#ClassicalComposer

[opera-ghosts]

Pol Plancon (Bass) - Cantique de Noel (Adam) (1906)

Pol Plançon sings 'Cantique de Noel,' recorded by Victor in New York on 23 January 1906.

Pol Henri Plançon (12 June 1851 – 11 August 1914) was a French operatic bass (basse chantante). He was one of the most acclaimed singers active during the 1880s, 1890s and early 20th century—a period often referred to as the 'Golden Age of Opera.'

In addition to being among the earliest international opera stars to have made recordings, he was a versatile singer who performed roles ranging from Sarastro in Mozart's The Magic Flute to the core bass roles by Meyerbeer, Gounod, Verdi and Wagner, among others.

He was renowned for his legato singing as well as for his diction, tone, intonation, and mastery of ornaments and fioriture.

“O Holy Night” (“Cantique de Noël”) is a well-known Christmas carol composed by Adolphe Adam in 1847 to the French poem “Minuit, chrétiens” by Placide Cappeau (1808-1877), a wine merchant and poet. Cappeau was asked to write a Christmas poem by a parish priest. It has become a standard modern carol for solo performance with an operatic finish.

In the carol, the singer recalls the birth of Jesus. It was translated into English by Unitarian minister John Sullivan Dwight, editor of Dwight's Journal of Music in 1855, and lyrics also exist in other languages.

On 24 December 1906, Reginald Fessenden, a Canadian inventor, broadcast the first AM radio program, which included him playing “O Holy Night” on the violin. The carol therefore appears to have been the first piece of music to be broadcast on radio. It later appeared in an edition of carols by Josiah Armes, published by Oxford in 1936, subsequently increasing its popularity.

[otongo-social]

Joseph Haydn, known as the 'Father of the Symphony,' made significant contributions to classical music in the 18th century. His works laid the foundation for future composers and reflected a buoyant, optimistic spirit amidst the emerging classical era. Fellow of the Viennese court, he fostered collaboration between musicians and shaped the symphonic form.. Visit www.OTONGO.net for more information.

[radsiarai]

Ludwig van Beethoven Trio In C Minor, Op 9, No 3 For Violin, Viola And Cello (1951)

Publication date 1951

JULIUS BAKER, Flute JOSEPH FUCHS, Violin + LILLIAN FUCHS, Viola + HARRY FUCHS, Cello

Ludwig van Beethoven's Trio in C Minor, Op. 9, No. 3 for Violin, Viola, and Cello is a masterful chamber music composition that showcases Beethoven's innovative approach to classical music. Composed in 1798, this trio is part of a set of three trios, Op. 9, which represent a significant leap in Beethoven's development as a composer, marking the transition from his early works to the more mature and groundbreaking compositions for which he is renowned.

The Trio in C Minor, Op. 9, No. 3 is structured in four movements, a common format for classical chamber music of this era. The first movement, marked Allegro con spirito, introduces the listener to the dramatic and passionate nature of the piece. Beethoven's use of chromaticism and harmonic tension creates a sense of urgency and emotional depth, setting the tone for the rest of the work.

The second movement, Adagio con espressione, provides a contrast to the intensity of the first movement. Here, Beethoven showcases his capacity for lyrical and expressive melodies, allowing each instrument to shine in its own right while maintaining a sense of unity within the trio.

The third movement, Scherzo: Allegro molto e vivace, injects a lively and playful energy into the composition. Beethoven's rhythmic drive and dynamic interplay between the instruments demonstrate his mastery of form and structure, captivating the listener with its spirited and dance-like character.

Finally, the trio concludes with the fourth movement, Finale: Presto, which brings the work to a thrilling and exhilarating close. Beethoven's use of virtuosic passages and contrapuntal writing highlights the technical prowess of the performers while delivering a powerful and satisfying conclusion to the musical journey.

Throughout the Trio in C Minor, Op. 9, No. 3, Beethoven's compositional innovation is evident. He pushes the boundaries of classical chamber music, experimenting with form, harmony, and expression to create a work that is both emotionally compelling and intellectually stimulating. The trio's exploration of the C minor key, known for its dramatic and melancholic qualities, adds an additional layer of depth and complexity to the composition, further showcasing Beethoven's ability to evoke a wide range of emotions through his music.

In conclusion, Ludwig van Beethoven's Trio in C Minor, Op. 9, No. 3 for Violin, Viola, and Cello stands as a testament to Beethoven's genius and his enduring impact on the development of classical music. Its combination of emotional depth, technical brilliance, and innovative spirit cements its place as a cornerstone of the chamber music repertoire, captivating audiences with its timeless beauty and profound musical expression.

[lesdupont]

Schubert Trio is on the THE FRIDGE EP1 (DIGITAL EP) 2012 LYS 023

[curiositydidnotkillthecat2]

Among the most intriguing superstitions linked to classical music is the “Curse of the Ninth,” which suggests that some of the most famous 19th-century composers died after writing their ninth symphony. This legend stems from a series of coincidences involving great musicians throughout history.

The myth originated with Ludwig van Beethoven, who passed away shortly after completing his Ninth Symphony, widely regarded as one of the greatest masterpieces in Western music. This work, considered the pinnacle of his artistic career, helped establish the belief that the ninth symphony represented a fatal limit for composers.

The legend gained further traction with the story of Gustav Mahler, an Austrian composer known for his superstition. Hoping to evade the curse, Mahler chose not to number one of his works after his Eighth Symphony, instead titling it “The Song of the Earth.” However, after completing his actual Ninth Symphony, he began working on the Tenth, which remained unfinished due to his death.

Other composers have also contributed to the legend, such as Franz Schubert, who died at just 31 years old, Louis Spohr, a pioneer in orchestral conducting, and Antonín Dvořák, whose Ninth Symphony became famous as the soundtrack for the first moon landing. These and other examples have perpetuated the mystique surrounding the “Curse of the Ninth.”

[ourmindonmusicpodcast]

Lewis Gill: Inside the Mind of a Modern Classical Composer | Our Mind on Music Podcast https://youtu.be/Z_RLP-UUAYA?si=MmiKLh_ZP2Jrr30c YouTube #lewisgill #classicalcomposer #creativeprocess muz4now #drawingdrumming #CanFilmFest 

[blogdimitrikov]

An Immigrant in New York - Introduction

FYC!

With this album, a real life story, I wanted to put a name to one of those millions of nameless immigrants, who were able to achieve their dream for freedom, and along the way helped others achieve theirs too.

The album could not have been done without the creative force of the following musicians, thank you, you've been Amazing!

Violin & Viola: Konstantin Dimitrov

Cello: Tess Remy-Schumacher

Flute: Emma Koi

Clarinet: Seok Hee

Oboe: Jamie Strefeler

Piano: Kitt Wakeley

Saxophone: Suzanne Grzanna

Acoustic Guitar: Van Galen

Kaval: Angel Zhekov

Percussion: Ferenc Nemeth

Sound engineers:

Sax tracks: Mason Mazziotti

Cello tracks: Christina Giacona,

Patrick Conlon

Orchestration: Roumi Petrova

Mixing, Mastering: John Valeri

Winner of the “Osella Award” - International Venice Film Festival, Italy.

Digital Media: dimitrik.hearnow.com/an-immigrant-in-new-york

#fyc #grammys #classicalmusic #classicalcomposer #newagemusic #contemporarymusic #DimitriK. #LiteLoungeWithDimitriK.

[p-tchaikovsky]

Eugene Onegin is fucking revolutionary… that’s it that’s the post

[jacquesrautenbach]

#Christmas Fun 😜 #jacquesrautenbach #music #classicalmusic #instrumental #musician #artist #composer #classicalcomposer #spotify #spotifyartists #film #filmcomposer (at Cape Town, Western Cape) https://www.instagram.com/p/Cmv42PIIDva/?igshid=NGJjMDIxMWI=

[cmigarette]

"Elvirian megan" concertno no.21 in c minor by wolfgang mozart can never be enjoyed by me.

Why? because i watched 'little eignsteins' as an kid and now all i can think about as i listen to it is an one eyes monster who only speaks in that song wanting to rescue his friends and having to ride the notes to get to them.

[silhouettes-of-silence]

Nocturnal animals.

[radsiarai]

Ludwig van Beethoven Serenade In D Major, Op 25 For Flute, Violin And Viola (1951)

Publication date 1951

JULIUS BAKER, Flute * JOSEPH FUCHS, Violin + LILLIAN FUCHS, Viola + HARRY FUCHS, Cello

"Ludwig van Beethoven Serenade In D Major, Op. 25 For Flute, Violin And Viola" is a remarkable chamber music piece composed by the iconic Ludwig van Beethoven. Composed in 1801, this serenade is a testament to Beethoven's mastery of classical forms and his ability to innovate within the constraints of traditional structures. The work is scored for flute, violin, and viola, making it a delightful showcase of the interplay between these three instruments.

The serenade is divided into four movements, each with its own distinctive character and musical themes. The opening movement, marked "Entrata: Allegro," introduces the listener to a lively and spirited theme that sets the tone for the entire work. The flute, violin, and viola engage in a playful dialogue, showcasing Beethoven's skill in writing for chamber ensembles.

Following the opening movement, the piece transitions into a graceful and lyrical "Tempo ordinario d'un Menuetto" (Menuetto) movement. This movement, in ternary form, demonstrates Beethoven's ability to infuse elegance and charm into his compositions. The interplay between the flute, violin, and viola creates a sense of intimacy and camaraderie, drawing the listener into the musical conversation.

The third movement, "Allegro molto," serves as a vibrant and energetic contrast to the preceding movement. Beethoven's use of rhythmic drive and dynamic contrasts adds excitement and vigor to the serenade, showcasing his ability to create engaging and spirited music within the chamber music genre.

The final movement, "Andante con Variazioni," presents a series of variations on a beautiful theme, allowing each instrument to shine in its own right while maintaining a cohesive musical narrative. Beethoven's inventive variations highlight the expressive capabilities of the flute, violin, and viola, leaving a lasting impression on the listener.

Overall, "Ludwig van Beethoven Serenade In D Major, Op. 25 For Flute, Violin And Viola" stands as a testament to Beethoven's compositional prowess and his ability to craft engaging and expressive music for chamber ensembles. The work's blend of elegance, vitality, and innovation continues to captivate audiences, cementing its status as a timeless masterpiece in the chamber music repertoire.

[yanadeer]

Just a rubber

[shaleemanjum]

I breath

[jmdcollosum-blog]

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This is one of my favorite movies. Makes you really think. We really have nothing to complain about. #AdrienBrody #ThePianist "💔 . . . #mozart #chopin #bach #beethoven #brahms #tchaikovsky #liszt #debussy #rachmaninoff #schubert #talentedmusicians #classicalmusiccover #ピアニスト #classicalpiano #classicalpianocovers #インスタピアノ同好会 #classicalcomposer #pianocover #pianist #pianoconcert #virtuoso #pianosolo #EvgenyKissin #pianoplayer #pianolove #DaniilTrifonov #ValentinaLisitsa #VladimirHorowitz #MarthaArgerich #DanielBarenboim" (at South Gate, California) https://www.instagram.com/p/B0nQK23A9Ro/?igshid=157451fzgxx3x