mathis - soprano • Anna Reynolds - Alt • Dietrich Fischer-Dieskau - Basso • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent Recorded: München Herkulesssaal, 6&7/1970; 4/1972 Recording quality: High ~ 00:01 1. Chorus: Sehet, welch eine Liebe (E minor) 02:23 2. Chorale: Das gat er alles uns getan (G major) 03:12 3. Recitativo (alto): Geh, Welt! (C major-D major) 04:07 4.Chorus: Was frag ich nach der Welt (D major) 05:08 5.Aria (soprano): Was die Welt (B minor) 10:32 6.Recitativo (bass): Der Himmel bleibet mir gewiß (G major) 12:05 7.Aria (alto): Von der Welt verlang ich nichts (G major) 18:50 8.Chorale: Gute Nacht, o Wesen (E minor) ~ Work: Sehet, welch eine Liebe hat uns der Vater erzeiget (Behold, what a love has the Father shown to us), BWV 64, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1723 for the third day of Christmas, which is also the Feast of John the Evangelist, and first performed it on 27 December 1723. History and text: Bach wrote the cantata in his first year as Thomaskantor in Leipzig, as part of his first cantata cycle, for the Third Day of Christmas. The prescribed readings for the day are from the Epistle to the Hebrews, Christ is higher than the angels, (Hebrews 1:1–14) and the prologue of the Gospel of John, also called Hymn to the Word (John 1:1–14). The unknown poet referred only in a general way to the readings and stressed the aspect that being loved by God in the way which Christmas shows, the believer does not have to be concerned about the "world" any more. Three chorales are included in the text, rarely found in Bach's cantatas, but also in Darzu ist erschienen der Sohn Gottes, BWV 40, Bach's first cantata composed for Christmas in Leipzig and performed the day before, and in Schau, lieber Gott, wie meine Feind, BWV 153, written for 2 January 1724, only a few days later. Possibly these works were written by the same author. The first movement is based on 1 John 3:1. The only Christmas chorale is verse 7 of Luther's "Gelobet seist du, Jesu Christ" as movement 2. Movement 4 is the first verse of Balthasar Kindermann's "Was frag ich nach der Welt". The cantata is concluded by "Gute Nacht, o Wesen", verse 5 of Johann Franck's "Jesu, meine Freude". Bach first performed the cantata on 27 December 1723. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd ~ ATTRIBUTION Music contained in this video is licensed by Archiv Production.

Composition Year: 1891 First Performance: 1891-11-24 - Meiningen (private): Richard Mühlfeld (clarinet), Joachim-Quartett (string quartet) ~ Performers: Chamber Music Society of Lincoln Center Dedication: Richard Mühlfeld ~ 00:01 1. Allegro 10:27 2. Adagio 22:16 3. Andantino 27:07 4. Con moto ~ Work: Johannes Brahms's Clarinet Quintet in B minor, Op. 115, was written in 1891 for the clarinettist Richard Mühlfeld. It is scored for a clarinet in A with a string quartet. It has a duration of approximately thirty-five minutes. ~ Background: At the time Brahms started composing his Clarinet Quintet, only a few works had been composed for this type of ensemble. Examples of clarinet quintets include those by Wolfgang Amadeus Mozart, Anton Reicha, Giacomo Meyerbeer, Sigismund von Neukomm, Carl Maria von Weber, Franz Krommer, Alexander Glazunov, Heinrich Baermann, and Thomas Täglichsbeck. Brahms modeled his composition after Mozart's. ~ Brahms and Mühlfeld: Brahms had retired from composing prior to listening to Richard Mühlfeld play. Brahms may have met Mühlfeld already when Hans von Bülow was directing the Meiningen Court Orchestra. But it was Fritz Steinbach, von Bülow's successor, who brought Mühlfeld's playing to the attention of Brahms in March 1891. Brahms was very enthusiastic about Mühlfeld. That summer at Bad Ischl, he composed the Clarinet Quintet and his Clarinet Trio Op. 114, both of them for Mühlfeld. He later also composed his two Clarinet Sonatas Op. 120. ~ Wikipedia: Extended biography: http://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0 / Isabella Stewart Gardner Museum

Performers: Odessa Philharmonic Orchestra • Hobart Earle - Conductor Recorded: Ukraine, Philharmonic Hall on January 18, 2002 Recording quality: High ~ 00:01 1. Johann Strauss, Jr.-Der Zigeunerbaron, Overture / Overture to the operetta "The Gypsy Baron" 07:40 2. Annen Polka. op. 117 / Annen polka 11:59 3. 1,001 Nacht, Walzer, op. 346 / 1001 night waltz 20:55 5. Russischer Marsch. op. 426 / Russian March 24:31 6. Eljen a Magyar, Ungarische Polka schnell, op. 332 / Long live Hungary! - fast polka 27:25 7. Die Fledermaus, Overture / Overture to the operetta "The Bat" 35:39 8. Rosen aus dem Suden, Walzer, op. 388 / Roses of the South-waltz 44:53 9. Pizzicalo-Polka / Polka-pizzicato 47:38 10. Persischer Marsch. op. 289 / Persian March 49:55 11. Vergnugungszug, Polka schnell, op. 201 / Pleasure Train - fast polka 52:57 12. Unter Donner und Blitz, Polka schnell, op. 324 / Thunder and Lightning-fast polka Work: 2002 New Year Concert, Waltzer, Overtures, Polka's and Marchsches, Johann Strauss Jr. ~ Biography: Johann Baptist Strauss II (25 October 1825 – 3 June 1899), also known as Johann Strauss Jr., the Younger, the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century. Some of Johann Strauss's most famous works include "The Blue Danube", "Kaiser-Walzer" (Emperor Waltz), "Tales from the Vienna Woods", "Frühlingsstimmen", and the "Tritsch-Tratsch-Polka". Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known. ~ Strauss was the son of Johann Strauss I and his first wife Maria Anna Streim. Two younger brothers, Josef and Eduard Strauss, also became composers of light music, although they were never as well known as their brother. ~ Wikipedia: Extended biography: https://bit.ly/3SA1xfV ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by Ukrainian Records, 2002.

Performers: Wiener Philharmoniker • Lorin Maazel - Conductor Recorded: 1980-1983 ~ 00:01 1. Kaiser-Walzer op. 437 10:35 2. Wiener Blut op. 354 19:08 3. An der schönen blauen Donau op. 314 28:53 4. Wiener Bonbons op. 307 38:15 5. G'schichten aus dem Wienerwald op. 325 ~ Biography: Johann Baptist Strauss II (25 October 1825 – 3 June 1899), also known as Johann Strauss Jr., the Younger, the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century. Some of Johann Strauss's most famous works include "The Blue Danube", "Kaiser-Walzer" (Emperor Waltz), "Tales from the Vienna Woods", "Frühlingsstimmen", and the "Tritsch-Tratsch-Polka". Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known. ~ Strauss was the son of Johann Strauss I and his first wife, Maria Anna Streim. Two younger brothers, Josef and Eduard Strauss, also became composers of light music, although they were never as well known as their brother. ~ Wikipedia: Extended biography: https://bit.ly/3SA1xfV ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by "3D Classics"

Composition Year: 1728 in Leipzig First Performance: 1728 (or 1729?)-10-17 in Leipzig Dedication: 21st Sunday after Trinity Recorded: Gedächtniskirche Stuttgart, Juni/Oktober 1983 ~ Performers: ~ Arleen Augér – soprano • Julia Hamari – alto • Aldo Baldin – tenore • Walter Heldwein – basso • Martha Schuster (No. 1), Hans- Joachim Erhard (No. 4) – Organo obligato • Günther Passin, Hedda Rothweiler – Oboe • Dietmar Keller – Oboe da caccia Günther Pfitzenmaier – Fagotto • Stefan Trauer – Violoncello • Claus Zimmermann – Contrabbasso • Michael Behringer – Cembalo ~ Gächinger Kantorei • Württembergisches Kammerorchester Heilbronn • Helmuth Rilling - Conductor ~ 00:01 1. Sinfonia* 07:39 2. Aria (tenor): Ich habe meine Zuversicht 13:56 3. Recitative (bass): Gott meint es gut mit jedermann 16:12 4. Aria (alto): Unerforschlich ist die Weise 21:49 5. Recitative (soprano): Die Macht der Welt verlieret sich 22:47 6. Chorale: Auf meinen lieben Gott ~ Work: Ich habe meine Zuversicht (I have [placed] my confidence), BWV 188, is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the 21st Sunday after Trinity and probably first performed it on 17 October 1728. ~ History and text: Bach composed this cantata for the 21st Sunday after Trinity. However, the score was "cut to pieces and sold to private individuals" in the 1800s; the work as it now exists is a reconstruction. ~ The prescribed readings for the day were Ephesians 6:10–17, and John 4:46–54. The text for movements 2 to 5 was written by Picander. The sixth movement is an anonymous chorale, "Auf meinen lieben Gott", written before 1603. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

Composition Year: 1726-27 in Leipzig First Performance: 1727-06-01 in Leipzig Dedication: 1st day of Pentecost (Whit Sunday) ~ Performers: Anna Reynolds - Alto • Peter Schreier - Tenor • Dietrich Fischer-Dieskau • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent. Recorded: München, Herkulessaal, 3&5/1974; 1/1975 ~ 00:01 1. Chorus: O ewiges Feuer, o Ursprung der Liebe 08:42 2. Recitativo (Tenor): Herr, unsre Herzen halten dir 09:23 3. Aria (Alto): Wohl euch, ihr auserwählten Seelen) 15:46 4. Recitativo (Bass): Erwählt sich die heilgen Hütten 16:29 5. Chorus: Friede über Israel ~ Work: O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), BWV 34 (BWV 34.1), is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Pentecost Sunday, and it was the basis for a later wedding cantata, BWV 34a, beginning with the same line. Bach led the first performance on 1 June 1727. ~ The librettist of the cantata is unknown. A central contemplative aria for alto, accompanied by two flutes and muted strings, is framed by recitatives, while the two outer movements are performed by the chorus and a festive Baroque instrumental ensemble of three trumpets, timpani, two oboes, strings and continuo. The last movement quotes the conclusion of Psalm 128, "Friede über Israel" (Peace upon Israel). The themes of eternal fire, love, dwelling together and peace suit both occasions, wedding and Pentecost. Bach led the first performance on 1 June 1727 in the Nikolaikirche. ~ Bach Website: https://www.bach-cantatas.com/ ~ My YouTube Channel: https://www.youtube.com/c/ClassicalMusicPublicDomain ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION The music is licensed and attributable to: Archiv Produktion

Composition Year: 1714 in Weimar First Performance: 1714-12-02 in Weimar ~ Performers: Edith Mathis - Sopran • Peter Schreier - Tenor • Dietrich Fischer-Dieskau - Bass • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent Recorded: München, Herkulessaal, 6&7/1970; 7/1971 ~ 00:01 1. Chorale fantasia: Nun komm, der Heiden Heiland (A minor) 03:57 2. Recitativo (tenor): Der Heiland ist gekommen (C major) 05:23 3. Aria (tenor): Komm, Jesu, komm zu deiner Kirche (C major) 10:55 4. Recitativo (bass): Siehe, ich stehe vor der Tür (E minor-G major) 12:12 5. Aria (soprano): Öffne dich, mein ganzes Herze (G major) 17:35 6. Chorale: Amen, Amen, komm du schöne Freudenkrone (G major) ~ Work: Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV 62, in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. The chorale cantata is based on Martin Luther's Advent hymn "Nun komm, der Heiden Heiland". It is part of his chorale cantata cycle. ~ History and words: Bach wrote the cantata in 1724, his second year as Thomaskantor in Leipzig, for the First Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Romans, night is advanced, day will come (Romans 13:11–14), and from the Gospel of Matthew, the Entry into Jerusalem (Matthew 21:1–9). The cantata is based on Martin Luther's Advent hymn in eight stanzas "Nun komm, der Heiden Heiland", the number one hymn to begin the Liturgical year in all Lutheran hymnals. The unknown poet retained the first and last stanza, paraphrased stanzas 2 and 3 to an aria, stanzas 4 and 5 to a recitative, the remaining stanzas to an aria and a duet recitative. ~ Bach first performed the cantata on 3 December 1724, and he performed it again in 1736, adding a part for violone in all movements, after the Thomasschule had bought an instrument at an auction in 1735. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death. ~ Bach Website: https://www.bach-cantatas.com/ ~ My YouTube Channel: https://www.youtube.com/c/ClassicalMusicPublicDomain ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by Archiv Produktion, 1969.

Composition Year: 1886 First Performance: 1886-11-24 in Vienna, Kleiner Musikvereinssaal Robert Hausmann (cello), Johannes Brahms (piano) Performers: Wendy Warner - Cello • Irina Nuzova - Piano - Isabella Stewart Gardner Museum ~ 00:01 1. Allegro vivace 09:07 2. Adagio affettuoso 16:51 3. Allegro passionato 23:46 4. Allegro molto ~ Work: The Cello Sonata No. 2 in F major, Op. 99, was written by Johannes Brahms in 1886, more than twenty years after completing his Sonata No. 1. It was first published in 1887. It was written for, dedicated to and first performed by Robert Hausmann, who had popularized the First Sonata, and who would the following year be given the honour of premiering the Double Concerto in A minor with Joseph Joachim. ~ Biography: Johannes Brahms 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. ~ Brahms composed for symphony orchestra, chamber ensembles, piano, organ, violin, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. ~ Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Embedded within those structures are deeply romantic motifs. While some contemporaries found his music to be overly academic, his contribution and craftsmanship were admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The detailed construction of Brahms's works was a starting point and an inspiration for a generation of composers. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 / Isabella Stewart Gardner Museum

🎻 Enjoy the music. Please Follow, like & Comment, this is really appreciated 🎻 First Performance: at the Carltheater on 26 October 1899 Performers: Philharmonie Orchestra & Chorus • Otto Ackermann - Conductor Recorded: 1954 ~ Cast: Gabriele - Elisabeth Schwarzkopf Graf Zedlau - Nicolai Gedda Franzi - Erika Köth Josef- Erich Kunz Pepi Pleininger - Emmy Loose Prime Minister - Karl Dönch Kagler - Alois Pernerstorfer Speaking parts: Franzi - Hannah Norbert Bitowski - Kare/ Stepanek ~ ACT I. 00:01 1. Anna, Anna, Anna! 02:38 2. Pepi! Er? 03:31 3. Fuenf volle Tag'... 05:05 4. Dialogue - Er hat mir also die Wahrheit gesagt? 06:10 5. Gruess Gott, mein liebes Kind! 09:54 6. Dialogue - Verzeihung, Exzelenz, die Akten... 11:26 7. Na, also schreib' und tu' nicht schmieren! 15:17 8. Dialogue - Wenn mich die Demoiselle fragt 15:28 9. Wuensch' guten Morgen, Herr von Pepi! 17:21 10. Dialogue - Endlich ist Sie da, Mamsell 18:58 11. Da ist sie ja! 20:40 12. Ein sehr jovialer alter Herr 21:23 13. Ich kann mich nicht beklagen 25:06 14. Es hat dem Grafen nichts genutzt... Gruess dich Gott 28:44 15. Ich klopfte ganz vergebens 30:50 16. Nein, nein, daraus werd' ich nicht klug ACT II. 32:39 17. Mein lieber Graf.... 33:03 18. Das eine kann ich nicht verzeih'n 34:11 19. Ich war ein echtes Wiener Blut... Wiener Blut! 38:37 20. Ich fuerchte, ich verlieb mich noch in meine eigene Frau 39:10 21. So nimm, mein suesser Schatz... Die Schrift, die kenn' ich 42:36 22. Geh' schau, mein liebes Schatzerl 44:11 23. Er ist fort Wirklich fort 45:02 24. O der Herr Fuerst! 47:05 25. Durchlaucht! 50:07 26. Ich habe gewonnen, ich habe gesiegt 56:08 27. Das ist die Graefin 56:58 28. Die Wienerstadt, sie hat ein Symbol ACT III. 58:43 29. Geht's und verkauft' s mei G'wand 01:00:36 30. Lockt Sie denn die Laube nicht 01:01:50 31. Hier sind die Lauben 01:04:59 32. Stoss an, stoss an, du Liebchen mein 01:06:28 33. Nein, nein, Herr Graf! 01:09:17 34. Wiener Blut! ~ Work: Wiener Blut (Viennese Blood or Viennese Spirit) is an operetta named after the "Wiener Blut" waltz, supposedly with music by the composer Johann Strauss the Younger, who did not live to witness the première. Such was the popularity of the original "Wiener Blut" Op. 354 waltz until the time of the composer's death that his work would be chosen as the name of the operetta with libretto by Victor Léon and Leo Stein set around the Vienna Congress of 1814 to 1815. ~ Strauss did not specifically compose any music for this operetta, although many of his earlier compositions were incorporated in the work. He took no active part in the musical arrangement at its conception, nor any production work leading up to its première. He was content to delegate these tasks to Adolf Müller Jr. as he himself was busy with his ballet Aschenbrödel in 1898. However, Müller did not confine himself to the music of Johann Jr., and several dance tunes by his brother Josef were also incorporated in the score. ~ Wikipedia: Extended biography: https://bit.ly/3SA1xfV ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by RMG Records, Russia

🎻 Enjoy the music. Please Follow, like & Comment, this is immensely appreciated 🎻 Composition Year: 1883? First Performance: Berlin on 3 October 1883 Performers: Chor des Bayerischen Rundfunks • Wolfgang Schubert - Chorus master • Symphonie-Orchester Graunke • Franz Allers - Conductor Recorded: 09/1967 ~ Cast: Nicolai Gedda - Guido, Herzog von Urbino (Tenor) Christian Oppelberg - Bartolomeo Delacqua (Baritone) Franz Weiß - Stefano Barbaruccio (Spoken Vocals) Theo Nicolai - Giorgio Testaccio (Bass) Marjorie Heistermann - Barbara Delacqua (Soprano) (Mezzo Soprano) Gisela Litz - Agricola (Mezzo Soprano) Anneliese Rothenberger - Constantia (Soprano) Rita Streich - Annina (Soprano) Cesare Curzi - Caramello (Tenor) Hans Günther Grimm - Pappacoda (Bass) Christine Görner - Ciboletta (Soprano) Hermann Prey - Enrico Piselli (Baritone) Karl Kreile - Centurio (Spoken Vocals) ~ ACT I. 00:01 01. Ouvertüre (Orchester) 06:10 02. Introduktion & Couplet: Wenn vom Lido sacht wieder Kühlung weht 08:35 03. Dialog 08:56 04. Einlage: In Italiens heißem Sonnenland 11:08 05. Dialog 12:06 06. Duettino: 'S ist wahr, ich bin nicht allzu klug 13:50 07. Auftrittslied: Frutti di mare 16:42 08. Dialog 18:09 09. Auftrittslied: Eviva, Caramello 20:08 10. Dialog 21:21 11. Duett: Annina! - Caramello! Du fliegest nicht in meinen Arm? 24:38 12. Dialog 25:11 13. Quartett: Alles maskiert 27:32 14. Aufrtittslied: Sei mir gegrüßt, du holdes Venetia 30:57 15. Dialog 32:25 16. Finale I: Hier ward es stille - Der Mond hat schwere Klag' erhob'n 36:38 17. Komm in die Gondel 38:48 18. Komm nur, liebes Kind - Mit der Würde 45:45 19. Dialog & Einlage: Stadt der Liebe, Stadt der Träume ~ ACT II. 47:55 01. Introduktion & Dialog & Ich hab' dich lieb 52:33 02. Dialog 53:22 03. Couplet: Venedigs Frauen herzuführen 54:45 04. Dialog 55:00 05. Lied: Treu sein, das liegt mir nicht 57:12 06. Dialog 57:54 07. Duett: Hör mich, Annina 59:31 08. Dialog 59:59 09. Duett: Sie sagten meinem Liebesfleh'n 01:01:57 10. Dialog 01:02:26 11. Einlage: Sul mare lucica 01:04:45 12. Dialog 01:04:59 13. Ensemble & Couplet: Solch ein Wirtshaus lob' ich mir 01:09:01 14. Dialog 01:09:42 15.Quartett: Ninana, Ninana, hier will ich singen 01:12:11 16. Dialog 01:13:05 17. Finale II: Lasset die Andern Tanzen da - Jetzt ist Zeit zur Lustbarkeit - Horch von San Marco der Glocken Geläut ~ ACT III. 01:19:49 18. Introduktion & Taubenszene: Carneval ruft euch zum Ball - Die Tauben von San Marco 01:23:34 19. Lagunen-Walzer: Ach, wie so herrlich zu schau'n 01:27:30 20. Dialog 01:27:57 21. Duettino: Take, take, tak, Erst hack' ich fein 01:30:42 22. Dialog 01:31:15 23. Einlage: Eviva Carnevale - Der Karneval heut' die Stunde regiert 01:33:13 24. Dialog & Nr. 17 - Finale III: Alles maskiert, Alles maskiert ~ Work: Eine Nacht in Venedig (A Night in Venice) is an operetta in three acts by Johann Strauss II. Its libretto was by F. Zell and Richard Genée based on Le Château Trompette by Eugène Cormon and Richard Genée. The farcical, romantic story involves several cases of mistaken identity. ~ The piece premiered in 1883 in Berlin and then Vienna. It became one of Strauss's three most famous stage works and has been seen in New York, London and elsewhere, and has been adapted for film. ~ History: The piece premiered in Berlin on 3 October 1883 in the Neues Friedrich-Wilhelmstädtisches Theater, and it is Strauss's only operetta to be premiered outside Vienna. Although the press praised Strauss's music, they criticized the libretto as banal and silly; for instance, references were made to roast beef made from the sole of a boot and, in the waltz scene, the character of Duke Urbino was singing passages of "meows", which was met with much embarrassment from the Berlin audience. Unperturbed, Strauss made several alterations to the work with his librettists and scored a triumph in his native Vienna at the Theater an der Vienna, where it ran for 44 consecutive performances from 9 October 1883. The operetta became established as one of Strauss's three most recognizable stage works, alongside Die Fledermaus and Der Zigeunerbaron. ~ Extended info on this work: https://bit.ly/3QimJWa Wikipedia: Extended biography: https://bit.ly/3SA1xfV #Strauss #Einenacht #Gedda *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed by EMI Electrola

🎻Enjoy the music. Please Follow, like & Comment, this is immensely appreciated 🎻 Composition Year: 1726 in Leipzig First Performance: 1726-10-27 in Leipzig Dedication: 19th Sunday after Trinity Recorded: München, Herkulessaal, 7/1969 Recording quality: High ~ Performers: Dietrich Fischer-Dieskau - Bass • Manfred Clement (Oboe) Continuo • Walter Nothas (Violoncello) • Franz Ortner (Double-bass) • Karl Robingen (Bassoon) Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent ~ 00:01 1. Aria (bass): Ich will den Kreuzstab gerne tragen 08:40 2. Recitative (bass): Mein Wandel auf der Welt 10:51 3. Aria (bass): Endlich, endlich wird mein Joch 17:33 4. Recitative and Arioso (bass): Ich stehe fertig und bereit 19:34 5. Chorale: Komm, o Tod, du Schlafes Bruder ~ Work: Ich will den Kreuzstab gerne tragen (lit. '"I will gladly carry the cross-staff"'), BWV 56, is a church cantata which Johann Sebastian Bach composed for the 19th Sunday after Trinity. It was first performed in Leipzig on 27 October 1726, and is part of Bach's third cantata cycle. The composition is a solo cantata (German: Solokantate) because it requires only a single vocal soloist, in this case a bass. Bach rarely used the word cantata to refer to a composition, and only for solo cantatas: the autograph score of BWV 56 is one of a few cases where he did. The text, by Christoph Birkmann, describes the Christian life as a voluntary journey "carrying the cross" as a follower of Jesus. The text refers indirectly to the prescribed Gospel reading, which says that Jesus traveled by boat. The poet compares life to a sea voyage, and at the end yearns for death as the ultimate destination. This final desire for death is reinforced by the closing chorale: the stanza "Komm, o Tod, du Schlafes Bruder" ("Come, o death, you brother of sleep") from Johann Franck's 1653 hymn "Du, o schönes Weltgebäude", which also uses the imagery of a sea voyage. Bach composed the cantata in his fourth year as Thomaskantor in Leipzig. He structured it in five movements, alternating arias and recitatives for a bass soloist, and closing with a four-part chorale. He scored the work for a Baroque instrumental ensemble of three woodwind instruments (two oboes and taille), three string instruments (two violins and a viola) and continuo. An obbligato cello features in the first recitative and an obbligato oboe in the second aria, resulting in different timbres in the four movements for the same voice part. The autograph score and the performance parts are held by the Berlin State Library. The cantata was published in 1863 in volume 12 of the Bach-Gesellschaft Ausgabe (BGA), edited by Wilhelm Rust. The Neue Bach-Ausgabe (NBA) published the score in 1990, edited by Matthias Wendt. A critical edition was published by Carus-Verlag in 1999 as part of Stuttgarter Bach-Ausgaben. ~ https://www.bach-cantatas.com ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by Archiv Produktion, 1969.

🎻 Enjoy the music. Please Follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1893 First Performance: 1893-02-09 in Milan, La Scala Recorded: Milano, 26 May 1952 (Historical recording) Recording quality: Medium ~ Performers: Falstaff - Mariano Stabile Fenton - Cesare Valletti Ford - Paolo Silveri Dr. Cajus - Mariano Caruso Bardolfo - Giuseppe Nessi Pistola - Silvio Maionica Alice Ford - Renata Tebaldi Nannetta - Alda Noni Meg Page - Anna Maria Canali Mistress Quickly - Cloe Elmo Orchestra - Teatro alla Scala Chorus - Teatro alla Scala Conductor Victor de Sabata ~ ACT: I 00:01 1. Falstaff! Ola! 04:49 2. Sei polli: sei scellini 07:34 3. Ma e tempo d'assottigliar l'ingegno 11:30 4. L'onore! Ladri 15:38 5. Alice..Meg...Nannetta 16:58 6. Fulgida Alice! Amor t'offro 20:56 7. In due parole 22:16 8. Pst, pst. Nannetta 27:29 9. Udrai quanta egli sfoggia ~ ACT: II 30:42 1. Siam pentiti e contriti 37:02 2. Alice e mia! 38:58 3. Signore, V'assista il cielo 41:51 3. C'e a Windsor una dama 49:11 4. E sogno? O realta? 55:04 5. Presenteremo un bill 59:05 6. Gaie comari di Windzor! 01:00:58 7. Alfin t'ho colto raggiante fior 01:04:20 8. Quand ero paggio del Duca di Norfolk 01:05:17 9. Mia signora! C'e Mistress Meg 01:07:54 10. Vien qua 01:09:23 11. Se t'agguanto!...Se ti piglio ~ ACT: III 01:14:44 1. Ehi! Taverniere! 01:21:01 9. Reverenza. La bella Alice! 01:26:11 10. Bravo! Quelle corna saranno la mia gioia 01:31:22 11. Dal labbro il canto estasiato vola 01:36:37 12. Una, due, tre, quattro, cinque, sei, sette botte 01:40:29 13. Ninfe! Elfi! Silfi! Doridi! Sirene! 01:46:21 14. Alto la. .Chi va la?...Pieta! 01:52:37 15. Ogni sorta di gente dozzinale 01:56:30 16. Tutto nel mondo e burla ~ Work: Falstaff is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2, by William Shakespeare. The work premiered on 9 February 1893 at La Scala, Milan. ~ Verdi wrote Falstaff, the last of his 28 operas, as he approached the age of 80. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight Sir John Falstaff to seduce two married women to gain access to their husbands' wealth. ~ Verdi was concerned about working on a new opera at his advanced age, but he yearned to write a comic work and was pleased with Boito's draft libretto. It took the collaborators three years from mid-1889 to complete. Although the prospect of a new opera from Verdi aroused immense interest in Italy and around the world, Falstaff did not prove to be as popular as earlier works in the composer's canon. After the initial performances in Italy, other European countries and the US, the work was neglected until the conductor Arturo Toscanini insisted on its revival at La Scala and the Metropolitan Opera in New York from the late 1890s into the next century. Some felt that the piece suffered from a lack of the full-blooded melodies of the best of Verdi's previous operas, a view strongly contradicted by Toscanini. Conductors of the generation after Toscanini to champion the work included Herbert von Karajan, Georg Solti and Leonard Bernstein. The work is now part of the regular operatic repertory. ~ Verdi made numerous changes to the music after the first performance, and editors have found difficulty in agreeing on a definitive score. The work was first recorded in 1932 and has subsequently received many studio and live recordings. Singers closely associated with the title role have included Victor Maurel (the first Falstaff), Mariano Stabile, Giuseppe Valdengo, Tito Gobbi, Geraint Evans, Bryn Terfel and Ambrogio Maestri. ~ Wikipedia: Extended info on this work: http://bit.ly/3iSfpoA Wikipedia: Extended biography: https://bit.ly/3JPtvPs *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed to: Urania - Urn 22. 176

🎻 Enjoy the music. Please Follow, like & Comment, this is immensely appreciated 🎻 Composition Year: 1874 First Performance: 1874-04-05 in Vienna: Theater an der Wien Performers: Philharmonia Orchestra & Chorus • Herbert von Karajan - Conductor Recorded: 1955, Recording quality: High, historical recording ~ Cast: Rosalinde - Elisabeth Schwarzkopf Adele - Rita Streich Gabriel von Eisenstein - Nicolai Gedda Alfred - Helmut Krebs Dr. Falke - Erich Kunz Orlofsky - Rudolf Christ Frank - Karl Dönch Dr. Blind - Erich Majkut Frosch - Franz Böheim Ida - Luise Martini ~ ACT I. 1. Orchester - Ouvertuere 2. Taeubchen, das entflattert ist 3. Hahahaha! 4. Ich muss mir fuer heute abend Ausgang erschwindeln! 5. Ach, ich darf nicht hin zu dir! 6. Wie gluecklich die alte Tante ist 7. Nein, mit solchen Advokaten 8. Beruh'ge endlich diese Wut 9. Rekurrieren. Appellieren 10. Also, noch verschaerft die Strafe? 11. Komm mit mir zum Souper 12. Ja, was ist denn los? Ihr tanzt und singt? 13. So muss allein ich bleiben 14. Er weint und tanzt zugleich 15. Trinke, Liebchen, trinke schnell 16. Mein Herr, was daechten Sie von mir 17. Nein, nein, ich zweifle gar nicht mehr ~ ACT II. 18. Ein Souper heut' uns winkt 19. Amuesement! Amuesement! 20. Ich lade gern mir Gaeste ein 21. Das sind allerdings 22. Ach, meine Herren und Damen 23. Mein Herr Marquis, ein Mann wie Sie 24. Na, Herr Marquis 25. Wie fliehen schnell die Stunden fort 26. Es ist also wirklich wahr 27. Dieser Anstand, so manierlich 28. Haha, lieber Marquis 29. Klaenge der Heimat! 30. Ausgezeichnet, bravo! 31. Im Feuerstorm der Reben. 32. Herr Chevalier, ich gruesse Sie! 33. Genug damit, genug! ~ ACT III. 34. Entracte 35. Hallo, also das is ein fideles Gefangnis 36. Hahaha, da bin ich wieder in meinem Palais 37. Ah, der Herr Direktor ist scho da! 38. Spiel' ich die Unschuld vom Lande 39. Bravo, ganz entzueckend! 40. Ich stehe von Zagen 41. Da Sie alles wisen nun 42. Du wagst es, mir Vorwuerfe zu machen 43. O Fledermaus, o Fledermaus ~ Work: Die Fledermaus, The Flittermouse or The Bat, sometimes called The Revenge of the Bat) is an operetta composed by Johann Strauss II to a German libretto by Karl Haffner and Richard Genée, which premiered in 1874. ~ Background: The original literary source for 'Die Fledermaus' was 'Das Gefängnis (The Prison), a farce' by German playwright Julius Roderich Benedix that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, Le Réveillon, loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal.] Meilhac and Halévy had provided several successful libretti for Offenbach and Le Réveillon later formed the basis for the 1926 silent film So This Is Paris, directed by Ernst Lubitsch. The operetta premiered on 5 April 1874 at the Theater an der Wien in Vienna and has been part of the regular repertoire ever since. ~ Wikipedia: Extended biography: https://bit.ly/3SA1xfV ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by RMG Records

🎻 Enjoy the music. Please Follow, like & Comment, this is immensely appreciated 🎻 Composition Year: 1883?-1885 First Performance: 1885 October 24 Performers: Chor & Orchester der Bayerischen Staatsoper München • Franz Alters - Conductor Recorded: 1969 Recording quality: High (1969) ~ Cast: Graf Peter Homonay - Hermann Prey Conte Camera- Wolfgang Anheisser Sandor Barinkay - Nicolai Gedda Kaiman Zsupan - Kurt Böhme Arsena - Rita Streich Mirabella - Gisela Litz Ottokar - Willi Brokmeier Czipra - Biserka Cvejic Saffi - Grace Bumbry ~ 1. Orchester - Ouvertuere ACT I. 2. Das war'klein rechter Schifferknecht; Jeden Tag Mueh'und Plag' Introduktion (3:45) 3. Dialog 4. Als flotter Geist; Ja, das alles auf Ehr' 5. Dialog 6. Wer klopft an meine Tuer; So taeuschte mich die Ahnung nicht 7. Bald wird man dich viel umwerben 8. Zum Reichtum gratulier' ich Euch; Verloren hast du einen Schatz 9. Das schreib dir, Alte, hinter's Ohr 10. Wo bleibt der zweite Zeuge; Ja, das Schreiben und das Lesen 11. Dialog 12. Dem Freier naht die Braut; Ein Freier meldet sich schon wieder 13. Hochzeitskuchen, bitte zu versuchen 14. Ich melde mich als Freier an 15. Dialog 16. So elend und so treu 17. Dialog 18. Arsena! Arsena! 19. O habet acht-Dieses Lied, es durchzieht 20. Wie wechselvoll... 21. Nun zu des boesen Nachbarn Haus 22. Hier in diesem Land Eure Wiege stand 23. Wojwode der Zigeuner 24. Um frech dem Ubermut zu froenen ACT II. 25. Mein Aeug'bewacht bei Tag und Nacht 26. Dialog 27. Ein Greis ist mir im Traum erschienen 28. Seht, es winkt, es blinkt 29. Auf, auf, vorbei ist die Nacht 30. Dialog 31. Wer uns getraut 32. Dialog 33. Her die Hand, es muss ja sein 34. Dialog 35. So voll Froehlichkeit... 36. Noch eben in Gloria... 37. Genug, nicht laenger schweig' ich 38. O welch' ein Glueck 39. Weil ich dich liebe, muss ich Euch verlassen ACT III. 40. Entr'acte 41. Dialog 42. Ein Maedchen hat es gar nicht gut 43. Dialog 44. Von des Tajo Strand 45. Hurra, die Schlacht mitgemacht 46. Dialog 47. Reich ihm die Hand, vertraue dem Zigeuner ~ Work: Der Zigeunerbaron) is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its German libretto by Ignaz Schnitzer is based on the unpublished 1883 story Saffi by Mór Jókai. Jokai later published a novel A cigánybáró (English: The Gypsy Baron) in 1885 using an expanded version of this same story. ~ While an operetta, The Gypsy Baron was a departure from Strauss's earlier more comic and light hearted works; displaying more serious tones both musically and dramatically in what musicologist Andrew Lamb described as "a step in Strauss’s quest for the composition of a genuine opera". During the composer's lifetime, the operetta enjoyed great success internationally. It is considered one of Strauss's three best stage works, along with Die Fledermaus (1874) and Eine Nacht in Venedig (1883). Strauss' work on the operetta was interrupted in autumn 1883 due to nicotine poisoning and fainting fits and he was to recuperate in Franzensbad. Strauss' work on act 3 of the work was also interrupted when his wife Adele was taken ill and the couple left for Ostend. Not until autumn 1885 was the work finally completed, with Schnitzer making various revisions of the libretto to suit Strauss' style of composing which were not present in the latter's previous stage works. ~ Wikipedia: Extended biography: https://bit.ly/3SA1xfV *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed by RMG Records, Russia

🎻 Enjoy the music. Please Follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1807-08 First Performance: 1808-12-22 in Vienna, Theater an der Wien Ad hoc orchestra, Ludwig van Beethoven (conductor) Dedication: F. J. von Lobkowitz and Graf A. von Rasumovsky Performers: Orchestre de la Suisse Romande • Ernest Ansermet - Conductor Recorded: 1958 Recording quality: Medium 'Historical Recording 1958' ~ 00:01 1. Allegro con brio (C minor) 07:37 2. Andante con moto (A♭ major) 17:37 3. Scherzo. Allegro (C minor) - Trio (C major) 31:22 4. Allegro (C major) ~ Work: The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements. ~ History & Development: The Fifth Symphony had a long development process, as Beethoven worked out the musical ideas for the work. The first "sketches" (rough drafts of melodies and other musical ideas) date from 1804 following the completion of the Third Symphony. Beethoven repeatedly interrupted his work on the Fifth to prepare other compositions, including the first version of Fidelio, the Appassionata piano sonata, the three Razumovsky string quartets, the Violin Concerto, the Fourth Piano Concerto, the Fourth Symphony, and the Mass in C. The final preparation of the Fifth Symphony, which took place in 1807–1808, was carried out in parallel with the Sixth Symphony, which premiered at the same concert. ~ Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna by Napoleon's troops in 1805. The symphony was written at his lodgings at the Pasqualati House in Vienna. The final movement quotes from a revolutionary song by Claude Joseph Rouget de Lisle. ~ Wikipedia: Extended biography: https://bit.ly/3HcMHVu ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Public Domain, London Records, 1958.

🎻 Enjoy the music. Please, Subscribe, like & comment, this is immensely appreciated 🎻 Composition Year: 1862–65 First Performance: 1867-02-12 in Basel, Zweite Trio-Soirée Moritz Kahnt (cello), Hans von Bülow (piano) Performers: Matilda Colliard - Cello • Stefano Ligoratti - Piano' Recording quality: High 'Live recording' ~ 1. Allegro non troppo 2. Allegretto quasi Menuetto 3. Allegro ~ Work: The Cello Sonata No. 1 in E minor, Op. 38, entitled "Sonate für Klavier und Violoncello", was written by Johannes Brahms in 1862–65. ~ Background: Brahms composed the first two movements during the summer of 1862, as well as an Adagio which was later deleted. The final movement was composed in 1865. The sonata is entitled "Sonate für Klavier und Violoncello" (for piano and cello) and the piano "should be a partner - often a leading, often a watchful and considerate partner - but it should under no circumstances assume a purely accompanying role". It is dedicated to Josef Gänsbacher, a singing professor and amateur cellist. In the course of a private performance for an audience of friends, Brahms played so loudly that the worthy Gänsbacher complained that he could not hear his cello at all - "Lucky for you, too", growled Brahms, and let the piano rage on. ~It is "a homage to J. S. Bach" and the principal theme of the first movement and of the fugue are based on Contrapunctus 4 and 13 of The Art of Fugue. ~ Brahms performed the sonata in Mannheim in July 1865 and then offered it to Breitkopf & Härtel, who turned it down. He had however also sent the sonata to Simrock describing it, in one of the most mendacious statements made by a major composer about his own work, as "a violoncello sonata which, as far as both instruments are concerned, is certainly not difficult to play", and they published it in 1866. The work was championed in Europe and London by Robert Hausmann. In gratitude, Brahms dedicated his Second Sonata to Hausmann. ~ Wikipedia biography: https://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial 3.0

🎻 Enjoy the music. Please follow, like & comment, this is immensely appreciated 🎻 Cantata BWV 187, Himmelskönig, sei willkommen - Johann Sebastian Bach 'Karl Richter' Composition Year: 1726 in Leipzig First Performance: 1726-08-04 in Leipzig Performers: Maria Friesenhausen - Soprano • Hildegard Laurich - Alto • Wolfgang Schöne - Basso Helmut Koch, Hanspeter Weber (Oboes); Hans Mantels (Bassoon); Hannelore Michel (Continuo Cello); Manfred Gräser (Double-bass); Martha Schuster (Harpsichord, Positive Organ) Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Conductor Dedication: 7th Sunday after Trinity Recorded: München, Herkulessal, 3 & 10/1976; 6/1977 Recording quality: High ~ Part: I 00:01 1. Chorus: Es wartet alles auf dich 05:17 2. Recitative (bass): Was Kreaturen hält, das große Rund der Welt 06:32 3. Aria (alto): Du, Herr, du krönst allein das Jahr ~ Part: II 11:10 4. Aria (bass): Darum sollt ihr nicht sorgen 13:30 5. Aria (soprano): Gott versorget alles Leben 17:21 6. Recitative (soprano): Halt ich nur fest an ihm 19:05 7. Chorale: Gott hat die Erde zugericht ~ Work: Johann Sebastian Bach composed the church cantata Es wartet alles auf dich (Everything waits for You), BWV 187 in Leipzig for the seventh Sunday after Trinity and first performed it on 4. August 1726. The text came from a 1704 libretto cycle published in Meiningen, following a symmetrical pattern in seven movements, which opens with a quotation from the Old Testament, is focused on a central quotation from the New Testament, and ends with a closing chorale. Symmetrical recitatives and arias form the other movements. Bach set the opening as a chorus based on two verses from Psalm 104, set the central movement as a bass solo on a quotation from the Sermon on the Mount, and concluded with two stanzas from Hans Vogel's hymn "Singen wir aus Herzensgrund" in a four-part setting. The arias and recitatives are performed by three vocal soloist. The cantata is scored for a Baroque instrumental ensemble of two oboes, strings and continuo. Bach later used the music from four movements of this cantata for his Missa in G minor, BWV 235. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd ~ ATTRIBUTION Music contained in this video is licensed, Archiv Produktion, Germany

🎻 Enjoy the music. Please, follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1726 in Leipzig First Performance: 1726-08-04 in Leipzig Dedication: 7th Sunday after Trinity Recorded: Gedächtniskirche Stuttgart, September 1976/Januar/April 1977 Performers: Maria Friesenhausen – Soprano • Hildegard Laurich – Alto • Wolfgang Schöne – Basso • Helmut Koch, Hanspeter Weber – Oboe • Hans Mantels – Fagotto • Hannelore Michel – Violoncello • Manfred Gräser – Contrabbasso • Martha Schuster – Organo, Cembalo Gächinger Kantorei • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ Part I 1. Chorus: Es wartet alles auf dich 2. Recitative (bass): Was Kreaturen hält, das große Rund der Welt 3. Aria (alto): Du, Herr, du krönst allein das Jahr ~ Part II 4. Aria (bass): Darum sollt ihr nicht sorgen 5. Aria (soprano): Gott versorget alles Leben 6. Recitative (soprano): Halt ich nur fest an ihm 7. Chorale: Gott hat die Erde zugericht ~ Work: Johann Sebastian Bach composed the church cantata Es wartet alles auf dich (Everything waits for You), BWV 187 in Leipzig for the seventh Sunday after Trinity and first performed it on 4. August 1726. The text came from a 1704 libretto cycle published in Meiningen, following a symmetrical pattern in seven movements, which opens with a quotation from the Old Testament, is focused on a central quotation from the New Testament, and ends with a closing chorale. Symmetrical recitatives and arias form the other movements. Bach set the opening as a chorus based on two verses from Psalm 104, set the central movement as a bass solo on a quotation from the Sermon on the Mount, and concluded with two stanzas from Hans Vogel's hymn "Singen wir aus Herzensgrund" in a four-part setting. The arias and recitatives are performed by three vocal soloist. The cantata is scored for a Baroque instrumental ensemble of two oboes, strings and continuo. Bach later used the music from four movements of this cantata for his Missa in G minor, BWV 235. ~ Bach Cantatas website: https://www.bach-cantatas.com/ ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

🎻 Enjoy the music. Please follow, like and comment, this is immensely appreciated 🎻 Composition Year: 1884–85 First Performance: 1885-10-25 Meiningen Performers: Performers: Czech National Symphony Orchestra • "Libor Pešek - conductor" Recorded: 2012 Recording quality: High ~ 1. Allegro non troppo 2. Andante moderato 3. Allegro giocoso 4. Allegro energico e passionato ~ Work: The Symphony No. 4 in E minor, Op. 98 by Johannes Brahms, is the last of his symphonies. Brahms began working on the piece in Mürzzuschlag, then in the Austro-Hungarian Empire, in 1884, just a year after completing his Symphony No. 3. It was premiered on October 25, 1885 in Meiningen, Germany. During the summers of 1884 and 1885, Brahms composed his Symphony No. 4, working secretly in a quiet Austrian town in the Alps as was his usual practice. Despite the beautiful surroundings and his widespread success (he was generally regarded as Germany’s greatest living composer), the work that emerged would be one of the darkest symphonies in the repertoire. ~ Wikipedia's biography: https://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0 / CNSO

🎻 Enjoy the music. Please follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1724 in Leipzig First Performance: 1724-05-21 in Leipzig Dedication: 6th Sunday after Easter (Exaudi) Performers: Edith Mathis - Sopran • Anna Reynold - Alt • Dietrich Fischer-Dieskau - Bas • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Conductor Recorded: München, Herkulessaal, 10/1973; 1&2/1974; 1/1975 Recording quality: High ~ 1. Duet (tenor, bass): Sie werden euch in den Bann tun 2. Chorus: Es Kömmt aber die Zeit 3. Aria (alto): Christen müssen auf der Erden 4. Choral (tenor): Ach Gott, wie manches Herzeleid 5. Recitativo (bass): Es sucht der Antichrist 6. Aria (soprano): Es ist und bleibt der Christen Trost 7. Chorale: So sei nun, Seele, deine ~ Work: Sie werden euch in den Bann tun (They will put you under banishment), BWV 44, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Exaudi, the Sunday after Ascension, and first performed it on 21 May 1724. ~ History and words: Bach wrote the cantata in his first year in Leipzig for the Sunday Exaudi, the Sunday after Ascension. The prescribed readings for the Sunday were from the First Epistle of Peter, "serve each other" (1 Peter 4:8–11), and from the second Farewell discourse in the Gospel of John, the promise of the Paraclete, the "Spirit of Truth", and the announcement of persecution (John 15:26–16:4). The unknown poet begins with a quotation from the Gospel. One year later, poet Christiana Mariana von Ziegler would begin her cantata text for the same occasion, Sie werden euch in den Bann tun, BWV 183, with the same quotation, but other than that, the two works have little in common. The poet reflects the persecution of the Christians,[1] confirmed by a chorale as movement 4, the first stanza of Martin Moller's "Ach Gott, wie manches Herzeleid". In movement 5 the poet gives a reason, the Antichrist even thinking to work for God by fighting the Christians and their teaching. In movement 6, the suffering ones are promised God's help. The closing chorale is the final stanza of Paul Fleming's "In allen meinen Taten". ~ Bach first performed the cantata on 21 May 1724. It is the last original cantata composition of his first annual cycle, followed by reworkings of older music until the beginning of the second annual cycle of chorale cantatas on the first Sunday after Trinity. ~ Extended info on Bach and his work: https://www.bach-cantatas.com/ ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed to: Archiv Produktion, Germany.

🎻 Enjoy the music. Please follow, like & comment this is immensely appreciated 🎻 Composition Year: 1883 First Performance: 1883-12-2 in Vienna: Musikvereinssaal, 2. Philharmonisches Konzert Vienna Philharmonic, Hans Richter - conductor Performers: Performers: Czech National Symphony Orchestra • "Libor Pešek - conductor" Recorded: 2012 Recording quality: High ~ 00:01 1. Allegro con brio 10:05 2. Andante 18:54 3. Poco allegretto 25:04 4. Allegro ~ Work: Symphony No. 3 in F major, Op. 90, is a symphony by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim, Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and Piano Concerto No. 2. ~ The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 35 and 40 minutes. After each performance, Brahms polished his score further, until it was published in May 1884. ~ Wikipedia: Extended biography: http://bit.ly/3HaRUQT Wikipedia's biography: https://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0

🎻 Enjoy the music. Please follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1726 in Leipzig First Performance: 1726-06-23 in Leipzig Dedication: 1st Sunday after Trinity Recorded: München, Herkulessaal, 1&3/1974; 1/1975 Recording quality: High Performers: Edith Mathis - Sopran • Anna Reynold - Alt • Dietrich Fischer-Dieskau - Bas • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Conductor ~ Prima parte 1. Chorus: Brich dem Hungrigen dein Brot 2. Recitativo (bass): Der reiche Gott 3. Aria (alto): Seinem Schöpfer noch auf Erden Seconda parte 4. Aria (bass): Wohlzutun und mitzuteilen vergesset nicht 5. Aria (soprano): Höchster, was ich habe 6. Recitativo (alto): Wie soll ich dir, o Herr 7. Chorale: Selig sind, die aus Erbarmen Work: Johann Sebastian Bach composed the church cantata Brich dem Hungrigen dein Brot ("Break with hungry men thy bread" or "Give the hungry ones thy bread", BWV 39, in Leipzig and first performed on 23 June 1726, the first Sunday after Trinity that year. Three years earlier, on the first Sunday after Trinity in 1723, Bach had taken office as Thomaskantor and started his first cycle of cantatas for Sundays and Feast Days in the liturgical year. On the first Sunday after Trinity in 1724, he began his second cycle, consisting of chorale cantatas. The cantata Brich dem Hungrigen dein Brot is regarded as part of Bach's third cantata cycle, which was written sporadically between 1725 and 1727. ~ The text of the cantata is taken from a 1704 collection of librettos from Meiningen, many of which had been set to music in the cantatas of Bach's distant cousin Johann Ludwig Bach, Kapellmeister at Meiningen. The librettos have been attributed to his employer, Duke Ernst Ludwig von Sachsen-Meiningen. The symmetrical structure of seven movements is typical for this collection: the opening quotation from the Old Testament, followed by a recitative and an aria; then the central quotation from the New Testament, followed by an aria and a recitative, leading into the final chorale. Theme of BWV 39 is an invocation to be grateful for God's gifts and to share them with the needy. ~ Extended info on Bach and his work: https://www.bach-cantatas.com/ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to Archiv Produktion, Germany.

🎻 Enjoy the music. Feel free to, follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1877 First Performance: 1877-12-30 Vienna Performers: Czech National Symphony Orchestra Dedication:~ Recorded: 2012 Recording quality: High ~ 1. Allegro non troppo 2. Adagio non troppo 3. Allegretto grazioso (quasi andantino) 4. Allegro con spirito ~ Work: Symphony No. 2 in D major, Op. 73, was composed by Johannes Brahms in the summer of 1877, during a visit to Pörtschach am Wörthersee, a town in the Austrian province of Carinthia. Its composition was brief in comparison with the 21 years it took Brahms to complete his First Symphony. ~ The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. ~ The cheery and almost pastoral mood of the symphony often invites comparisons with Beethoven's Sixth Symphony, but, perhaps mischievously, Brahms wrote to his publisher on 22 November 1877 that the symphony "is so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning." The premiere was given in Vienna on 30 December 1877 by the Vienna Philharmonic under the direction of Hans Richter; Walter Frisch notes that it had originally been scheduled for 9 December, but "in one of those little ironies of music history, it had to be postponed [because] the players were so preoccupied with learning Das Rheingold by Richard Wagner." A typical performance lasts between 40 and 50 minutes. ~ Wikipedia: Extended biography: http://bit.ly/3kbFPC0 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0

🎻 Enjoy the music. Feel free to, follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1831 First Performance: 1831-03-06 in Milan, Teatro Carcano Performers: Cesare Siepi - IL Conte Rodolfo • Anna Maria Anelli - Teresa • Lina Pagliughi - Amina • Ferruccio Tagliavini - Elvino • Wanda Ruggeri - Lisa • Pier Luigi Latinucci - Alessio • Armando Benzi - Un Notaro • Orchestra Sinfonica di Torino della Rai • Franco Capuanna - Conductor. Recorded: 1952, Torino Recording quality: Medium ~ ACT I. 1. Coro d'Introduzione - Viva Amina! 2. Recitativo e Cavatina - Care compagne, e voi... Sovra il sen la man mi posa 3. Recitativo - Io più di tutti 4. Recitativo e Duetto - Perdona, o mia diletta... Prendi: l'anel ti dono 5. Recitativo e Cavatina - Domani, appena aggiorni... Vi ravviso, o luoghi ameni... Tu non sai con quei begli occhi 6. Recitativo e Coro - Contezza del paese... A fosco cielo 7. Recitativo e Duetto - Basta così... Son geloso del zefiro 8. Scena - Finale Primo - Davver, non mi dispiace 9. Recitativo e Duetto - Che veggio? Saria forse... Oh, ciel! che tento? 10 Quintetto - È menzogna! 11. Stretta del Finale Primo - Non più nozze ~ ACT II. 1. Coro d'Introduzione - Qui la selva è più folta 2. Scena ed Aria - Reggimi, o buona madre... Pasci il guardo e appaga l'alma 3. Quartetto - E fie pur vero, Elvino... Signor conte, agli occhi miei 4. Scena ed Aria Finale - Signor?... che creder deggio 5. Ah! non credea mirarti 6. Ah! non giunge ~ Work: La sonnambula (The Sleepwalker) is an opera semiseria in two acts, with music in the Bel Canto tradition by Vincenzo Bellini set to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime written by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur. The ballet had premiered in Paris in September 1827 at the height of a fashion for stage works incorporating somnambulism. The role of Amina was originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubini, but during Bellini's lifetime another soprano sfogato, Maria Malibran, was a notable exponent of the role. The first performance took place at the Teatro Carcano in Milan on 6 March 1831. The majority of twentieth-century recordings have been made with a soprano cast as Amina, usually with added top-notes and other changes according to tradition, although it was released in soprano sfogato voice (not to be confused with the modern mezzo, nonexistent at the time) who sang soprano and contralto roles unmodified. The phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I did not believe you would fade so soon, oh flower") from Amina's final aria is inscribed on Bellini's tomb in the Catania Cathedral in Sicily. Returning to Milan after the I Capuleti e i Montecchi performances in March 1830, little occurred until the latter part of April when Bellini was able to negotiate a contract with both the Milan house for the autumn of 1831 and another for the 1832 Carnival season at La Fenice in Venice; these operas were to become Norma for La Scala and Beatrice di Tenda for Venice. Writing to his uncle in Sicily, the composer reported that "I shall earn almost twice as much as if I had composed [only for the Venetian impresario]". Source: wikipedia Extended info on this work: https://bit.ly/3obA0DQ Biography: Vincenzo Salvatore Carmelo Francesco Bellini 3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before'." After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33. ~ Extended biography: https://bit.ly/3Ikd5O5 ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION The music is licensed under creative commons' attribution noncommercial no derivatives 3.0. Attributable to: Cetra art Recording / Fonit Cetra