#ALLEGRO CANTABILE

[hotchology]

i just discovered that you like kpop, what are your faves groups? 👁️👄👁️

i really, really like nature! more for members than the music but the music is very... different every time! experimental! i rec girls and im so pretty, maybe a little dream about u or allegro cantabile :p

outside of nature!!! musically i really enjoy loona, gwsn, stayc, snsd, red velvet, fx, yena, day6 and a million other groups and i would sit here and list every one but thatd be irritating for everyone i think :')

[lesser-known-composers]

Maria Hester Park (1760~1813) - Piano Sonata in E-flat major, Op. 4 No. 2

00:00 I. Allegretto 05:04 II. Andante e cantabile 07:26 III. Rondo : allegro

Piano : Patrick Hawkins

[best-habsburg-monarch]

For reference, here is a bit of each:

Mozart:

Haydn:

Strauss the Elder:

Schubert:

[beyourselfchulanmaria]

Best of Adagios (compilation) - Classical Music Gems

Performers

(1) Tbilisi Symphony Orchestra (2) Chamber Orchestra Saint Petersburg (3) Saint Petersburg Radio and TV Symphony Orchestra (4) Novosibirsk Symphony Orchestra (5) Saint Petersburg Orchestra of the State Hermitage Museum Camerata (6) Lithuanian Chamber Orchestra (7) Chamber Orchestra Renaissance (8) Saint Petersburg Orchestra Classic Music Studio (9) Elisso Bolkvadze

𝐏𝐋𝐀𝐘𝐋𝐈𝐒𝐓

00:00:00 Samuel Barber - Adagio for Strings (arr. from Quartet for Strings, Op. 11) (1) 00:03:07 Tomaso Albinoni - Adagio in G Minor (2) 00:12:16 Sergei Rachmaninoff - Symphony No. 2, Op. 27 Part: III. Adagio (1) 00:15:18 Max Bruch - Violin Concerto No. 1 in G Minor, Op. 26 Part: II. Adagio (3) 00:17:55 Edvard Grieg - Piano Concerto in A Minor, Op. 16 Part: II. Adagio (1) 00:20:57 Franz Joseph Haydn - Symphony No. 92 in G Major "Oxford“ Part: II. Adagio cantabile (4) 00:23:26 Wolfgang Amadeus Mozart - A Musical Joke, K. 522 Part: III. Adagio cantabile (5) 00:26:02 Felix Mendelssohn - Symphony No. 3, Op. 56 Part: III. Adagio cantabile (1) 00:30:00 Sergei Rachmaninoff - Piano Concerto No. 3 in D Minor, Op. 30 Part: II. Intermezzo, Adagio (1) 00:32:32 Robert Schumann - Symphony No. 2 in C Major, Op. 61 Part: III. Adagio espressivo (3) 00:36:08 Franz Joseph Haydn - Symphony No. 44 in E Minor "Funeral" Part: III. Adagio (6) 00:38:34 Alessandro Marcello - Oboe Concerto in D Minor, S. Z799 Part: II. Adagio (7) 00:42:40 Wolfgang Amadeus Mozart - Piano Concerto No. 23 in A Major, K. 488 Part: II. Adagio (8) 00:48:35 Georg Friedrich Händel - Water Music, Suite in F Major, HWV 348 Part: II. Adagio E Staccato (3) 00:51:19 Antonio Vivaldi - The Four Seasons - Violin Concerto in G Minor, RV 315, “Summer” Part: II. Adagio - Presto (3) 00:53:39 Franz Joseph Haydn - Symphony No. 101 in D Major, Hob. I:101 Part: I. Adagio - Presto (3) 01:01:12 Mikhail Glinka - Ruslan and Lyudmila, Act III, No. 15 Dances Part: II. Adagio (3) 01:05:01 Pyotr Ilyich Tchaikovsky - Symphony No. 6 in B Minor, Op. 74 "Pathétique" Part: I. Adagio - Allegro non troppo (1) 01:23:56 Johannes Brahms - Symphony No. 1 in C Minor, Op. 68 Part: IV. Adagio - Allegro non troppo - ma con brio (1) 01:41:51 Ludwig van Beethoven - Piano Sonata No. 14, Op. 27 No. 2 ''Moonlight'' Part: I. Adagio Sostenuto (8)

[suigenerisstuff]

The Culmination of a Solemn Musical Triptych: A Critique of W.A. Mozart's Symphony No. 41 (Jupiter)

by @suigenerisstuff

In June 1788, the Austrian composer Wolfgang Mozart wrote the following letter to his friend and masonic brother, Michael Puchberg, from behind a newly won minor position, subordinate to the authority of Antonio Salieri's Kapellmeister at the court of Joseph II:

"I still owe you eight ducats. Apart from the fact that at the moment I'm not in a position to pay you back this amount, my trust in you is so boundless that I dare to beg you to help me with a hundred guilders until the next week, when my shows will start at the Casino."

This is just one of many indications of the idea of an economic failure that would haunt him throughout his life, as well as a mark in the construction of a historical persona of the 'eternal prodigy', always at the mercy of fraternal intervention and ready to live a bohemian, inconsequential life. This image, however - despite the indefensible impudence in life and the scatology left behind in his works - becomes increasingly false - as a persona should be - when we turn our imagination to that summer. In addition to his frequently affected health and mounting debts, we notice the absence of a main figure in his life: Leopold, a later frequent patient of musicologists and psychoanalysts, kept in limbo between a fierce disciplinarian of a shining musical power - almost a co-owner of other people's genius -and a calculating and opportunistic manipulator of his son's talents. This dichotomy allows us to return to Mozart's stylistic choices in his mature period, as well as the consequences for his finances and the legacy of his entire oeuvre. It is necessary, at this point in the reading, to beware of the anachronism of a historical excerpt in which the vast majority of public exhibitions of concerts and instrumental pieces took place in the midst of the effervescence of a court hall, that is, played in the midst of the libertinism of an audience that saw the orchestra as a secondary element of a larger event. In this conception, either numerosity or practicality became the rule for an artist's prosperity. Impunity would not come to the young man from Salzburg, and his father would soon warn him in 1778:

"If you don't have any students at the moment, then write more, even if you sell your work for a lower price; for God's sake, you need to make yourself known. But write something short, easy, popular. Ask a publisher they'd like - maybe easy quartets for two violins, viola and basso. Do you think you'd be demeaning yourself by doing things like that? Not at all […]"

The preoccupation nevertheless tested the musician through his commercial inabilities over the years, bringing out for many the most remarkable trait of the composer who, with a certain frequency, revisited the ideal balance between the pleasant and the disruptive, the first factor being defined by the cruel reality; he would not always be a composer, but also an entertainer, an agent of himself and, in some way, a man whose father would expect constancy and reverence for the Austrian tradition. The second, fatally influenced by Masonic and Parisian academics - like his contemporary Rousseau - would ensure that he "equated existential allegories with the destinies of psyches and societies thrown into change", in the words of Patrick Mackie. With this interpretation, in the summer of 1788, Mozart wrote his last three symphonies in less than two months, the functional examples of his zeitgeist. Especially the last one, the 'Jupiter' symphony, coined after the fact thanks to the opulence of the god who appears throughout the piece in heroic motifs, but which, in reflection of the time, crowns fluidity in balance, It has its own contrapuntal style built on the contrasting themes of the first movement - sonata-allegro - which develop and resolve in the recapitulation, followed by a lyrical andante cantabile with dramatic episodes, ending with the energetic character of a minuet and trio in the third movement, nostalgic for the explosiveness of the first. In the fourth movement we are faced with the most famous kaleidoscope of an era in transformation, the end of a great achievement from the perspective of a definitive enlightenment that would permeate the social and therefore cultural relations of this time as a fusion between harmonic manifestations and the construction of independent voices in a unique phrasing of the classical period.

[amadea-nachtmusik]

A Musical Joke (German: Ein musikalischer Spaß) K. 522, (divertimento for two horns in F, and string quartet) is a composition by Wolfgang Amadeus Mozart; he entered it in his Verzeichnis aller meiner Werke (Catalogue of All My Works) on 14 June 1787. Commentators have opined that the piece's purpose is satirical – that "[its] harmonic and rhythmic gaffes serve to parody the work of incompetent composers" – though Mozart himself is not known to have revealed his actual intentions.

The title A Musical Joke might be a poor rendering of the German original: Spaß does not necessarily connote the jocular, for which the word Scherz would more likely be used. In Fritz Spiegl's view, a more accurate translation would be Some Musical Fun

The sometimes-mentioned nicknames Dorfmusikantensextett ("village musicians' sextet") and Bauernsinfonie ("farmers' symphony") were added after Mozart's death; these names ridicule the players more than inept composers.

Structure and compositional elements

The piece consists of four movements and takes about 20 minutes to perform.

Allegro (sonata form), F major

Menuetto and trio, F major (trio in B♭ major)

Adagio cantabile, C major

Presto (sonata rondo form), F major

Compositorial comedic devices include:

secondary dominants replacing necessary subdominant chords;

dissonance in the horns;

parallel fifths

whole-tone scales in the violin's high register;

clumsy orchestration, backing a thin melodic line with a heavy, monotonous accompaniment in the last movement;

going to the wrong keys for a sonata-form structure (the first movement, for example, never succeeds in modulating to the dominant, and simply jumps there instead after a few failed attempts);

starting the slow movement in the wrong key (G major instead of C major);

a pathetic attempt at a fugato, also in the last movement.

The piece is notable for one of the earliest known uses of polytonality (though not the earliest, being predated by Heinrich Ignaz Franz Biber's Battalia), creating the gesture of complete collapse at the finale. This may be intended to produce the impression of grossly out-of-tune string playing, since the horns alone conclude in the tonic key. The lower strings behave as if the tonic has become B♭, while the violins and violas switch to G major, A major and E♭ major, respectively.

[hyoyawns]

Alex or Alexandra if you want to have more fun for the playlist 💕💞

A - Allegro Cantabile by Nature

L - Ladies by Nine Muses

E - Excuse Me by BESTIE

X - X Song by BOL4 (this one took FOREVER)

A - A Bad Thing by Purfles

N - NomNomNom by Wa$$up

D - Don't Believe by Berry Good

R - Restless by Melody Day

A - Archangels of the Sephiroth by Stellar

[rafiknyclassical]

Keith Emerson - Piano Concerto No. 1

Composer: Keith Emerson (1944 - 2016) Performed by the London Philharmonic Orchestra Appears on the Emerson, Lake, and Palmer album "Works Volume 1" (1977) I. First Movement: Allegro giojoso II. Second Movement: Andante molto cantabile III. Third Movement: Toccata con fuoco

[buffleheadcabin]

Tabea Debus - Telemann Sonata in C, TWV 41 C2 i Cantabile, ii Allegro

[supercantaloupe]

song shuffle game!

rules: shuffle your "on repeat" playlist and post the first ten tracks, then tag 10 people

tagged by @lonelyroommp3 (ty!) except i uh. don't really have an "on repeat playlist." the closest thing i have i guess is my oboe playlist which i haven't really listened to since finals but. i'll just go with that i guess

kozeluch, concerto for oboe in f maj, mvt i: vivace

saint-saens, oboe sonata in d maj, mvt iii: motlo allegro

kalliwoda, concertino for oboe in f maj, mvt i: allegro con fuoco

mozart, concerto for oboe in c maj, mvt i: allegro aperto

mozart, concerto for oboe in c maj, mvt iii: rondo: allegretto

krommer, oboe quartet in c maj, mvt: allegro

fiala, concerto for english horn and clarinet, mvt i: allegro moderato

krommer: oboe quartet in c maj, mvt iii: rondo

fiala, concerto for english horn in c maj, mvt ii: adagio cantabile

beethoven, oboe trio in c maj, mvt i: allegro

uhh i'll tag. @tragedyposting @kingfisherkink @grasslandgirl @malcolm-f-tucker @theresa-of-liechtenstein @signawyvern @notyouraveragejulie @nablah @tempestclerics and @leporellian if you'd like

[magpie-masterpieces]

Theme Breakdown for the Demons/Angels Universe (Part 1 of ???)

Someone suggested I do this, here’s a break down of how I chose all the themes for the Sins + Virtues. The reasons will range from “something extremely deep” to “haha instrument go brrrr.” I’ll do more characters from this universe in the future.

I compile everyone’s themes for this universe in this playlist!

Invidia: String Quartet No. 3, BB 93: Seconde parte: Allegro – Béla Bartók

Starting off strong with a not that deep reason, the opening trill from the second violin has always reminded me of a snake. Invidia’s design draws inspiration snakes given that she’s canonically the Serpent of Eden.

This is a very musically technical piece, I like how it all comes together to sound very layered and barbaric. I think that fits Invidia, she’s got a lot of pent up emotion underneath her cold exterior.

Ira: Symphony No. 10 in E Minor, Op. 93: II. Allegro – Dmitri Shostakovich

Supposedly this is meant to be a musical portrait/representation of Joseph Stalin.

Heavy brass evokes imagery of marching armies. Reminds me of John Williams’ work for the original Star Wars trilogy.

Acedia: Music for Strings, Percussion, and Celesta, Sz. 106, BB 114: I. Andante tranquillo – Béla Bartók

This was a bit of a fine line I had to walk, I wanted something peaceful but still sinister.

I find that Bartók walks that line perfectly in this movement, it’s simultaneously tranquil but there’s a darker tone to it.

Superbia: Ruslan and Ludmilla: Overture – Mikhail Glinka

Overtures are usually the openings to operas, ballets, etc. They’re typically very flourishing and bombastic. I find that this specific overture is the right amount of bombastic I wanted for Superbia’s theme

Luxuria: Samson et Dalila, Op. 47, R. 288: Bacchanale – Camille Saint-Saëns

In music, bacchanales are typically meant to depict drunken revels/orgies.

The opera is based off of the story of Samson and Delilah from the Old Testament. In many interpretations of the tale, Delilah is meant to be a sinful, sexual woman.

Gula: Symphony No. 1 in D Major "Titan": II. Kräftig Bewegt, Doch Nicht Zu Schnell - Trio: Recht Gemächlich - Tempo Primo – Gustav Mahler

I found the extremely long title of this movement really funny lmao

There’s a playful, joviality to this piece. I think that fits given Gula’s the more optimistic one of the Sins.

Avaritia: The Marriage of the Figaro Overture – W.A. Mozart

Historically, operas have been associated with the upper class and wealth. Many operas were commissioned by nobility

Mozart is the best of the best, it’s only fitting that Ava’s theme would be the best of the best as well

Camael: Variations on an Original Theme, Op. 36 “Enigma”: VIII. W.N. (Allegretto) – Edward Elgar

All of the movements of Elgar’s Enigma Variations are inspired by various friends and loved ones of the composer.

More graceful and lyrical melody in contrast to Invidia’s barbaric and savage theme.

Zadkiel: Symphony No. 9 in E Minor: III. Scherzo: Molto Vivace – Antonín Dvořák

You’ll notice that Michael and Zadkiel’s themes are similar. Both are from the same composer (Antonín Dvořák), both are the third movement of a symphony, and both are scherzos.

It ties into Zadkiel being Michael’s successor. Not just literally, but his musical theme (symphony 9) being a successor to Michael’s theme (symphony 7).

Gabriel: Piano Quintet in C Minor: II. Scherzo (Allegro non troppo) – Alexander Borodin

Scherzos are usually short, fast paced and playful pieces.

Raphael: Petite Suite (orchestrated by Henri Büsser): IV. Ballet – Claude Debussy

Very happy and playful piece, easily fits her personality

Uriel: String Sextet in D minor "Souvenir de Florence", Op. 70: II. Adagio cantabile e con moto – P.I. Tchaikovsky

Very innocent and romantic vibes, contrasts with Luxuria’s boisterous bacchanale

There’s a viola solo in this piece. And I feel like there’s a viola joke to be made here with Uriel being the most uptight, pretentious asshole, but I’m blanking out on one >:(

Jophiel: Double Concerto in A Minor: III. Vivace non troppo – Johannes Brahms

A big motif I keep with Jophiel is balance, their theme is no different.

The piece starts in a minor key and ends in a major key. The concerto is meant for a solo violin (the upper register of stringed instruments) and a solo cello (the lower register of string instruments), along with the orchestra.

Michael: Symphony No. 7 in D Minor: III. Scherzo: Vivace – Antonín Dvořák

I already talked about how Michael and Zadkiel’s themes mirror each other, so I won’t copy and paste it all here lmao

I became obsessed with this particular piece during the early days of the COVID pandemic. I’ve always associated this piece with enduring things despite the hard times.

[hotchology]

note gif making soundtrack. btw.

[lesser-known-composers]

Dmitri Kabalevsky (1904-1987) - Piano Sonata no. 3 in F major opus 46 (1946):

I. Allegro con moto (0:00) II. Andante cantabile (5:15) III. Allegro giocoso (10:06)

Albert Guinovart, piano

[beyourselfchulanmaria]

Tchaikovsky Symphony No 7 (by Tchaikovsky Foundation with Pyotr Klimov)

Pyotr Ilyich Tchaikovsky's Symphony in E-flat, was commenced after Symphony No. 5, and was intended to be his Sixth Symphony. Tchaikovsky abandoned this work in 1892, only to reuse the first movement in the single-movement Third Piano Concerto, Op. 75, first performed and published after his death in 1895. A reconstruction of the original symphony from the sketches and various reworkings was accomplished during 1951–1955 by Soviet composer Semyon Bogatyrev, who brought the symphony into finished, fully orchestrated form and issued the score as Tchaikovsky's "Symphony No 7 in E-flat major". In 2005, a second reconstruction of the symphony, commissioned by the Tchaikovsky Fund, was completed by Russian composer Pyotr Klimov. It had its first public performance at the Tchaikovsky State House-Museum in Klin, near Moscow, by Symphony Orchestra of Russia led by conductor Tomomi Nishimoto 西本智実, on June 5, 2006, as shown in this video.

00:20 First Movement: Allegro brilliante 13:19 2st Movement: Andante 23:20 3rd Movement: Final Allegro Maestoso 36:30 Tchaikovsky:Andante Cantabile (encore)

[odedmusic]

Trio Sonata in G Minor, TWV 42:g10: Cantabile – Allegro – Largo – Vivace

#OdedFriedGaon #OdedMusic