SHEET MUSIC DOWNLOAD

Ballade for Violin and Piano – Porumbescu

2012-01-24T02:16:00.001-08:00

Having once written about J.S. Bach being sentenced to jail for his strong desire to leave his position of concertmaster, I admit that it wasn't a serious law violation. Okay, composers are generally not involved into something of a like kind, however I can't help but recall a case of a greater misdemeanor: a Romanian composer Ciprian Porumbescu was arrested for his political activity one day. Luckily for us and him, all turned out well and he was able to continue composing. One of the major composers of Romania, he and his quite diverse oeuvre deserve a close look. Here is his Ballade for Violin and Piano.

Der Freischütz Overture – Carl Maria von Weber

2011-12-27T01:36:00.000-08:00

Given that fugue is rightly considered to be the most complex contrapuntal form, it is really amazing that it became a German composer Carl Maria von Weber's form of choice when he was only eleven or twelve years old. This and that he had never composed anything before must've been already a good reason for people surrounding him to realize von Weber's name will without a doubt create a stir in music. And so that happened.

I have no evidence whether young Carl was surprised with success of his opera Die Macht der Liebe und des Weins, which was composed when he was 14 – what is important is that he had kept the momentum ever since. Of everything that was written by von Weber particularly interesting is Der Freischütz, a cornerstone of German romantic opera. Find a score of an overture here: Der Freischütz. Ouvertüre, J.277 Op.77.

A Vucchella – Paolo Tosti

2011-12-26T05:17:00.000-08:00

Originally Italian, Francesco Paolo Tosti in his life had managed to gain exceptional success abroad: soon after visiting the United Kingdom he became the most popular composer of songs in the country, not to mention that he had got a high position – of singing master to the Royal family, – and was knighted a few decades later. Indeed all of this wouldn't have been possible if Tosti's music wasn't outstanding, but it was: his works have been firmly established in the repertoire of some of the greatest opera singers (particulary tenors), including Enrico Caruso. Download one of the most famous Tosti's compositions here: A Vucchella (for Voice and Piano), – and watch it sung by a great Italian tenor below:

Abschiedslied der Zugvögel, Op.63 No.2 by F.Mendelssohn

2011-12-23T04:05:00.000-08:00

Despite what one may think, Abschiedslied der Zugvögel is rather a title of a composition by Felix Mendelssohn-Bartholdy than a tongue-twister. It can with big success be considered the one, though – I think that to hear it pronounced right from a non-native German, the latter should at least be given a Speak & Spell device. Jokes aside, it is a beautiful song – unusually for Mendelssohn, with words this time, – and comforting for anyone saddened that summer has ended – listening to this text about migratory birds, listeners will feel that they are not alone. In this sense, a song is edificatory even – the same as birds in it everyone is free to travel the world, to a place where summer is in full swing... Download it here: Six Songs for Two Voices and Piano, 'Abschiedslied der Zugvögel', Op.63 No.2.

Song Without Words for Cello and Piano, Mendelssohn

2011-12-15T04:49:00.000-08:00

Don't judge a book by its cover and a series of piano works by its – in this case, quite undistinguished, – title. No matter what one might think, Mendelssohn's Songs Without Words is anything but yet another collection of instrumental music. Quite the opposite, there definitely is something special about these lyrical pieces: a composer was working in this, invented by himself, genre throughout all his life in attempt to express the inexpressible. For this reason an idea – even though it was his friends', – of setting words to this music was declined. Additionally, this set of pieces inspired such composers as Edward Grieg, Gabriel Fauré, and Anton Rubinstein to compose their own series under the same name.

As I already mentioned, Mendelssohn was writing songs without words exclusively for piano. However, once he made an exception and composed a piece also for cello, and it is as good as you would expect it to be. If you happen to play cello, don't miss this one: Song without Words for Cello and Piano, Op.109.

Gymnopédie No.1 in D Major

2011-12-08T06:33:00.001-08:00

True innovator, Eric Satie perhaps didn't even expected that his works would be so important not only for development of classical music, but music in its other instances too, and even in very minor, different to notice, aspects of it. Considered a godfather of minimalism and very likely ambient, Satie is particularly known for giving very intricate and ironic titles to his works. Perhaps if it wasn't for his influence, it would be more uncommon to find an offbeat bandname these days ("...and You Will Know Us by the Trail of Dead" is one such), but now there are quite a few. And, acknowledging the truth, neither now nor ever there were many works titled Desiccated embryos in academic (or nearly academic) music. At that, derisive or obscure titles don't make Satie's works less splendid – it is obvious that he was composing from the heart and indeed liked what he was doing. His Gymnopédie No.1 in D Major is one of the most notable piano pieces ever created – enjoy.

Bridal Waltz by Niels Gade

2011-12-02T05:33:00.001-08:00

A Folk Tale is a 1854 ballet created by August Bournonville, Niels Gade, and Johan Peter Emilius Hartmann. It isn't any surprising that together they created something as magnificient as it is – of them two (Gade and Bournonville) were sharing the passion at folklore. As a composer, Gade had a primary interest in folk music and wasn't very much concerned about its mythological side, and Bournonville, being an amateur of Hans Christian Andersen and Grimm brothers, pretty much outdone himself writing the plot – A Folk Tale is almost as captivating as works of storytellers he himself was inspired by.

Once I noticed that Camille Saint-Saëns considered Carnival of Animals to be a joke – talking about a given ballet, Niels Gade was thinking the same about a piece he composed for the final scene. Nevertheless, now this composition (called Bridal Waltz) accompanies almost every Danish wedding and is a favorite among both newlyweds and amateurs of classical music. Download a piece here: Waltz from Ballet 'Et Folkesagn'.

On the Beautiful Blue Danube by Johann Strauss II

2011-11-30T04:53:00.001-08:00

In a recent post I was writing about good lyrics and lack thereof. As far as is known, many classical composers were getting themselves out of the situation by cooperating with great contemporary poets. However, there is another way: if no text is good enough, go all instrumental – unless you are composing operas, this usually works. What is curious, though, is that some works we are used to hear without any words whatsoever were originally featuring voice parts.

One such is The Blue Danube, a waltz written by Johann Strauss II. Chances are, if you would find this piece in a program of a concert you're going to attend, it would be performed in all its symphonic glory yet you wouldn't find any singers (at least on stage, in audience a few occasional ones may make an appearance). At that, lyrics for The Blue Danube were written shortly after the work was completed, and there is even an alternate text available. Find an arrangement for choir and piano here: On the Beautiful Blue Danube, and those of you who are used to what you are used to – watch a classic instrumental version below:

Christmas Sheet Music

2011-11-25T04:53:00.001-08:00

There are certain moments in our lives when we get amused by how fast time passes by. For me, it happened today – I understood that it's been only a day after this year's thanksgiving celebration (and hey, I still remember the previous year's one!). Thinking about that, I realized that soon are coming Christmas and New Year's Eve too. In relation to classical music Christmas is perhaps a holiday like no other – a number of carols and hymns never fails to impress, and even nowadays this wonderful holiday still inspires songwriters and composers from all over the world.

What is so special and hard to define yet easy to feel about Christmas is well, its "spirit." Spirit of the Christmas is what makes us look at the things differently – more positive, if you like, – and also what literally clears away any despair and boredom. From my experience, music does almost exactly the same, and when it Christmas music, it truly is an antidote to melancholy. Considering the transience of time, it's never too early to replenish your collection of Christmas classics – enjoy this amazing archive of christmas sheet music.

Les nuits d’été – Hector Berlioz

2011-11-24T04:43:00.001-08:00

There is an obvious problem with lyrics in the modern music – not only anyone searching for deep observations and irony in context of philosophical topics won't likely find those in it, but overall it isn't particularly diverse, mostly dealing with cobwebs of romantic love or other random empty gibberish. A common workaround to avoid that was setting someone's poem to music - poets deal with words on a regular basis and quite obviously their texts are of higher quality.

These days we don't have a whole lot of poets hence the problem. However, in times when classical music was composed it was simpler: take for example Berlioz's Les nuits d'été – it is a setting of poems by Théophile Gautier. Written in French, they indeed sound very beautiful and are anything but meaningless. I sincerely recommend L'île inconnue included in this song cycle – download it here: Les nuits d’été, Op.7 H 81 No.6.

Into a New Life – Josef Suk

2011-11-18T06:39:00.001-08:00

I thought the time has come to write about another piece, and why don't we talk about really strange things today? I mean, yes, it says the man who periodically comes up with facts like J.S. Bach sentenced to prison or Anton Bruckner opening the door naked (wait, or I didn't mention this on the pages of the blog? If so, it was an inexcusable omission! Well, at least now you all know more about an Austrian composer's habits).

So, what I'm going to talk about today is Art Competitions at the 1932 Summer Olympics. Yes, you got it right: at that date not only freerunners and biathlonists could participate in Olympics, composers, painters, sculptors, and architects were eligible too. As if it isn't strange enough already on its own, there is a documentary evidence that Czech composer Josef Suk took second place silver medal in music – and no one was awarded gold and bronze, at that! Why didn't they give him gold then, you may ask. The answer is...I don't know. (I already mentioned this post is all about strangeness, didn't I?..)

If you are interested to hear a piece that brought him fame – and who isn't? – it is available by the link below:

V nový život (Toward a New Life) Sokol March, Op.35c.

Enjoy!

Wagner – Die Frist Ist Um

2011-11-11T04:52:00.001-08:00

One of the most original composers ever living, Richard Wagner found his unique style perhaps while working on Flying Dutchman, his opera inspired by natural phenomenon of storm (and not of looming, as one may think; looming is an atmospheric refraction effect which, strictly talking, initiated the legend of a ghost ship, to which the piece owes its title). Sea related scenes inspired not only Wagner – think of Aivazovsky's paintings or Moby-Dick, – and all these works are brilliant. To every rule there is an exception, but not this time: Flying Dutchman is a genuine masterwork. Find sheet music for Die Frist ist um here: The Flying Dutchman. Die Frist ist um, for Voice and Piano.

Ebben? Ne andrò lontana (Aria from La Wally)

2011-11-10T06:42:00.000-08:00

As far as I know, there are not many people named after works of classical – or, well, modern or film, – composers. Well, someone may have a different experience, but among my acquaintances certainly one can't find Carmen or say, Attila or Ariadne. Besides that, it is usually inanimate objects bear real person's names, with Apple Lisa, the first computer of the company named after Steve Jobs' daughter being the obvious example. Still, to every rule there is an exception, and having been impressed with Alfredo Catalani's opera, Italian conductor Arturo Toscanini decided to give his daughter a name of Wally – a very good-sounding one, if you ask for my opinion. I can't help but join Toscanini in his appreciation of this work – it is nothing less than amazing. Download the score of the first act's aria here: La Wally. Air Wally 'Ebben? Ne andrò lontana' Act I.

The Rage Over the Lost Penny – Beethoven

2011-11-04T05:45:00.000-07:00

The Rage Over the Lost Penny might as well be a title to win in the "Attention span" nomination among classical pieces, however, composed by one of the music's masterminds and most important figures whatsoever, it also makes one wonder: why did Beethoven need to excel with naming? Upon listening things become even more unclear: if this work had been substantially imperfect, there would be neccessity to cover it up via distracting title; no matter what, the Rage Over the Lost Penny is among the most refined pieces written by Beethoven. But the truth is, it wasn't him who was overly creative in this situation, actually who are responsible for the title are third parties and its origin runs back to the great composer's haibt of accusing his households in stealing... Download it here: The Rage Over the Lost Penny. Rondo a Capriccio in G Major, Op.129.

Edward German – Rolling Down to Rio

2011-11-03T08:10:00.000-07:00

Rolling Down to Rio is quite a life-asserting song which, from my experience, succeeds in lifting the mood much. Featuring lyrics by Rudyard Kipling, it was written by Edward German, a composer of English nationality. (It would be fun if he had been born in Germany – "Edward German, German composer" sounds very nice, – but what didn't happen didn't happen.) German himself at the certain period of life needed something to lift his mood. It seems like he had a plenty reasons not to be cast down – he was the first composer to score a British movie and was among those first to conduct their own works for recording, – but what truly dismayed him is that his orchestral works didn't get much recognition. These are indeed very nice and I sincerely recommend checking them and other works of German out. For now, here is his Rolling Down to Rio, enjoy.

Busoni's Arlecchino – An Opera Extraordinaire

2011-10-27T08:03:00.000-07:00

Despite being rare, it is still an exceptional pleasure to learn about people whose actions or projects make you think nothing but "What?" in all the capital letters. It's OK that Ferrucio Busoni's piano concerto is the largest of them all or that it is written for almost the largest orchestra possible, but when I found out about the male voice choir that joins in the last movement, being hidden behind the curtain... I went through a whole range of emotions on it!

Shortly after I found myself thinking "Whoa, Busoni appears to be a composer I'd like to get myself acquainted with!" The thing is, if we take, for example, Eric Satie, he, with all his extravagant pranks, still remains an author of many genuinely fine works. Having a sense of humor doesn't mean that a composer doesn't take his work seriously, otherwise – as for me, it adds up a feeling of personality to his works and sometimes cheers us up (which is what music is supposed in the first instance).

Talking about Busoni's pieces that can boost our internal optimism, Harlequin is a definite highlight. Feeling of this opera is inexpressible – you just have to experience it on your own, preferrably in the concert hall. Harlequin, or The Windows, BV 270 Op.50 – here you can find sheet music of Arlecchino's closing speech, and below is the orchestersuite. Overall arrangement of the piece is so full of resource and life that it is impossible not to like it; first-grade masterpiece is what Arlecchino really is.

Cantata No.29 by J.S. Bach

2011-10-20T07:18:00.000-07:00

I’ve always been collecting the curiosities and facts not many are aware of about composers, especially about those who belong to the Classical and Romantic periods. Indeed, we see a lot of weirdoes around us – be they town freaks or TV hosts – and learning about the strange situations that grey-haired men in frock-coats were sometimes involved in is always fun: insomuch it doesn’t fit in with their image of respectable gentlemen.

Here is a recent yet one of the most stunning facts I have ever stumbled on: even though his name is easily recognized by literally anyone, not many know that Johann Sebastian Bach was once sentenced to prison! Inapprehensible as it is, it is still the part of his biography – this happened to Bach for his strong desire to change job; as a consequence for being too persistent, he was arrested. On expiration of one month the Duke of Saxeweimar freed him, though, and gave a freedom to work wherever he wants. After moving to Köthen Bach was mainly composing cantatas – one of the most popular is available for download here: Cantata No.29 Overture (Arrangement for Piano), BWV 29.

Jerusalem by Hubert Parry

2011-10-14T04:24:00.000-07:00

OK, with a piece I want to share today things seem complicated: my life for it, hardly one of a hundred musicologists would know what I mean, presenting the fact that one famous stamp-collector, a few of whose findings can be found under the bulletproof glass, once said this song is a better national anthem than the one already established in his country. As all of this resembles rather a convoluted plot of a film like Paul Thomas Anderson’s Magnolia than something to intrigue a rapt pianist or vocalist, I will say differently: a piece I’m talking about is Jerusalem by Charles Hubert Hastings Parry and that stamp-collector is no one other than George V who was a King of the United Kingdom back in days.

With lyrics taken from William Blake’s poem, Jerusalem is a very special song – it has been unofficial hymn of England for decades. Download it here: Jerusalem (And did Those Feet in Ancient Time).

Schubert's Ave Maria sheet music

2011-08-30T00:05:00.000-07:00

Ellens dritter Gesang – such is the original title of Schubert’s piece commonly known as Ave Maria. Intrinsically, there are many other works named so, which isn’t any surprising: Ave Maria or Hail Mary is a well-known Catholic prayer, and almost any composer who had ever touched upon sacred music composed an aria of the same name. Among them are the most famous nowadays dynast of Bachs – Johann Sebastian, – virtuoso pianist Franz Liszt, and other salient composers, such as Giuseppe Verdi, Johannes Brahms, Camille Saint-Saëns and others.

Back to Franz Schubert, today is the day of exceptionally good news for everyone reading this: sheet music of Schubert’s Ave Maria in high quality is now available here: Ave Maria, D.839, Op.52. Nice addition to the score are a yearly license for an unlimited number of performances and a backing track – whether you are a pianist or a singer, you can play along orchestral arrangement. Below is one of the finest renditions of the piece, enjoy:

Neckens Polska, Op.11 by J.E. Röntgen

2011-08-26T07:10:00.000-07:00

When we were young, I think each of us at least once had caught himself thinking: “Why go to school? What’s the point?” Indeed, why – Julius Engelbert Röntgen didn’t and we remember him as a fine pianist and admirable Romantic composer nevertheless.

Leipzig native, Röntgen had been studying not only music but other disciplines as well privately before he sprung into fame. His legacy includes piano, violin, cello, and other concerts as well as a lot of symphonic, chamber, vocal, and piano works.

Toward the end of his life Röntgen started composing more unconventional works, abandoning the tonality, but most of them can be referred to as examples of exceptionally good absolute music. Here is one of his pieces for solo piano, Neckens Polska, Op.11. Enjoy!

Suite in A Major for Violin Solo – Von Westhoff

2011-08-19T05:48:00.000-07:00

Due to its unique, rich in harmonics, timbre, violin takes especial place in the classical repertoire – it is one of the main solo instruments, together with piano. If we were to mention jazz, saxophone also takes its place on pedestal, but even so, there are only a few instruments which are as versatile as to come to the fore on stage. Now it sounds as a common truth and pretty much it is, but long time ago there were not many people to give violin its due.

Not that there is something unusual in this – it is pretty much how the world works. For example, quite a vast amount of modern music is written on a computer, but before Max Matthews programmed a few sound-generating applications in the 60s, no one associated a PC with anything melodious. If it weren’t for some individuals, history might have taken a different path – some things we take as granted weren’t so until someone pointed out at what context they can be used in.

Name of Johann Paul von Westhoff might not be universally recognized, however it was no one other than him who wrote earliest pieces for solo violinю If it weren’t for Von Westhoff's efforts, we perhaps wouldn’t hear this beautiful instrument in the concert halls this often. Additionally, he was a pioneer in writing a multi-movement violin suite. Download a piece by this distinguished German composer here: Suite in A Major for Violin Solo.

Fauré – Ave Maria, Op.67 No.2

2011-08-15T00:00:00.000-07:00

Composing almost in all music genres of his time, Gabriel Fauré is known to have written quite a big amount of chamber, piano, orchestral, vocal and choral music. Talking about the latter, it is especially demanded among listeners, as Fauré, a long time choirmaster, had certainly obtained better understanding of how to compose for voice during all the time spent in various Catholic churches. Curiously, he didn’t linger long at any of them, having even faced distrust for his religious views at the Church of Saint-Sauveur. Still Fauré’s impermanence doesn’t mean shortage of choice as concerns his sacred oeuvre. Here is Ave Maria (A Flat Major), Op.67 No.2. Enjoy!

Andante Cantabile from First String Quartet, Op.17

2011-08-12T05:31:00.000-07:00

First String Quartet is not Tchaikovsky’s first work – to be exact, it is his 17th opus, – but it is a significant piece in terms of bringing him a worldwide fame, one of the first praised by critics from abroad (Germany and France foremost). Anyone who has heard a piece won’t have to think much about what caused panegyrics from persons like Hans von Bülow and Camille Benoit – sonically it is impeccable: gift of outstanding melodist was clearly expressed even in earlier works of Pyotr Ilyich Tchaikovsky, with String Quartet No.1 being no exception. A special mention deserves harmony and overall mood: First String Quartet is among those pieces that can bring you in tears with their sophisticated beauty. Here is the second movement of a piece, arranged for piano by Karl Klindworth: Andante Cantabile from String Quartet, Op.11.

Le Tasse by Benjamin Godard

2011-08-11T07:49:00.000-07:00

Certainly, not every composer’s oeuvre counts hundreds of works. In some cases, it is good: everybody works in their own unique way and differently perceives rhythm of life, depending on where they live. A composer in a village would less likely write in a hurry – pastoral idyll doesn’t encourage such an attitude. A composer in a megalopolis, otherwise, would… Well, wait, it was a wrong example: composing in a megalopolis is just impossible.

Without respect to what I'm saying, even in such a big city French violinist and composer Benjamin Godard was able to write a huge amount of works – perhaps because no cars’ klaxons disturbed him (in his lifetime – 1849-1895 – automobiles weren’t invented). Godard’s works are known to be unequal in terms of noteworthiness, however I handpicked one of these you should certainly like. Download one of his most distinctive works here: Le Tasse. Danse des Bohémiens (Arrangement for Piano), Op.39.

Etudes for Guitar, Op.60 – Matteo Carcassi

2011-08-05T07:19:00.000-07:00

Electric guitar is immensely popular these days, and average guitarist with more chance is aware about virtuosi of the twentieth century than those who played this instrument in its more unplugged version, way before electricity was discovered. This is the situation, and I, without being too presumptuous, don’t think it is possible to change everything with a wave of the hand. However, I still write about all musicians and composers who, to my mind, deserve a little more recognition.

Matteo Carcassi was a Romantic composer and guitarist from Italy. What I like about him most, except his music, is that he provided shelter for a family of mice. It is so touching that I would repeat his princely gesture myself, but circumstances don’t let me do it: due to being solid-body, my guitar is less of a gnawer’s harborage than Carcassi’s was. As for his music, it’s a rare combination of true virtuosity and unadulterated lyricism. Here is his Etudes for Guitar, Op.60 Nos.8-9, enjoy.

Alban Berg's Violin Concerto

2011-08-04T00:42:00.000-07:00

Contemporary classical music has always been a bone of contention for classical music lovers. What’s not to love? Well, technically it is classical, however as it breaks with centuries-old tradition, many turn away from it. No matter what, the devil is not so black as he is painted: one just needs to start with less fine-spun pieces to get used to contemporary music – this will make adaptation less painful and soon it will be possible to enjoy the 20th century repertoire.

To my view, works of Alban Berg may be a good start: this Austrian composer is known for altering the face of music together with Arnold Schoenberg and Anton Webern. Unlike them, he didn’t shy away from Romanticism hence his music – adroit interlacement of tradition and hankering to open up new horizons of expression, – is more accessible without losing its novelty. Here is Berg’s Violin Concerto 'To the Memory of an Angel' – enjoy.

Daniel Steibelt – Aubade

2011-07-28T07:09:00.000-07:00

Daniel Steibelt was very capable and skilful pianist as well as original and prolific composer. His works were quite popular among the public, and if it weren't for one incident, he could have gone in history as an unsurpassed musician. Of course, there were quite a few other virtuosi in the eighteenth and nineteenth centuries, but it is hard to tell outright who of them was the best – in such situations contest is the only way to know.

Owing to Steilbelt's own overconfidence and moxie, he participated in one such; however, overall idea to measure swords with Beethoven was a primordial fizzle: the latter worsted Steibelt with little to no effort having played a few bars off his piece with one finger while managing to sight-read sheet music from an upturned paper. Thanks Heaven, this incident didn’t impact Steibelt insomuch as to put the kibosh on a music career (he didn't go further refusal to play in the presence of Ludvig van), and we can’t help but rejoice. Here is one of Steibelt's umpteen pieces, called Aubade. Enjoy!

Toccata, Op.108 – Kalkbrenner

2011-07-22T01:23:00.000-07:00

No doubt that it was Andy Warhol who invented pop art; however it doesn’t mean that he was a pioneer in everything. Take his Factory – a home, or rather rookery, for a lot of ostensibly gifted persons, – well, a similar facility existed in the nineteenth century in Paris already. The Factory for Aspiring Virtuosos was run by Friedrich Kalkbrenner and as such was essential in making its owner enormously wealthy. Nevertheless Kalkbenner’s activity was not limited to counting money – this prominent pianist and composer was the first to play fast-moving octaves with both hands. If you’re in search for a challenging piece to diversify the repertoire, you absolutely shouldn’t come by his Toccata, Op.108 – for showcasing one’s mastery it is a very good choice.

Duet No.2 for Two Cellos – Offenbach

2011-07-21T03:40:00.000-07:00

Jacques Offenbach is deservedly considered one of the most talented composers of the nineteenth century, and not only composers – as a cellist he too was notably skillful: after listening to his playing Luigi Cherubini (a person also highly regarded as a composer – Beethoven mentioned him as the greatest composer of his time) started giving him lessons despite it was deprecated (Foreigners couldn't apply to the Paris Conservatoire, and Offenbach was born in Germany). Offenbach played with Franz Liszt, Anton Rubinstein, and Felix Mendelssohn and is especially known for his operettas – a form he was one of the originators of. No matter what, he also composed in other genres, and many are not familiar with his smaller works. Here is his Duet No.2 for Two Cellos (Parts), Op.51. Watch amazing performance of a piece below:

Eduard Franck's music

2011-07-15T06:36:00.000-07:00

Even though Eduard Franck looks a bit like Pierre Richard, his music is neither gimmick nor joke. It’s not that humor is under a ban in classical music – comic operas have been around for a while – but this genre wasn’t Franck’s favorite; he was focused on chamber and orchestral music mainly. As a pianist, Franck also was keeping a stiff upper lip: he played as well as his contemporaries in the person of Schumann and Mendelssohn. His music was critically-acclaimed in due time but he was unable to gain notoriety of other Romantic composers. Still anyone with interest towards era should like Franck’s music. Download one of his pieces here: Sonata for Cello and Piano, Op.42.

Berwald's Piano Quintet

2011-07-14T05:19:00.000-07:00

If you were to ask me to remind any asteroids named after well-earned composers, I would name but a few. With concert halls it is much harder, and it is cuddlesome to realize that Franz Berwald has one in his native town – this Swedish composer was unable to make two ends meet during his life, but at least in 1976, after construction of Berwaldhallen began, justice was done. We all know that great minds do many things at once – among composers there were chemists and ornithologists (Alexander Borodin and Olivier Messiaen respectively), let us say. Berwald, in turn, was an expert and innovator in the field of orthopedic surgery. Nevertheless, the main love of his life was music, and it is really noticeable. Find a score of one of Berwald's pieces here: Piano Quintet No.2 in A Major, Op.6.

Music of Komitas Vardapet

2011-07-08T01:54:00.000-07:00

One of the most influential figures in Armenian classical music, Komitas Vardapet was a composer, choir singer, pianist, flutist, and musicologist. He was immensely gifted – let us say, he was chosen by a local priest to be sent to study at the seminary after singing a hymn without knowing the Armenian language (it was deprecated in Kütahya, his native town, back then). One of his performances made Claude Debussy deeply flurried – French composer said to Vardapet he adores his music genius. Among other admirers were also Gabriel Faure and Camille Saint-Saëns. Unfortunately, Vardapet is a victim of the Armenian Genocide and died in a psychiatric clinic, broken-down and desolated by inhumanity he had seen. Many of his manuscripts were destroyed and lost, but those that left are integral part of classical music. Here is Dances for Piano.

Melody in F Major by Anton Rubinstein

2011-07-07T06:52:00.000-07:00

Anton Rubinstein was a very interesting and versatile person: he had lots of energy and hence managed to perform, compose, give lessons and many more – Rubinstein is the founder of the first Saint Petersburg Conservatory, let us say. Also he had Tchaikovsky among his pupils and in some period was friends with The Five – a group of composers who initially considered Rubinstein to be a reactionary. However, there were also those who otherwise thought he is too progressive – mixed opinions prove that his works are rather unique and all-sufficient. Melody in F Major is his well-known piece and a good introduction to his legacy. Download it here: Melody in F Major, Op.3.

Etude No.6 by Heinrich Wilhelm Ernst

2011-07-01T07:18:00.000-07:00

Back in days tours were different: this is now an artist plays no more than one concert in a town, probably because it brings the greatest revenue. In this modern world people don’t want to see the same performance twice, and nothing can be done about it. However, in the nineteenth century things seemed to be different, and young Heinrich Wilhelm Ernst, a Czech-Jewish composer, violinist, and Paganini’s stalker, at short notice managed to attend nearly dozen concerts of his idol without ever leaving Vienna. Paganini was a source of inspiration for him, and Ernst even rented rooms next to him just to hear his idol rehearsing. And, believe it or not, it paid off: Ernst is now known as one of the finest composers of polyphonic music, and I believe that any violinist should get acquainted with his works. Download his Etude No.6 here: 'The Last Rose of Summer'.

Carmen Overture by G. Bizet

2011-06-27T00:11:00.000-07:00

Predicting the all-time fame of Carmen, Pyotr Tchaikovsky was at least ten years ahead of his time – initially this opera of Bizet didn’t have much success. It was first staged in 1874 in Paris, and reviews were devastating – history that will repeat itself in 1913 with premiere of Stravinsky’s Rite of Spring, which will indignant Parisians even more. As for Bizet, he died in his mid-thirties, unaware that his four-movement piece will soon return to stage and won’t ever leave neither French nor world repertoire… You may find a full score of overture here: Carmen. Overture – a perfect complement to the collection of any opera lover!

Trio in B Flat Major by Reinecke

2011-06-24T01:29:00.000-07:00

A German composer and conductor, Carl Reinecke was a shy type of person: he played piano really well, but despite his Europe tours he wasn’t a household name and didn’t appear in gossip columns. However, Reinecke was more than companionable when it came to the music: he was familiar with Schumann, Brahms, and Mendelssohn, and was a prominent pedagogue who had Edvard Grieg, Leoš Janáček, Isaac Albéniz, and other well-known composers among his pupils. His legacy counts almost three hundred pieces, and some of them are easy to find while others are not so – take Trio in B Flat Major for Clarinet, French Horn and Piano: it was impossible to find the score on the Net until recently. Luckily, it became available not so long ago, and what is especially great – with alternative transcription for violin and viola. Download it here: Trio in B Flat Major for Clarinet (or Violin), French Horn (or Viola) and Piano, Op.274.

Violin Concerto No. 1 by Max Bruch

2011-06-23T02:58:00.000-07:00

Max Bruch may have been not the most progressive composer of his time (namely, the 19th century, he was born in 1838), not lastly due to everybody talking about works of his compatriots Wagner and Liszt. As you may know, in his latter works Liszt abandoned the conventional compositional techniques, and overall he was a hard nut to crack – that’s why Bruch just did what he could without trying to overshadow anybody. In his case it worked very well: no matter what, Bruch's Violin Concerto No. 1 is now one of the most popular works of Romantic era. Without pretending to cause the end of the world (exactly what Scriabin tried to accomplish in his Mysterium) or overthrow academic norms, Max Bruch leisurely composed one of the finest orchestral works, and now you can find it here, for your playing pleasure: Violin Concerto No.1 in G Minor, Op.26.

Kaleidoscope. Orientale by César Cui

2011-06-17T04:49:00.000-07:00

Author of such books as Essay on the Efficient Determination of Data on Garrison Fortresses, Textbook of Fortification for Infantry Cadet Schools, and, of course, The Size of Fortresses and the Modification of Their Form Depending on the Expansion of the Strength of Armies, César Cui had interest not only in composing – he also served army officer. If you think that he was duty-bound to hammer out such long names, you’re wrong: the titles of his fortification-unrelated books and articles are also ridiculously long and, well, ridiculous - Cui was giving Concise Directions on How to Become a Modern Composer of Genius without Being a Musician, let us say. A member of The Five, Cui composed music specifically Russian by nature, impeccable, important, and impossible to ignore. Download his opus number 50 here: Kaleidoscope. Orientale, Op.50 No.9.

Ottorino Respighi - Fontane di Roma

2011-06-16T01:54:00.000-07:00

Fontane di Roma (or Fountains of Rome in English) is a symphonic poem by Ottorino Respighi, Italian composer, conductor, and musicologist. Heartfelt works of Respighi suggest that he was a supporter of impressionist tradition, and indeed he was: this sentimental and sensitive man had never remained indifferent to the beauty of environment, and his visits to Brazil and Italy led to composing of two compositions – Brazilian Impressions and the one we're talking about accordingly. Inspired by Rome's fountains, his most famous piece can be downloaded here: Fontane di Roma. Symphonic Poem (full score).

Telemann's Viola Concerto in G Major

2011-06-10T00:15:00.000-07:00

George Philipp Telemann (1681-1767) was a German composer of Baroque epoch. Not having musical education he taught himself to play chalumeau, thoroughbass, viola da gamba, zither, and other instruments with euphonious and not so names. His music (numerous operas, cantatas, oratorios, concertos, passions etc.) was front-rank and complex, with extensive use of counterpoint. During his life Telemann was more famous than Johann Sebastian Bach and his music makes a transition between Baroque and Classical styles in the same manner as Beethoven’s links the Classical and Romantic.

Full score of Telemann’s Viola Concerto (parts for harpsichord, violin, cello, and viola) is available here: Viola Concerto in G Major, TWV 51:G9.

Sigismond Thalberg's Fantasias

2011-06-09T05:34:00.000-07:00

Anyone who had ever held a music magazine in their hands knows how much do critics like comparing anything they review to music it allegedly resembles (“…a bit of early Chopin with distinct influence of the Second Viennese School,” let us say), but in case with Sigismond Thalberg they were nonplussed: there was no one else like Swiss composer, neither before nor – I venture to suggest, – after.

Also virtuoso pianist, Thalberg was maybe the most praised musician ever, spellbinding attendees in Europe's finest concert halls with his playing. The only virtuoso of the same scale was Franz Liszt, who, being Thalberg’s contemporary, had heebie-jeebies because of the latter’s popularity…

Sheet music of several Thalberg’s pieces can be found here: Three Fantasias for Piano, Op.72, 20, 42. Enjoy!

Chopin and Czechs: Is There a Connection?

2011-06-03T01:06:00.000-07:00

In these latter days I pay much attention to Czech composers: exclusive of Janáček (about whom I wrote yesterday), I also turn to heritage of Antonín Dvořák and Jan Dismas Zelenka. Today I decided to write about Chopin’s Fantaisie-Impromptu, saying to myself that it will be something that doesn't have anything to do with the second most peaceful country in Europe. But no, as it turned out, the first Chopin’s piano tutor was no other than Wojciech Żywny (Czech? check) and the first impromptu ever was composed by Jan Václav Voříšek, in turn. (Who, among other things, lived for twelve years in Vienna - thus, even undercover capital of classical music bears Czech imprint.)

What’s most important concerning the subject of this post is that version of Fantaisie-Impromptu by Czech pianist Antonín Kubálek is one of the best I have heard. (It is present on his CD titled My Gift to You: Piano Encores, but sadly not on YouTube, otherwise I would embed it.) Sheet music of Chopin’s prominent piece is available here: Fantaisie-Impromptu for Piano, Op.66.

String Quartet No.2 "Intimate Letters" by Janáček

2011-06-02T07:22:00.000-07:00

“Intimate Letters” is the second string quartet of Czech composer Leoš Janáček, written in 1928. It was inspired by Janáček’s relationships with Kamila Stösslová, who by some criterions was no match to him: she was forty years younger, married, and last but not least – she didn’t reciprocate his ardent feelings. However, he wrote more than 700 letters to her and even wanted to publish his multipage declaration of love. Ironically, the same man who brought Kafka worldwide fame (Max Brod) reasoned him out of doing that. In some sense it's understandable: with cliché lines like “Her eyes were like two deep wells” (taken from his Diary of One Who Disappeared) Janáček wouldn’t measure swords with likes of Nabokov or de Sade. It wasn't required from him, anyway - it's enough that he went down in history as one of the greatest composers.

Sheet music of “Intimate Letters” can be found here: String Quartet No.2, JW 7/13. I hope that you will like this very personal and unique piece as much as I do. Enjoy!

The Bee by Schubert

2011-05-27T00:08:00.000-07:00

Popularity of pieces named after humming insects is inexplicably curious: The Flight of the Bumblebee was played on any instrument you can imagine and has so catching motif that even bumblebees themselves croon the composition all the time. The Bee at the same time may be the most recognizable piece of Schubert. I know that there was a story when Britons mistook cheese balls for a composer during the survey (they were asked do they know such composer as Bocconcini, and they answered in the affirmative), and in this regard Schubert achieved much: even while there is a composer with sound-alike surname (Schumann), people still remember who is who.

Sheet music of the piece is available here: The Bee.

String Sextets of Brahms

2011-05-23T23:18:00.000-07:00

When you accidentally stumble across something like a nearly hour-long performance of Brahms on YouTube, it definitely makes your day. My last – and quite recent, – great finding was The Art of Piano – a documentary about the greatest pianists of the 20th century, and now I encounter another inimitable video, which I can’t help but share.

String Sextet No. 2 was composed in 1866 and has four movements. Brahms often participated in performances of his own chamber music, and it would be great to catch him playing the piece if it wasn’t impossible. However, I think he would approve a SummerFest version of his opus - even if it was played without him, musicians did their best. And if you like Brahms’ sextets but don’t play stringed instrument yourself, you may download his first one, arranged for piano by Robert Keller: String Sextet No.1 in B Flat Major (Arrangement for Piano), Op.18.

Bagatelles by Johann Nepomuk Hummel

2011-05-17T22:49:00.000-07:00

Johann Nepomuk Hummel was an Austrian composer and, for some period, Haydn’s deputy – he replaced the latter on a kapellmeister position sometimes. Haydn was also his teacher, as well as Mozart, who discerned perspective pianist in him and wasn’t wrong – now we remember Hummel as virtuoso. He didn’t always play, however, and started touring again only after his wife told him to do so – at other times he was composing and giving lessons. Hummel had a lot of talented pupils – among them are Czerny and Mendelssohn. You can download his sheet music here: Bagatelles, Op.107. Watch a performance of one of the pieces below:

Piano Sonata in B Minor, Op. 1 by Berg

2011-05-16T22:55:00.000-07:00

Alban Berg was an Austrian composer-expressionist. Born in 1885, he started studying music in the beginning of the 20th century - the time, when period of Romantic music was coming to an end. Hence his decision to use new music forms instead of moribund ones. His Piano Sonata, Op. 1, composed only a few years later after Berg started studying music disciplines with Arnold Schoenberg, is mature and wondrous work, admittedly one of the best debuts in history of classical music. The piece is available for download here: Piano Sonata in B Minor, Op.1.

Piano Concerto in E Flat Major, Op.36

2011-05-13T23:22:00.000-07:00

Felix Draeseke, born in 1835, is a German composer, who, to my view, sounds unusually modern for his time. It is easy to explain why: he was playing the same game as Franz Liszt, Joachim Raff, Peter Cornelius, and others, who called themselves no other than musicians of the future. Draeseke’s innovative music was praised by contemporaries: aforementioned Liszt even considered his Sonata Quasi Fantasia the greatest work in the genre since Beethoven. Draeseke’s filigreed piano works deserve a close look; I especially like his Piano Concerto, which is available for download here: Piano Concerto in E Flat Major, Op.36

Prelude to the Afternoon of a Faun by Claude Debussy

2011-05-05T05:41:00.000-07:00

If a piece was inspired by probably best French poem ever written (Mallarmé’s L'après-midi d'un faune) and was liked by King of Pop (yeah, Michael Jackson mentioned Prelude to the Afternoon of a Faun as his favorite song!), you just can’t overlook it.

Prelude to the Afternoon of a Faun is Debussy’s symphonic poem. Debussy had intended to complete Prelude with two more movements (Interlude and Final Paraphrase), but that never happened. If he had completed the suite, it would become event of universal significance, because even its third part was venturesome enough to influence modern music.

Sheet music of one of the most famous Debussy’s works is available here: Prelude to the Afternoon of a Faun.

Pavane for a Dead Princess sheet music

2011-04-29T04:53:00.000-07:00

Pavane for a Dead Princess is a piano piece by Maurice Ravel, French impressionist composer. Originally for solo piano, it was written by him in 1899. First performance was held three years later, and in 1910 Ravel arranged it for orchestra, probably unsatisfied with sluggishness of pianists who played it way too slow, as if they were anesthetized. Beauty of Pavane for a Dead Princess was proved by Marcel Proust, who chose it to be played at his funeral. Symphonic arrangement of this touching piece is available here: Pavane for a Dead Princess.

Peer Gynt. Morning Mood by Edvard Grieg

2011-04-26T07:31:00.000-07:00

Edvard Grieg's Morning Mood is one of the most beautiful pieces ever. Portraying time when almost everybody light-heartedly sleeps, it helps even veteran-slugabed to feel awakening of nature in a predawn time. Morning Mood is a part of Peer Gynt Suite No. 1, op.46, which was originally written for Ibsen’s play. Grieg had a hard time composing it, because he had to follow guidelines of a playwright, and it was new to him. Howbeit, no one can say now it wasn't worth it - Grieg's first suite is all-time masterpiece.

Score of this triumphant and sublime composition is available here:
Peer Gynt. Morning Mood sheet music.

Sicilienne by Gabriel Fauré

2011-04-22T04:15:00.000-07:00

Gabriel Fauré is no doubt one of the most prominent and foremost French composers. He composed orchestral, vocal, chamber, and piano music. Depending on period, his solo piano works range from unhurried and intimate to fast-paced and daedal. Fauré’s opuses served as inspiration for impressionists, were melodically expressional, and built a bridge between Romantic and modern music. His chamber music is beyond praise: it’s nearly impossible to left untouched by stirring cello in Sicilienne, his melancholic masterpiece. Download sheet music of this composition here: Sicilienne.

The Carnival of the Animals by Camille Saint-Saëns

2011-04-20T02:17:00.000-07:00

To each his own: Schoenberg played tennis and Webern collected crystals; Gustav Holst was inspired by astrology while Camille Saint-Saëns prefered representatives of fauna to heavenly bodies. The Carnival of the Animals is his famous fourteen-movement suite. Thinking it might damage his reputation, being not quite serious, Saint-Saëns deprecated to perform and publish the suite while he was alive. Who are we to blame a composer for having good sense of humor, though? Saint-Saëns may have been self-critical – and there’s nothing that wrong in it – but this piece is a superlative of composer's talent, so say listeners, period.

The Carnival of the Animals is especially liked by music teachers because children usually prefer lion’s roars spread in the zoo to morning wails of string quartets, and it is a perfect compromise in that sense. Joyous and lively, it’s one of the finest pieces ever written, and even most accomplished musicians can’t resist the temptation of having it in their repertoire - a video proof, featuring Sir Roger Moore, Julian Rachlin, and Mischa Maisky, is below.

Full score of the suite is available here: The Carnival of the Animals.

Symphonie Fantastique piano sheet music

2011-04-15T02:33:00.000-07:00

We all know that drugs are dangerous and nothing good, but history is inflexible: opium played important part in Berlioz’s Symphonie Fantastique. Smoking opium was pretty common in the 19th century, and historians suggest that this work was partly drug-influenced. It’s not a big deal, though: Colridge wrote Kubla Khan, his masterpiece poem, under similar circumstances. What really matters is how significant this symphony is: an early example of program music, Romantic period classical, favorite piece among listeners and performers worldwide…

Symphonie Fantastique was transcribed for piano by Franz Liszt in 1833. A brilliant performance of the piece is below. Sheet music of Liszt's arrangement, demanded and liked by pianists, is available here: Fantastic Symphony (Piano Transcription), H 48 Op.14

The Planets sheet music in high quality

2011-04-13T02:18:00.000-07:00

The Planets is incomparably epic orchestral suite by Gustav Holst. It consists of seven movements, named after the planets of Solar System, and sounds just out of this world – rather intergalactic than earthen. Holst was introduced to astrology in 1913 and felt so inspired that completed The Planets three years later. Pluto was discovered soon, but Holst refused to compose another movement – a smart and prophetic move given that Pluto was demoted from the rank of planets recently.

Check out movement IV of the piece below – it looks (and sounds, of course!) impressive overall, but conductor's effort is especially admirable. Full score is available here: Planets, Op. 32.

Franz Liszt. 200-Year Anniversary

2011-04-07T00:16:00.000-07:00

Virtuoso to the core, Franz Liszt is highly respected and prolific composer and pianist, known both for his works and performances. His contemporaries were always highly impressed by Liszt’s phenomenal skill, precision and expressivity. Face of composer always reflected feeling of pieces he was playing; Liszt was always passionate towards his music even though he travelled – and giving concerts, consequently – a lot.

Liszt was also a piano accompanist and teacher. No less than forty people were fortunate enough to become his students. Liszt helped them to reveal their own creativity, not having an intention of making them sound like him. Even though it is already something you can’t help but appreciate, there is more to come: Liszt never charged for his lessons! He was altruistic type of person and had good sense of humor.

The greatest pianist of the 19th century and creator of new genres, such as symphonic poem and rhapsody, Liszt proposed to fuse music with architecture, painting and literature. Talking about literature, it wasn’t alien to him: he wrote a book about Chopin and had numerous publications; living up to the hilt, he participated in whatever seemed interesting to him.

In 2011 we celebrate Liszt’s jubilee – he was born 200 years ago. Sadly there were no camcorders in the 19th century – otherwise we could’ve seen how brilliant his concerts were. Being a pianist myself, I want to wish you to see Liszt performing live at least at your dream – on waking up your spirits will be raised and you will have inspiration for years to come. To have a higher chance for this to happen make sure you play Liszt's compositions quite often. Franz Liszt sheet music will help you with this – use smart filter to choose instrumentation, genre, or key or just browse more than 1000 scores of an epoch-making composer!..

Lascia Ch'io Pianga sheet music in high quality

2011-04-01T06:08:00.000-07:00

George Frideric Handel was born in 1685 – the same year as Scarlatti. But not only this fact makes them related – they both could be lawyers: Handel thought about it himself and in Scarlatti’s case it was his father’s idea. I have no clue if Handel and Scarlatti have neighbouring immobility at Mercury, but two craters of the planet are named after them.

What else can be said of Handel? Well, he began composing in the age of 9 and taught himself to play organ. Originally German, he lived in London a bigger part of his life. Handel tried to make opera more dramatic and created the new type of oratorio – musically democratic and monumental.

Lascia ch'io pianga is his touching soprano aria, present at many modern films and deservedly popular among artists. Its sheet music is available here: Lascia Ch'io Pianga from Opera Rinaldo in high quality.

Il dolce suono sheet music in high quality

2011-03-31T05:56:00.000-07:00

Gaetano Donizetti was one of leading composers of bel canto opera. He was born in 1797 in Italy. Despite his parents weren’t musicians, he quickly became professional composer. After signing a contract with a theatre manager who was impressed by his opera, Donizetti moved to Naples.

Donizetti composed mainly operas, but symphonies, oratorios, sonatas and cantatas weren’t alien to him as well as string quartets and duets. The world of classical music wouldn’t be that rich as it is nowadays if he would become an architect or lawyer as he intended in his youth. Donizetti was quick at composing but it didn’t affect neither his chamber pieces nor songs – they sound majestic and dramatic.

It's hard to forget the concert in The Fifth Element : the aria that Diva Plavalaguna is performing in Besson's film is written by Donizetti. Enjoy this fine music score: Scena and Aria Il dolce suono from Lucia di Lammermoor sheet music.

Chopin-Czerny. Polonaise Brillante Op.3

2011-03-24T09:23:00.000-07:00

Composer since the age of seven, Chopin needs no introduction. A genius pianist, he forcedly lived in Paris for most of his life, but his compositions always have indelible Polish feel, influenced by folk motifs of his Motherland.

Chopin’s masterful piano miniatures are dramatically romantic, sincere and spiritual. Never before him was music that expressive. If it wasn’t for Chopin, polonaise and mazurka wouldn’t sound that poetic, there would be no such genre as a piano ballad and one of the craters on Mercury would stay nameless.

Introduction and Polonaise Brillante in C major, Op.3 is initially a composition for cello and piano. Luminously arranged by Carl Czerny for piano, it is available here:

Introduction and Polonaise Brillante in C major (Piano Arrangement), Op.3

Alkan Piano Sheet Music

2011-03-24T08:10:00.000-07:00

Charles-Valentine Alkan is a French virtuoso pianist. Besides composing, he taught Chopin’s students after death of a Polish composer and translated Bible (as a whole!) to French. Unluckily, his translation didn’t live till our days. And what’s even sadder, several of his works were lost, too. First composition of Alkan dates 1828 and most of them are written for solo piano.

Friends of Alkan thought of him as of lively, warm and humorous person. Even the title of his "Funeral march on the death of a parrot" warrants his ironic nature, noticeable in his works, musically-challenging yet written by a deeply sensitive and open man.

During the 20th century, music of Alkan wasn’t frequently heard in the concert halls, but now more and more pianists turn to his worthy and innovative works.

Alkan piano sheet music is available here.

Pictures at an Exhibition by Modest Mussorgsky

2011-03-18T07:52:00.000-07:00

Pictures at an Exhibition is one of the most deservedly staged and re-arranged suites of Mussorgsky. Subheading of this work (A Remembrance of Victor Hartmann) is self-explanatory – it is dedicated to a composer’s close friend, an architect and painter, who died early from an aneurism. Mussorgsky himself outlived Hartmann by three years, dying in the age of 42, but his contribution is huge: Pictures at an Exhibition was re-arranged even for such instruments as glockenspiel, xylophone and marimba. There were so many of those who want to adapt suite for themselves that we can easily find two bands starting from “Tangerine” among them – Tangerine Dream and Tangerine Trees, respectively.

In 1991-1992 Arkadi Troitsky transcripted Mussorgsky's suite for a string orchestra. Troitsky is a composer, arranger, and conductor with a great experience. Download the high quality sheet music here: Pictures at an Exhibition, arranged by Arkadi Troitsky – who knows, maybe it will inspire you to play its parts on sitar or theremin!..

Video of another version of arrangement, by Ravel, is below:

Music Self-Publishing

2011-01-10T05:32:00.000-08:00

World never stops moving. Neither the world of music does. The pace of its changes and development doesn’t cease to surprise contemporary composers. To be successful in this highly competitive environment they need to adjust, to learn and to develop themselves.

Every way to composer’s success begins with such basic steps as, first of all, motivation and, second of all, getting music scores PUBLISHED so that they were acknowledged by the public. Unlike the first task, the second one may require some comprehensive informational research before a composer finally chooses the way to follow.

That is exactly the purpose of the article “Music Self-Publishing” – to provide a talented but probably overlooked composer with all the data regarding the options he’s got. All-mighty publishers or means of self-publication – that is the question. The overview, comparative analysis and the choice of solution – all inside. Have a look Music Self-Publishing

Destination Broadway

2010-11-26T07:44:00.000-08:00

Did you know that though the word “musical” just at the beginning of the 20th century appeared history of this relatively new music genre goes back to the theatres of the ancient Greeks and Rome when ancient dramatists used in their plays musical accompaniment and choreographed dances of the chorus? But, of course, the very first musical was staged many centuries afterwards. This important historical event took place on Broadway in 1866 when the play “The Black Crook” written by Charles M. Barras and produced by William Wheatley was firstly performed.

Generally speaking, musical has always been especially close to people showing ordinary persons in unordinary situations and having an entertaining character though often getting deep thoughts and serious dramatic emotions across the footlights and thereby very popular among the public from different social milieus, while classical theatre plays and operas demand usually a certain level of education and respective knowledge of the piece.
I personally love musicals and adore actors for their amazing versatile talent and physical strength which are surely needed when performing complicated dance figures accompanied by skillful vocal pirouette.
Though most musicals are scored for orchestras and they’re hard to be performed at home, we can sometimes meet smaller plays for piano and voice, as for example here, enjoy this great music and feel like you were joining one of these breathtaking Broadway shows.

Contemporary Sheet Music

2010-11-22T09:10:00.000-08:00

As a listener, if I had to choose between contemporary classical music and light modern music as for example pop or r&b songs, I would prefer light music. And this is a musician’s opinion too! Strange, isn’t it? Well, of course I should admit, it is my personal point of view, but I am very curious how many modern musicians are listening to contemporary classical music at home, so to say, just for fun… Do I play contemporary music myself? Yes, sometimes. But I should say that my students are not very happy having contemporary music in their repertoires. I think the contemporary piece in repertoire of pianists is the Must, not the Wish, sometimes. No competitions or serious recitals can avoid some kind of contemporary composition. And it’d better be interesting and valuable. And I am continuously looking for some new worthwhile compositions of contemporary composers. I would recommend one of the biggest and rapidly rising collections of contemporary sheet music both free and paid.

Christmas Sheet Music: Silent Night

2010-11-05T03:10:00.000-07:00

Silent night, holy night…This charming music comes along with me from my childhood through all years passed… What would be with Christmas celebration if an Austrian composer Franz Xaver Gruber had never composed Stille Nacht, heilige Nacht? Written December 24, 1818 and performed that very day, this music became very famous during the next two centuries and now it is one of the most popular Christmas carols. It is always so astonishing when a song becomes worldwide popular, when every child in the world knows, enjoys and sings this song. And definitely the Silent Night (Stille Nacht) is absolutely magic song. Listen to it once and you will never forget it. It makes you feel happy; it gives you taste of coming Christmas, joy and pleasure. Numerous musicians have made arrangements and cover versions of the Silent Night for any kind of instrument, voice or ensemble. I enjoy playing the piano arrangements of the Silent Night (Stille Nacht).

There are of course many other beautiful Christmas carols. My other favorite carol is Oh Holy Night.

You can download Christmas sheet music and enjoy playing and singing Silent Night (Stille Nacht) or Oh Holy Night as well as numerous other beautiful carols.

Für Elise by L. van Beethoven

2010-10-16T03:27:00.000-07:00

This is undoubtedly the most popular piece for piano ever composed. I have been playing Für Elise (For Elise) since I was 5. At that time I played only the first part with that beautiful theme everyone knows. And though now I am widely smiling, I should admit I did start piano lessons to be able to play Für Elise. I always thought there should be some magic in the Bagatelle WoO 59 in A minor, composed by Ludvig van Beethoven that makes it absolute favorite piece of my students and I am sure of many piano players around the globe. And though musicologists are not sure who that Elise was, I am so grateful to her – who ever she was – for her being in Beethoven’s life. And I believe Beethoven would have been named the greatest composer if he had composed just one this piece, the most famous classical piano music – Für Elise. Download the high quality sheet music of Für Elise, Ludvig van Beethoven’s Bagatelle WoO 59 in A minor.

The Musical Instruments of the Renaissance

2010-10-12T06:32:00.000-07:00

The musical art of the Renaissance epoch is characterized by a keen interest in the values of the antique heritage of Greece and Rome. It becomes fashionable to be able to sing, play musical instruments, and sing. The fashion dictates its conditions: common people familiarize themselves with music and noble people keep choirs, orchestras, and sponsor composers’ creative work. On the rising tide of universal love for music musical instruments develop intensively and gain immense popularity. The instruments easy to play on without having particular skills become called for and loved. The viol, flute, lute and horn are found among the most widespread and popular with public. The organ, harpsichord, and virginal stand out due to their venerable nature; one had to have certain expertise to handle them and having high performing skills was a must. However, the music played on any of these instruments was clear and accessible to perceive for it conveyed emotions and feelings and exposed human nature.

Bach vs. Händel

2010-10-04T00:02:00.000-07:00

One never knows what to expect from destiny that whimsically rules our life. Take two renowned composers of the 18th century – Johann Sebastian Bach and George Frideric Handel. Born in the same year and in the same country they lived diverse earthly and musical lives without ever meeting each other.

Handel as a secular person was fond of publicity, success and recognition while Bach was a devout man who created for the sake of creativity. Handel was a devoted traveller who sojourned in different countries while Bach due to certain circumstances never left his homeland. Each of them followed his own way in creative work: Bach preferred religious themes in his works which were permeated by glorification of God whilst Handel was inclined to compose secular music. Bach received acclamation from public as an organ player and performer in the first place and then as a composer, Handel, on the other hand, purely wrote music.

On the whole, these two unique musicians have one thing in common – they won fame and respect as the greatest composers of the Baroque Era.

Lascia Ch'io Pianga from Opera Rinaldo. Georg Friedrich Händel

THE GROUP OF SIX (“LES SIX”)

2010-10-01T07:08:00.000-07:00

The musical culture of the 20th century’s France was substantially formed by a group of six French composers dubbed by music critic Henry Collet the creative group of “Les Six” (1917 -1922).The group was comprised of six innovative composers: Louis Durey, Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, and Germaine Tailleferre. They proclaimed their desire to stand up for the national peculiarity of the musical language and fight against foreign trends (for instance Schoenberg’s atonality). Though they were different in their creative developments, one distinguishing feature made them a unity – their strive for novelty and simplicity at the same time.

The music by Stravinsky along with new timbres and rhythms of the American jazz had a profound impact on them. All members of “The Group of Six” took a great interest in the urbanism and constructivism (Honegger’s Pacific, Milhaud’s Les Machines Agricoles). This explains the desire to find images for their creations in the sounds of the modern city as well as in the new musical forms. Nevertheless, each of them could boast his own original style. Despite sharing the same ideas, in their creative work they often moved in the opposite directions. Durey, for instance, seceded from the group and pursued a career of a public figure, while Honegger, Milhaud and Poulenc continued to work successfully in the field of music.

The young men were devoted to one basic principle i.e. to the creation of works possessing a clear musical language, lacking affectedness, based on real life with all its simplicity.

Gustav Mahler

2010-09-30T06:41:00.000-07:00

How often are geniuses put to the test by the ironic and mocking fate? But they are moving forward neglecting the obstacles, conquering one creative summit after another, leaving behind masterpieces big and small. How many such creators are there persecuted and subjected to severe criticism who live unrecognized but are praised posthumously?

Each genius’s destiny is like a comprehensive book on life, and every work of theirs is a separate story tightly connected with their life experience. All this holds so very true for Gustav Malher, the outstanding symphonist and renowned conductor who lived and worked at the turn of the 20th century.

His famous song-cycles namely "Kindertotenlieder" (Songs on the Deaths of Children), "Lieder eines fahrenden Gesellen" (Songs of a Wayfarer), "Des Knaben Wunderhorn" (The Youth’s Magic Horn) are of biographical character and carry the imprints of events closely connected with Mahler’s life. Each of his ten symphonies was part of his life, taken away from his strenuous schedule of the director of the Vienne Court Opera or the New York Philharmonic.

As Schubert’s successor and the last representative of the Austro-German Romantic symphony Mahler left a substantial legacy preserving its great importance till our days.

William Baines. Coloured Leaves for piano

2009-11-25T03:51:00.000-08:00

Not long ago, searching for new piano sheet music, I saw in the Internet the works by William Baines 'Coloured Leaves' unknown to me. This is a small piano cycle of three pieces: Prelude, Valse, and Still day. It is absolutely charming piano miniatures written in Romantic style. They attracted my attention, as if to take these three pieces separately, they can be played by middle class students (I’m a piano teacher at a music school), and the cycle as a whole suits for a high school program.
Usually, when I introduce the children to new pieces, we also acquaint ourselves with authors’ biographies. It upset me to learn that the life of William Baines was not so rosy and very short. A very young soul begot these compositions. And each of them is like a page of his life.

Here you may find the sheet music of Coloured Leaves

I thought that the pieces, written by their peer, will be very close to the children. The first piece Prelude sounds like a story. It’s expressed in a frequent meter change, emphasis change and even calm rhythm. The second piece is a light and graceful Valse, which firstly seems to be simple, but has many melodic details, and, well performed, can sound very impressive. But most of all I liked the final piece Still day. It’s full of sadness, calm and serenity.
In my opinion, the title 'Coloured Leaves' fits this cycle very well. Although all three pieces have the same romantic mood, they are very different in their genre and character. Therefore, I suggest you performing of the entire cycle. The piece won’t be arid, and, at the same time, it will allow the students to demonstrate their skills to embody different characters and moods.

S. Smith's Piano Music. Grande Fantaisie L' elisire d' amore

2009-10-14T03:31:00.000-07:00

This piece is a brilliant piano fantasia on the themes from opera "The Elixir of Love"("L' elisir d'amore") by Donizetti. Smith showed masterfully feelings of the main characters of the opera: affection, coquetry, rivalry, jealousy, and above all, love - and made them festal and playful.
It’s surprisingly, that the composer retained in his piano piece the characters of the opera’s heroes. It seems the author is painting the image of a timid young peasant Nemorino, of the beautiful coquette Adina, dreaming of elevated love, of the cunning and tricky quack Dulkamar; of the brave but ignorant Sergeant Belcore and of many other characters. Following Donizetti, Smith makes his own parody interpretation of the legend about the magic love potion. In an effort to portray different characters, as well as to embody the comicalness of the situation, the author combines in The Grande Fantaisie 'L' elisire d'amore' absolutely contrasting moments, which require different manners of playing. Frequent changes of dynamic nuances, accents, techniques and ways of playing music help to create a vivid and colorful imagery of the piece. And the light, lofty theme of the "love drink" is a unifying element in such a multifarious and variegated work.
Smith has created a great piece - light, refined, but worthy of virtuoso performers and large concert halls.

S. Smith.The Last Rose of Summer

2009-10-06T23:20:00.000-07:00

Some time ago I’ve found in the Internet a piece by Sydney Smith with a fascinating title - The Last Rose of Summer ... I have played it often and for a long time and every minute I immersed deeper and deeper in the amazing atmosphere, created in this work. The composer pictured very masterly the image of a lone flower, the summer’s ending and, probably, last hopes of us all.
Through skilful whirling passages, taking the whole piano keyboard, the barely hearable, modest melody begins to appear, gaining strength with its gradual development. Suddenly, the beautiful image appears to my eyes: a flower of astonishing beauty, growing in the stormy ocean among the fading summer’s nature. This defenseless essence makes you unwittingly stop and reflect. What a grace, elegance and therewith power are hidden in this fragile rose! The composer shows with amazing precision her thin, almost transparent petals, the drops of dew, fallen that very morning on the accurate, as if specially cut leaves. It seems you even start feeling the subtle aroma emanating from this plant. And what a tranquility and tenderness come over the listener while the short moments of contemplation! You draw such a strength and endurance from it!
The Last Rose of Summer ... the ending summer... As if it were our farewell to something. But still, the last hope remains in the soul.
That is the very natural beauty, which we usually do not notice, the last hope, which we all so desperately need.

Mendelssohn's Violin Concerto (Piano Transcription)

2009-10-06T01:10:00.000-07:00

I love romantic music so much and perform romantic concertos for piano and orchestra with great pleasure! Sometimes I take scores at home, play a piano solo part and imagine the sound of an orchestra. Recently I’ve found scores with the piano transcription of a violin concerto by Mendelssohn. This was a Paraphrase of the composer Sydney Smith. He was able to merge the solo and orchestral part into one unity. Now, I enjoy learning of this piece. I wonder how Smith could keep all the beauty of the concert by Mendelssohn. The piece has practically lost nothing over the only piano sound. On the contrary, such pieces allow the pianists to perform the whole piece by themselves and immerse in the beauty of music. Especially as its difficulty level is not very high and many musicians could enjoy its practicing thus.
While performing of the piano transcription of the Mendelssohn's Violin concerto, you get into the world of a lone, misunderstood human soul, seeking for calm and serenity. I sometimes have this feeling by myself. May be that's why this work is so clear and close to me.

Sydney Smith. Romeo and Juliet

2009-10-02T05:17:00.000-07:00

Not so long ago I’ve been looking in the Internet for any piece of music that could touch my heart and soul. And finally I’ve found the fantasy by S. Smith on Shakespeare's tragedy "Romeo and Juliet". Tell me, which woman doesn’t care about love and devotion? I think each one does. Especially when such strong emotions are running high. There’s everything you need in this piece: the first young love, so sincere and ingenuous, the long-standing war between two proud families, who do not want taking the first step towards reconciliation, good and evil, life and death.
All these themes are shown so brilliant and magnificent in the fantasy. Frequent march intonations describe the picture of self-confident young people, going through life bold and proudly. At this moment the music is dynamic and vigorous. A soft, light and melodious tune, which embodies the great feeling of love, changes the lively and bold tone of the march. And this love is mutual! That’s why the simple melody develops gradually into a tremulous theme.
There are some difficult moments in the fantasy Romeo and Juliet, which hold our attention while practicing this work: a rather large number of virtuoso passages, dense texture of music and octave doublings. But what a pleasure you take in surmounting of all these difficulties. You feel like you were involved in this love story, so tragic, but very beautiful.

Guitar Today

2009-09-30T01:52:00.000-07:00

In the big concert hall and near the campfire, in the club and at home: guitar is always a guest of honor in any situation of our live and fits into every scenery well. I doubt strongly whether there is any person in the world, who doesn’t love this soft and sincere sound. One of the most wonderful musical instruments had won my heart for ages. Long before I became a pianist I’ve been enchanted with its modulating touching harmony.

Over many centuries the guitar was a faithful companion of human civilization. It changed strongly its size and shape, which may vary greatly, but its purpose is still the same – to amuse the listeners and to give free rein to the performer’s thoughts and feelings. And nowadays it’s really impossible to imagine some musical styles without this instrument: they are recognized as one of the primary instruments in jazz, blues, country and rock music. Guitars, both acoustic and electric, can be played solo and as a part of the instrument background. It should be noted that guitar-concerts enjoy increasingly popularity and a number of guitarists from different genres (classical, rock, jazz and so on) became self-sufficient world-known stars, e.g. Joe Satriani, Eric Clapton, David Gilmour, Ritchie Blackmore and many others.

Download guitar sheet music

As a pianist I can add, that it’s always a great joy for me to play pieces which include the guitar part. Its sound enriches the melody strongly, makes it more vivid and memorable.

Sydney Smith. Fantasia La Traviata for Piano

2009-09-29T04:54:00.000-07:00

I'm a big opera fan, you know. And I was so happy, when I’ve found sheet-music by Sydney Smith some time ago! This author has a few fantasies on themes from operas by various composers. I was deeply interested in «La Traviata». I’ve been right looking for music scores my pupils could play at the concert. And I set my choice on this piece. It contains everything what I needed: beautiful music and numerous playing techniques, which can effectively adorn the performance.
The piece’s playing techniques are very diverse. You can work out the chord-playing technique (octaves occur often) by practicing this fantasy. You can demonstrate your skills in playing cantilena (beautiful melodies are enough here). And the musicians, who succeed in fast virtuosic playing, having good fingering techniques, will also enjoy this piece. It has a large number of passages.
So, you can give a very spectacular performance and show all your performing skills due to Fantaisie brillante sur l'opéra de Verdi La Traviata, Op.103, which has everything you may need. And though you have to take some pains in its practicing, believe me, the thing is worth the effort. I recommend it strongly.

Cello and Violin Duo Sheet Music

2009-09-24T05:46:00.000-07:00

Metz Ekghern. In the Memory of the Genocide by Hrach'ya Yessayan.

Filled with infinite sorrow this piece shocked me with its acute sharpness and strong emotionality. It involves me into the cruel world, where hate and fear reign, where is no place for love and compassion. While its listening awful images of the ruthless war are raising in my eyes. The anxious strings create a very strained atmosphere that electrifies the listener during the whole piece. Melody interrupted from time to time with knocks gives additionally the feeling of utter despair. It seems to me, that this music is an exact reflection of the inner state of mind of the people from the “lost generation”, these, who lived and grew up just before and right after the World War II: nervous, broken and very sorrowful.

You can listen to the sound sample, download the sheet music for free, and even buy a license to perform or record this striking piece.

And I’m very grateful to the author for this remarkable work, because I think that it’s a very necessary thing – not to go ahead such a terrible fact like genocide – especially nowadays, when people became blind to cruelty and violence happening in the world.

Hans Huber. Eight Pieces for Piano Op.85

2009-09-22T22:28:00.000-07:00

The cycle consists of eight piano miniatures. Although pieces are written by the author in the beginning of the XX century, they are composed upon the pattern of romantic music. The titles of pieces, the character of music, rich harmony and used techniques of the musical development testify this.
General feeling of the cycle is joyous and full of optimism: the opening pieces are filled with light and playful images, which gradually lead to a calm, dreamy, melancholy mood.
The composer used various musical tempos (from adagio to vivace), performance techniques (staccato, legato, marcato), registers and rhythmic patterns (along with the even rhythm tied notes, syncopation and polyrhythm are often found here).
Due to this diversity of means of the musical expression the performer has the opportunity to demonstrate his mastery of cantilenas’ technique and his virtuosic playing.

Download sheet music of the Eight Pieces for Piano Op.85

The small size of pieces and the average level of skills allow many performers to include these pieces into their repertoire.

Contemporary Music from Russia

2009-09-22T04:52:00.000-07:00

The new music I've recently discovered comes from Russia. Contemporary composer Dmitri Capyrin creates a highly refined and mental music for different instruments.Here I'd like to say a few words about his compositions.

And a Light through Foliage
for Trio (Piano, Flute, Cello)

When I’ve heard this piece for the very first time I was deeply impressed by the excellent mastery of its composer to transmit to the listener such a realistic image of his own impressions. Listening to this music I have dual feelings: on the one hand it is a light inexplicable anxiety, on the other hand it’s a little bit morbid joy that hides in blind corners of the heart, ready to break out at any moment.

House of Cards
for Quartet (Piano, Clarinet, Violin, Cello)

I like this piece very much because of its exceptional fragility and charming lightness. It touches gently the secret chords of my soul, makes me think about how delicate our life is, threatened on every corner of the fatal blow of fate, which invisible hand can destroy it like we destroy the house of cards. With one push. With no regret.

You'd better listen these compositions yourself and download scores of Russian contemporary music, in case you like it.

Shinichi Suzuki about talent

2009-07-14T23:03:00.000-07:00

I have the firm belief that there is no inherited talent for music; therefore, we could make a child become either an excellent musician or a tone-deaf person according to the law of ability and principle of the life force activity.

If we do not educate at all, the child will learn nothing. For instance, the talent for music can only be had by cultivating it and can not be achieved by itself. This is my conviction.

If music talent could be acquired naturally, the cultural history of mankind would have been quite different, I am sure.

If a newly bor baby is played a record of a Vivaldi violin concerto every day whenever it cries, the baby will have learned the concerto well after four or five months. The same thing is true if the baby is brought up listening to a Bach concerto.
This method of training is being put into practice today everywhere in Japan.
This fact entirely demolishes the common-sense notions that we have long held about the inborn talents of human beings, since it proves that there is no such thing as a person literally born with a special aptitude, such as an inborn talent for music.

Guitar Sheet Music - Tarrega, Gran Vals

2009-06-16T05:22:00.000-07:00

I think almost everybody has heard the famous Nokia tune. It seems as it was the first remarkable ring tone from those times of first mobiles.

I was a bit surprised, when I’d found out, that this is a fragment of Gran Vals by Francisco Tárrega. This piece was written by composer in 1902. A virtuoso guitarist himself, Tárrega is considered as a musician who promoted a classical guitar. His guitar compositions are often performed in recitals and stand first in the guitar repertoire. You may download Gran Vals of Tárrega as many other guitar sheet music, and play these famous measures yourself. If you haven't got which measures I am talking about, see the picture.

Though many composers have written and are continuously writing nice guitar pieces, there is no as much sheet music for the guitar as for the piano. Especially nowadays, it is quite difficult to find some really interesting piece of classical genres, which can be of interest for modern public. And this concerns not guitar only. In the piano repertoire the situation with contemporary music does not look favorable too, as it is very difficult to find new expressive methods nowadays. It is often too difficult for contemporary composers to strike a happy medium between complexity and primitive keeping large scale of expressiveness.

Etude

2009-06-04T00:32:00.000-07:00

Once I had to do research in which I interviewed a great number of children from seven to twelve years, who learned to play different instruments. One of the questions I asked was: "Do you like to play etudes?" Some children answered, that they had not played etudes yet, others said that it wouldn’t make any difference to them whether they played an etude or any other piece. But most of them answered that they like to play neither etudes, nor exercises.

What is the reason for such an aversion to compositions of this type? The etudes, which are played by the novice musicians, have many negatives. A lot of etudes don’t have a figurative content. The theme for such an etude is nothing more than a simple melody, performed in the appropriate technique. The uniformity of the texture doesn’t promote the development of the child’s imagination. The expressive tools are limited to a few piano or forte and ritenuto between the middle part and the reprise. At the same time the sheet music of etudes is full of complex elements. The etude becomes faceless, non-emotional for the child. It turns into a mechanically performed burden, like a walk through the desert with a bag of stones on your back.
The question arises why musicians have to play etudes? Perhaps, they do it to learn to perform and improve the quality of a certain type of technique of performing. Meanwhile, one important point is missing. Why do you have to learn the new techniques? Of course, to gain the skills for a variety of compositions. Often, we are able to perform an etude correctly, based on some technique. Problems appear, when that same technique is applied in a piece. Here techniques are interweaved in the musical context of the piece, have a content, the musician must express in his performance, embodying the imagination, whereas playing etudes, many musicians play the appropriate notes without thinking about any expressiveness.

But we must keep in mind, an etude is also a musical work and at the heart of any piece of music is an idea. It is very important to teach the beginner to treat etudes like a concert pieces, which he has to play not only quickly, but also expressively. It goes without saying that the teacher has to select carefully etudes and exercises, selecting the most interesting from a musical point of view. If the etude becomes a music composition of full value for a student, which excersising he will be interested in, the work on the technical skills will be an additional bonus to the exciting study of the music world.

Great pianists. Ferruccio Busoni, part 4

2009-04-14T08:23:00.002-07:00

Details of Phrasing and Accentuation
"Some students look upon phrasing as a detail that can be postponed until other supposedly more important things are accomplished. The very musical meaning of any composition depends upon the correct understanding and delivery of the phrases which make that composition. To neglect the phrases would be about as sensible as it would be for the great actor to neglect the proper thought division in the interpretation of his lines. The greatest masterpiece of dramatic literature whether it be Romeo and Juliet, Antigone, La Malade Imaginaire or The Doll's House becomes nonsense if the thought divisions indicated by the verbal phrases are not carefully determined and expressed".

"Great actors spend hours and hours seeking for the best method of expressing the author's meaning. No pianist of ability would think of giving less careful attention to phrasing. How stupid it would be for the actor to add a word that concluded one sentence to the beginning of the next sentence. How erroneous then is it for the pupil to add the last note of one phrase to the beginning of the next phrase.
Phrasing is anything but a detail".

"Fine phrasing depends first upon a knowledge of music which enables one to define the limitations of the phrase and then upon a knowledge of pianoforte playing which enables one to execute it properly. Phrasing is closely allied to the subject of accentuation and both subjects are intimately connected with that of fingering. Without the proper fingers it is often impossible to execute certain phrases correctly. Generally, the accents are considered of importance because they are supposed to fall in certain set parts of given measures, thus indicating the meter".

"In instructing very young pupils it may be necessary to lead them to believe that the time must be marked in a definite manner by such accents, but as the pupil advances he must understand that the measure divisions are inserted principally for the purpose of enabling him to read easily. He should learn to look upon each piece of music as a beautiful tapestry in which the main consideration is the principal design of the work as a whole and not the invisible marking threads which the manufacturer is obliged to put in the loom in order to have a structure upon which the tapestry may be woven".

Great pianists. Ferruccio Busoni, part 3

2009-01-31T01:05:00.000-08:00

FINDING INDIVIDUAL FAULTS

"I trust that my experience will set some ambitious piano students to thinking and that they may be benefited by it. There is always a way of correcting deficiencies if the way can only be found. The first thing, however, is to recognize the detail itself and then to realize that instead of being a detail it is a matter of vast importance until it has been conquered and brought into submission. In playing, always note where your difficulties seem to lie. Then, when advisable, isolate those difficulties
and practice them separately. This is the manner in which all good technical exercises are devised".

"Your own difficulty is the difficulty which you should practice most. Why waste time in practicing passages which you can play perfectly well? One player may have difficulty in playing trills, while to another player of equal general musical ability trills may be perfectly easy. In playing arpeggios, however, the difficulties which prove obstacles to the players may be entirely reversed. The one who could play the trill perfectly might not be able, under any circumstance, to play an arpeggio with the requisite smoothness and true legato demanded, while
the student who found the trill impossible possesses the ability to run arpeggios and cadenzas with the fluency of a forest rivulet".

"All technical exercises must be given to the pupil with great discretion and judgment just as poisonous medicines must be administered to the patient with
great care. The indiscriminate giving of technical exercises may impede progress rather than advance the pupil. Simply because an exercise happens to come in a certain position in a book of technical exercises is no reason why the particular pupil being taught needs that exercise at that particular time. Some exercises which are not feasible and others which are inexpedient at a certain time, may prove
invaluable later in the pupil's progress".

"Take the famous Tausig exercises, for instance. Tausig was a master of technic who had few, if any, equals in his time. His exercises are for the most part very ingenious and useful to advanced players, but when some of them are transposed into other keys as their composer demands they become practically impossible to play with the proper touch, etc. Furthermore, one would be very unlikely to find a passage demanding such a technical feat in the compositions of any of the great masters of the piano. Consequently, such exercises are of no practical value and would only be demanded by a teacher with more respect for tradition than common sense".

Great pianists. Ferruccio Busoni, part 2

2009-01-13T06:22:00.000-08:00

SELF DEVELOPMENT

"In my own development as an artist it has been made evident to me, time and time again, that success comes from the careful observance of details. All students should strive to estimate their own artistic ability very accurately. A wrong estimate always leads to a dangerous condition. If I had failed to attend to certain details many years ago, I would have stopped very far short of anything like success".

"I remember that when I concluded my term as professor of piano at the New England Conservatory of Music I was very conscious of certain deficiencies in my style. Notwithstanding the fact that I had been accepted as a virtuoso in Europe and in America and had toured with great orchestras such as the Boston Symphony Orchestra, I knew better than anyone else that there were certain details in my playing thta I could not affort to neglect".

"For instance, I knew that my method of playing the trill could be greatly improved and I also knew that I lacked force and endurance in certain passages. Fortunately, although a comparatively young man, I was not deceived by the flattery of ellmeaning,
but incapable critics, who were quite willing to convince me that my playing was as perfect as it was possible to make it. Every seeker of artistic truth is more widely awake to his own deficiencies than any of his critics could possibly be".

"Take the famous Tausig exercises, for instance. Tausig was a master of technic who had few, if any, equals in his time. His exercises are for the most part very ingenious and useful to advanced players, but when some of them are transposed into other keys as their composer demands they become practically impossible to play with the proper touch, etc. Furthermore, one would be very unlikely to find a passage demanding such a technical feat in the compositions of any of the great masters of the piano. Consequently, such exercises are of no practical value and would only be demanded by a teacher with more respect for tradition than common sense".

Great Pianists. Ferruccio Busoni

2008-12-18T05:27:00.000-08:00

THE SIGNIFICANCE OF THE DETAIL

Ferruccio Busoni

"In fine piano playing all of the details are important. I do not mean to say that if one were in another room that one could invariably tell the ability of an artist by hearing him strike one note, but if the note is heard in relation to the other notes in a composition, its proportionate value should be so delicately and artistically estimated by the highly trained performer, that it forms part of the artistic whole."

"For instance, it is quite easy to conceive of compositions demanding a very smooth running performance in which one jarring or harsh note indicating faulty artistic calculation upon the part of the player would ruin the entire interpretation. As
examples of this one might cite the Bach Choral Vorspiel, Nun Freut euch, of which I have made an arrangement, and such a composition as the Chopin Prelude Opus 28, No.3, with its running accompaniment in the left hand."

"It is often perfection in little things which distinguishes the performance of the great pianist from that of the novice. The novice usually manages to get the so-called main points, but he does not work for the little niceties of interpretation which are almost invariably the defining characteristic of the interpretations of the real artist that is, the performer who has formed the habit of stopping at nothing short of his highest ideal of perfection."

The most difficult compositions

2008-11-21T06:41:00.000-08:00

(by Wilhelm Bachaus)

"I have continually been asked, "What is the most difficult composition?" The question always amuses me, but I suppose it is very human and in line with the desire to measure the highest building, the tallest mountain, the longest river or the oldest castle. Why is such a premium put upon mere difficulty? Strange to say, no one ever seems to think it necessary to inquire, "What is the most beautiful piece?" "Difficulty in music should by no means be estimated by technical complications. To play a Mozart concerto well is a colossally difficult undertaking.
The pianist who has worked for hours to get such a composition as near as possible to his conception of perfection is never given the credit for his work, except
by a few connoisseurs, many of whom have been through a similarly exacting experience. Months may be spent upon comparatively simple compositions, such as the Haydn Sonatas or the Mozart Sonatas, and the musical public is blind to the additional finish or polish so evident to the virtuoso."

Features of musical aesthetics

2008-11-19T08:39:00.000-08:00

(By Will Earhart)

1. The first facts in music are emotional cries, as of birds, animals, primitive men.

2. In origin music is characteristically vocal.

3. The individual, at the moment of musical experience, is strongly active (emotionally).

4. The value of music to humanity is to heighten man's power by vast intensification of feeling.

5. The highest temple of musical art would be the music-drama auditorium.

In contrast to this general view a view that is seldom if ever, explicitly stated, but that may be discerned as implied by attitudes and preferences is another, similarly existing by implication only. It assumes that music arose because of
the Pleasure of the Ear in Tone. Instead of the emotional cries of birds, animals and men, this theory would find the origin of music in the twang of the bow-string, the sound of the wind in the reeds, the murmur of falling waters, the ring of wood on wood. All natural sonorities would become primary experiences in man's musical development. As against the other view, we would now think of music as primarily or characteristically instrumental; would conceive the individual, at the moment of musical experience, not as being strongly active but as being sensitively and beautifully receptive; would find the value of music to humanity to reside (in a word) in culture that is, in the ability to find joy in every beauty that nature or man provided; and would find the true temple of music represented, not by the
operatic stage, but perhaps by the organ-loft in St. Thomas Church in Leipzig, as Bach communed with incorporeal visions; or perhaps by the small chamber in which a string quartet would seek glories from an unseen world.

The Violin

2008-11-14T03:38:00.000-08:00

In this instrument ("the king of instruments") the art of instrument making has reached its highest point in terms of simplicity of materials and effect. The violin has the unique advantage of combining the emotional expressiveness and flexibility of the human voice, which it closely resembles, with a special brilliance and agility of its own in passage work. Unlike the human voice, the violin can also play chords to some extent.

This instrument first emerged in the sixteenth century and evolved substantially to its present form in the eighteenth century with Antonius
Stradivarius. Certain changes were made in the nineteenth century to in crease the power and brilliance of the violin. The bow, "the soul of the instrument," is strung with horsehair, and it assumed its present form about 1780 in the hands of Franfois Tourte, still considered the greatest of all bowmakers.

The violin is fully chromatic (that is, can play all the semitones) throughout its range. Originally the violin I part had more interesting and difficult things to do than the violin II. Since Wagner, however, the latter part has become increasingly difficult, and in some scores one part is as difficult as the other.

Almost any violin concerto will give an idea of the violin's capacity for
singing tone and brilliant passage work.

Bach Brandenburg Concerto No1 Part 1

The ascent to the sacred music

2008-11-14T02:43:00.000-08:00

(By J. Edwards)
In simplest definition, music is rhythmical sound used as a means of expression. What it expresses is first in the soul from which it flows. It takes the color of the soul's atmosphere. As an art it is not found in nature, but belongs to the ear, the brain, and the spirit of man. Nature gives only sound of which to make music. It is, therefore, a human art for the expression of the spiritual in man. In its primitive form, as in drum worship and the early religious use of bells, music was really a naive attempt to interview the invisible spirits supposed to reside within them, which responded by rhythmical and more or less melodious sounds. The ascent from a crude, animistic essay at communion with the spiritual world to the Veni Spiritus, Bernard's celestial song, Bach's Passion Music, or the best hymns of Wesley and Faber in fitting musical expression, marks the course of man's religious growth. In sacred music he utters the highest that is in him, and aspires after that which is far higher.

A cat playing the piano

2008-11-13T06:57:00.000-08:00

Have you ever seen how awesome cats play the piano? And generally have you seen any cats playing the piano? I found an amazing funny video with a cool cat.
There is so much sense in its performance! It is playing very expressive and listening to how the piano sounds. Well, actually I always suspected that the cat is a pretty smart animal, but I haven't realized how smart it can be so far. The most surprisingly is that it sits on the chair during the playing and plays "with both hands"!

Metropolitan: all the vogue

2008-11-12T04:38:00.000-08:00

I've seen some beautiful pictures of Renee Fleming and her amazing dresses, designed specially for the gala showcase by Karl Lagerfeld, Christian Lacroix, and John Galliano. A dress trimmed with lace from "Manon," designed by Mr. Lagerfeld is really a dainty work. Costumes from "Traviata" designed by Mr. Lacroix are iridescent and full of air. And my absolute favorite, the amazing dress, designed by Mr. Galliano for scenes from "Capriccio."

You can have a look at these photos here: NY Times photos of Renee Fleming

Brahms Variations

2008-11-11T04:35:00.000-08:00

(By Philipp Spitta)

The old Variation form, above all, is brought out from the treasures of the old composers, and glorified in his hands. Brahms's variations are something quite different from what had been commonly known by that name. Their prototype is Bach's Aria with thirty variations, and that work is an elaboration of the form known as the Passacaglia, in this the determining idea is not the addition of figures or of various accompaniments to the theme or melody, but the persistent identity of the bass. This continues the same through all the variations; upon that a free treatment is worked out — not, however, excluding an occasional reference to the original melody. Beethoven so far adhered to the usually accepted form, as to restrict the supremacy of the bass to alternate use with variations in the melody, and Schumann followed his example. This form was not adopted by other great masters, and even Beethoven and Schumann only used it fitfully.

Brahms, so rich in inventive combinations, stands nearer to Bach than to Beethoven, but has much of Beethoven's freer style of treatment. Augmentation or diminution of the phrases forming the theme are a manner of variation never used by Beethoven, and employed by Brahms only in the variations in the two first Sonatas, and in the independent Air with Variations (Op. 9). In this it is often surprisingly ingenious, but he must have thought the process incompatible with his strict sense of form, just as he gave up changes of key from one variation to the next, which Schumann often used, though Beethoven allowed himself only once (Op. 34).
In the second variation in Op. 9 we find, on the other hand, what important pre-eminence he assigns to the Bass; and in the tenth variation of the same set he even uses it as the melody in the upper part. Then he derives a subject from the diminution to half or quarter notes of the opening of the theme; this is worked out to fill up the required measure, while the essential harmonies are maintained in the same succession, so that the theme, or part of it, is reflected, as it were, to and fro, from two or four mirrors. This first work of his with variations was written on a theme by Schumann, and dedicated to Clara Schumann, and Brahms therefore introduced some other musical ideas of theirs as a mark of respect.

Similar ingenious adaptations of borrowed materials often occur in his works. A brilliant instance of ingenious and artistic combination is to be seen in the ninth variation, which seems to introduce a whole piece of Schumann's with a slight alteration (out of Bunte und Blatter, Op. 99, No. 5) in the middle part, heard through the compressed theme-melody. How thoroughly he had thought out the spirit of the Variation is seen in the fact that he is fond of interchanging the modulatory relations of the two phrases of the theme. The place where this generally occurs is at the beginning of the second part; but also in the second half of the first part. The digressions, more or less important, which he admits are always so chosen that the effect of the newly introduced key approximately answers to that produced by the original key of the preceding or following phrase. Even the cadenzas appear altered from this point of view.

It is impossible, from description, to form even a faint idea of the wealth of fancy, of inventive power, of vigorous vitality that lies in Brahms's variations. I cannot, indeed, conceive of any more subtle or more thoughtful treatment of this form of music than that of Brahms — for instance, in the Variations for the Piano, on a theme of Handel (Op. 24). The danger, as it seems to me, is that the true form of variations should be lost sight of, which consisted originally in the persistent embellishment of an air. The bass of a simply harmonized theme- melody has not, as a rule, any very distinctive character.
And when it happens that the theme is a mere popular and insignificant tune, the result is a series of movements that have nothing in common with it but the constant number of bars and the regular alternation of the original key with those of the two dominants. This is the case in the Paganini Variations (Op. 35); and also, it must be said, in Beethoven's Thirty-three Variations on a waltz by Diabelli.

In close relationship to the Variation form, we had in the seventeenth century the Suite, both being essentially species of Clavier music. Of the set of dances which constituted a Suite, the first was the theme; the others were variations on it, each in its own rhythm. Traces of this connected form survived into the eighteenth century, till Bach finally severed the parts. His Suites having come into favor again in our time, some modern composers have felt prompted to imitate him; but their Suites are not Suites. When they are not Sonatas, or a simplified form of Symphony, they are Serenades. Brahms has altogether neglected the Suite. Though in his second Sonata the Scherzo is developed like a last variation from the Andante (with variations), it is one of the ingenious ideas of which his early works are full.

Bedrich Smetana

2008-11-06T07:12:00.000-08:00

Bedřich Smetana (1824-1884) was endowed by nature with a rare gift of musical initiative. While a wee child of five he was already playing the violin and composing; as a poor student he returned one evening from a concert of chamber music and wrote down a string quartet he had heard, because he could not buy a copy of it. Like Beethoven, he lost his hearing in the time of his most intensive period of creation. When deaf and persecuted by the malignity of his enemies, when fate knocked on his door with its iron hand and robbed him of his wife and child, his genius created the greatest works.

The high spiritual plane of his life as it touched the personal and the accidental is revealed in the charming string quartet "From my Life". "My quartet," says Smetana, "is not merely formal playing with the tones and motifs, to show off the composer's skill, but it is the real picture of my life. The tone sounding for a long time in the Finale is that whistling sound of very high pitch, which had preceded my deafness. This little tone-picturing I dared to insert in this composition because it was so fateful for me." Smetana always found in the small ensemble of chamber music the proper interpreter for expression of his most intimate feelings. Thus the Trio, op. 15, was written to the memory of his little daughter, whose death brought to Smetana a great sorrow.

Smetana never accommodated his artistic principles to the taste of the public. He was too serious an artist to make a work pleasing to the masses. His eight operas – except The Bartered Bride – had to fight against a wall of misunderstanding; and were victorious, only after many years of dispute, because of their originality and vitality. A real genius, Smetana was much ahead of his time. The Bartered Bride (1866), Two Widows (1874), The Kiss (1876), The Secret (1878), and The Devil's Wall (1882) represent the highest style of the comic operas. Each of these works introduces a charming overture of a pure musical beauty, classical in form.

Dalibor (1868), a historical-romantic opera, became a favorite even outside its native land. The story is based upon a Czech folk-legend of the fifteenth century, which tells about a knight, Dalibor, who was a prisoner at the castle in Prague. He begged his jailor for a violin to lighten the heavy hours of his captivity. After a time, it is said, he played with such marvelous skill that the people came from far and wide to stand outside the prison walls and listen to the charming music. Likewise the libretto to the festival opera Libussa (1881) is drawn from the Czech history. This work marks the climax of Smetana's genius, and knowledge of it is indispensable to the student of Czech musical art. The overture to this opera is a masterpiece of form and festival mode. It begins with a trumpet call, developed in a tremendous gradation. Surely this work ought to be heard at least in a concert hall.

Considering the technical side, Smetana's works exhibit a great skill in the most problematic combinations of the polyphonic style flowing so naturally, that the hearer does not notice the difficulties solved with such exquisite grace and lightness. The melodies are fresh, original, and impressive, and enriched with Smetana’s harmonic peculiarities.

As a composer for the piano Smetana left a considerable number of works, especially Polkas, which he idealized in a very poetic form. His Polka No. 1, op. 7, was one of Liszt's favorites. Two cycles of piano compositions, of which the first bears the title Reves, and the other The Bohemian Dances, especially deserve the attention of the pianist. In this later work the Czech folk-melodies are preserved in very artistic and pianistic style. Smetana's best known composition, which is often played at concerts, is his etude By the Seashore, op. 17, a difficult but very effective piece of music snatching the spell of the Northern Sea.

In the last period of his creation Smetana expressed his love and admiration for his country and its history in poems in a cycle called My Country, consisting of six charming symphonic poems: Vyšehrad, the old castle, the seat of the first Bohemian ruler; Vltava, the river of Bohemia; Šarka, the Bohemian Amazon; From Bohemian Meadows and Woodlands, an idyll; Tabor and Blanik, which picture in tones the glorious past epoch of the Reformation. With this work the composer reached his goal. No greater tribute to his success is needed than Liszt's exclamation upon hearing of Smetana's death—"He was a genius!"

Antonin Dvorak

2008-11-05T06:23:00.000-08:00

Antonin Dvorak (1841-1904), the best known Czech composer, was a son of a village butcher. From his early childhood his only passion was music. In spite of many struggles and much suffering, he did not cease to study and work, Music was his consolation, his life. In just praise it may be said that the high position of this composer in the musical world is due chiefly to his unparalleled perseverance under his own criticism. To take a full orchestra score of a completed opera and destroy it and then rewrite it, was characteristic of Dvorak's method of attaining perfection. This self-teaching explains his temporary experimenting and uncertainty in form.

The number of Dvorak's compositions is vast, covering almost all forms of music. His fame began with Slavic Dances, brilliantly instrumented, which appealed to the larger public. Of his five symphonies the last one, From the New World, was composed while Dvorak was teacher of composition at the National Conservatory of Music in New York, in 1892. To this American period belongs the popular String quartet, op. 96, and his most beautiful as well as his last vocal opus, the cycle of The Biblical Songs, op. 99.

Whoever wishes to have a clear idea of Dvorak's genius must study and hear the wonderful symphonic poems from the last period of the composer's life. Here Dvorak, master of classical and absolute music, pays his tribute to the modern form of romantic program music with great success. As a composer of piano music, Dvorak could not subdue his eminent orchestral genius to clavier technique; his piano compositions call for instrumentation. The seventh number from opus 101 has become an extraordinary favorite in US. It is the celebrated Humoresque.
Of his seven operas the most beautiful is Russalka, which exhibits the best qualities of the author's creative ability. It may be said, however, that all Dvorak's operas are handicapped by a lack of conciseness.

Rhythm is everywhere

2008-11-05T05:29:00.000-08:00

Rhythm is an element of nature, and the whole universe responds to it. The periodic movements of the constellations must be rhythmical or the solar systems would be annihilated; the return of the seasons, the rising and setting of the sun, the rising and falling of the tides, all are rhythmical; the pulse of life is rhythm, for rhythm is the pulsation of every kind of movement and pulsation the rhythm of everything that has life. It is therefore no strange thing that man, when performing any recurring movement, should naturally fall into doing it rhythmically; he cannot avoid it, for rhythm helps him, makes it easier, as it has a momentum of its own.
The march is an evolution of the measured step of warriors or priests, the dance is an evolution of the measured movements of the body under mental or emotional excitement, and the most intricate modern musical rhythms have been evolved from these primitive sources.
Walking is the most rhythmical exercise; the free movement of the feet and legs, the relaxed swing of the arms, and the regular inhaling and exhaling of the breath, should produce balanced physical rhythm. When this is not so, there is something wrong with the organism; an unrhythmical gait is one of the surest symptoms of a mental or physical defective.

How Music Works: a programm about Rhythm

Rhythm is simply balance, as necessary in the physical sphere as in the mental and emotional spheres; in music and poetry it is the balancing of one strong beat or part against one or two weak beats or parts. It is necessary to language in the same sense that as a rhythmical arrangement of inarticulate sounds (tones) produces music, so a rhythmical arrangement of articulate sounds (words) produces the cadences of prose and poetry.
If the fundamental idea of rhythm is pulsation, the next idea should be order, for rhythm brings order into every kind of movement. When exemplified in the arrangement of matter into visible objects, as in sculpture and architecture and other plastic arts, rhythm is translated into symmetry. Symmetry is one of the chief requisites of a work of art; it is as necessary to that art which appeals to the eye as to that which appeals to the ear – as in music and poetry.

The Sonata of Classicism

2008-10-31T02:18:00.000-07:00

During the Eighteenth Century a notable change took place in the construction of the Allemande, which was frequently developed to a considerable length and published separately under the title of Sonata. Very fine Sonatas answering more or less closely to this description have been bequeathed to us by Carl Philipp Emanuel Bach and Domenico Scarlatti, whose well-known Sonata in A would probably become one of the most popular pianoforte pieces, which almost insuperable difficulty deters even highly accomplished Virtuosi from attempting to play it. In Emanuel Bach's Sonatas the Allegro is generally followed by a short Adagio and this by a Rondo. Many other writers have left us Sonatas in two or three distinct movements. But for the perfect ideal of the so-called "Sonata-Form" we are indebted to the genius of Haydn, the originality of whose invention has justly earned for him the title of "The Father of Modern Instrumental Music".

Haydn’s role in the design and the developing of classical Sonata and influence of his principles is widely recognized.

In its complete form, Haydn's ideal design comprised four distinct movements. The first of these was a well-developed Allegro – sometimes prefaced, especially in Orchestral Compositions, by an introductory Adagio, or Largo. In its main features, this Allegro was constructed very much upon the principle of the old Allemande; but with one important difference. After modulating to the Key of the Dominant, the first part of the movement, instead of proceeding at once to a Perfect Cadence, introduced a Second Subject in the new key, which Second Subject re-appeared near the close of the second part, transposed to the key in which the movement originally started. The Allegro was followed by a Slow Movement – either Andante, or Adagio – the form of which was less rigidly defined.

The third movement was a Minuet consisting of two Strains, followed by a Trio consisting of two more, after which the Minuet was repeated, in the manner of a Da Capo, The Finale was a Rondo, generally of lighter and more playful character than the Allegro, and differing from it also in that after each of its clauses, the original Subject was repeated in full in the original key.

A work composed upon this regular and now generally received plan, for one or two Solo Instruments, is called par excellence, a Sonata. When the resources of a full Orchestra are called into play, the composition is entitled a Symphony. When a Solo Instrument is accompanied by the full Orchestra, it is called a Concerto. When the first Movement only is employed, it is called an Overture, and in that form is used as the Instrumental Prelude to an Opera, an Oratorio, or other grand choral work. Not only do we trace the influence of the Sonata-Form in all the great instrumental works produced by Haydn himself, but we find it openly adopted by every one of his successors, and forming the basis of every Overture, Quartett, Sonata, Symphony, or other similar composition that has ever been given to the world.

Not that the really great writers have slavishly followed the lead even of Haydn. They have not indeed disdained to learn from him: but each has added to his teaching some good thing of his own. Mozart, in his Jupiter Symphony substituted for the Rondo a magnificent Orchestral Fugue. Beethoven enriched the Allegro with a well-developed Coda; and quickened the Tempo of the Minuet to so great an extent, that its old name being no longer applicable, he thought it necessary to call it a Scherzo. But the main outlines of the design have been followed by all composers of Classicism.

The Fugue

2008-10-30T09:39:00.000-07:00

The Fugue was an instrumental form, diligently cultivated in the Seventeenth and Eighteenth Centuries, a movement, founded upon a given Subject, repeated sometimes in one part, sometimes in another, and enriched with all the clever contrapuntal devices the ingenuity of its composer could suggest.

The Fugue was successfully introduced by Lulli into nearly all the Overtures to his once celebrated Operas, and employed with infinitely greater effect by Handel and Bach, who used it freely in their choral, as well as their instrumental compositions, and brought it to a state of perfection which has never since been equaled. Bach's Wohltemperirte Klavier contains Forty-eight Preludes and Fugues of inimitable beauty: while, among Handel's Overtures and Choruses, we find innumerable specimens of the style which have always been regarded as his grandest and most sublime conceptions. Corelli has also left us some fine instrumental examples.

Beethoven and Schubert

2008-10-29T06:56:00.000-07:00

Beethoven's life was аs somber as Haydn's was bright and genial. In spite of his fitful outbursts of uncontrollable gaiety, it is impossible to believe that he was a happy man. The last years of his life were embittered, not only by a gradually increasing deafness, which deprived him of his only solace, but, still more, by the ingratitude of a worthless nephew, upon whom he lavished a wealth of affection which might have melted a heart of stone. He died, during a terrific thunderstorm, on the 26th of March 1827. Even in Vienna his greatness was acknowledged then and with reason for it is not to be expected that the present centuries will "see his like again".

One of Beethoven's most talented contemporaries was Franz Schubert. He like Beethoven wrote not for popularity, but in obedience to the dictates of an inward Voice which would not be silenced. Though his Compositions were so little prized during his life-time, that not one tenth part of them were ever either published or performed, their number is almost incredible. For long time his name was known, even in Germany, only by his matchless Songs. That he became better understood is due entirely to the generous ardor of Robert Schumann, who was the first to rescue his greater works from the oblivion to which they were rapidly drifting. Once brought to light, it is not likely that they will ever again be forgotten. Now many compositions of Franz Schubert are very popular and favourite all over the world.