DCCCXCII. HARRIS, Roy: Symphony #6 ("Gettysburg")

DCCCXCII. HARRIS, Roy (1898-1979)

Symphony #6 ("Gettysburg") (1944)
1. Awakening (7:09)
2. Conflict (6:21)
3. Dedication (9:12)
4. Affirmation (7:03)
Bournemouth Symphony Orchestra
Marin Alsop, cond.

DCCCXCI. MOZART, Wolfgang Amadeus: Misero me! -- Misero pargoletto, K. 77

DCCCXCI. MOZART, Wolfgang Amadeus (1756-1791)

Misero me! -- Misero pargoletto, K. 77 (1770)
Edith Mathis, soprano
Mozarteum-Orchester Salzburg
Leopold Hager, cond.
(13:37)

from Metastasio's Demofoonte.

Recitativo

Aria

DCCCXC. BARTÓK, Béla: 7 Sketches

DCCCXC. BARTÓK, Béla (1881-1945)

7 Sketches (1910)
1. Portrait of a Girl
2. See-Saw
3. Lento
4. Non troppo lento
5. Romanian Folksong
6. In Wallachian Style
7. Poco lento
Zoltán Kocsis, piano
[scrolling score]
(11:34)

DCCCLXXXIX. MAGLE, Frederik: Woman in Red -- Seahorse Aria

DCCCLXXXIX. MAGLE, Frederik (1977-       )

Woman in Red -- Seahorse Aria
Matilde Wallevik, soprano
Symphony Orchestra of the Faculty of Arts, Nis, Serbia
(6:24)

An art film by Maria Dubin

DCCCLXXXVIII. HAYDN, Franz Joseph: Piano Trio #17 in F Major

DCCCLXXXVIII. HAYDN, Franz Joseph (1732-1809)

Piano Trio #17 in F Major (1769)
1. Allegro moderato (6:08)
2. Menuet (2:08)
3. Finale. Adagio with Four Variations (6:06)
Van Swieten Trio

DCCCLXXXVII. MOZART, Wolfgang Amadeus: Das Lied der Trennung, K. 519

DCCCLXXXVII. MOZART, Wolfgang Amadeus (1756-1791)

Das Lied der Trennung, K. 519 (1787)

Two versions

This late minor key love song shines a spotlight on the form -- often overlooked with all the grand symphonies, operas, and sonatas ...

Both singers omit verses 2 and 3.

Notice how verses 5 and 6 switch to a more dramatic mode (in the relative major, A-Flat), before returning to the reprise in verse 7.

Dietrich Fischer-Dieskau, baritone
Daniel Barenboim, piano
(4:53)

Fischer-Dieskau transposed it down a minor third to D Minor.

Elly Ameling, soprano
Dalton Baldwin, piano
(4:31)

DCCCLXXXVI: BEETHOVEN, Ludwig van: Trio in B-Flat Major for Piano, Clarinet and Cello, Op. 11

DCCCLXXXVI. BEETHOVEN, Ludwig van (1770-1827)

Trio in B-Flat Major for Piano, Clarinet and Cello, Op. 11 (ca. 1798)
1. Allegro con brio
2. Adagio
3. Theme and Variations
Camerata Pacifica
(22:35)

From Thayer:

"The last movement consists of a series of variations on the theme of a trio from Weigl's opera L'Amor marinaro, beginning 'Pria ch'io l'impegno.' Weigl's opera was performed for the first time on October 15, 1797. Czerny told Otto Jahn that Beethoven took the theme at the request of a clarinet player (Beer?) for whom he wrote the Trio. The elder Artaria told Cipriani Potter in 1797, that he had given the theme to Beethoven and requested him to introduce variations on it into a trio, and added that Beethoven did not know that the melody was Weigl's under after the Trio was finished, whereupon he grew very angry on finding it out."

And Thayer provides an additional detail about the traditional "duels" that took place between virtuosos (think rap battles!) ...

"The charlatan Daniel Steibelt gave a concert in Prague which brought him in 1800 florins, and 'having finished his speculation, he went to Vienna, his purse filled with ducats, where he was knocked in the head by the pianist Beethoven' (Tomaschek) ... 

and from Ries:

"When Steibelt came to Vienna with his great name, some of Beethoven's friends grew alarmed lest he do injury to the latter's reputation. Steibelt did not visit him; they met first time one evening at the house of Count Fries, where Beethoven produced his new Trio for the first time. There is no opportunity for particular display on the part of the pianist in this Trio. Steibelt listened to it with a sort of condescension, uttered a few compliments to Beethoven and felt sure of his victory. He played a Quintet of his own composition, improvised, and made a good deal of effect with his tremolos, which were then something entirely new. Beethoven could not be induced to play again. Eight days later there was again a concert at Count Fries's; Steibelt again played a quintet which had a good deal of success. He also played an improvisation (which had, obviously, been carefully prepared) and chose the same theme on which Beethoven had written variations in his Trio. This incensed the admirers of Beethoven and him; he had to go the pianoforte and improvise. He went in his usual (I might say, ill-bred) manner to the instrument as if half-pushed, picked up the violoncello part of Steibelt's quintet in passing, placed it (intentionally?) upon the stand upside down and with one finger drummed a theme out of the first few measures. Insulted and angered he improvised in such a manner that Steibelt left the room before he finished, would never again meet him and, indeed, made it a condition that Beethoven should not be invited before accepting an offer."

1. Allegro con brio

2. Adagio

3. Theme and Variations

The Wiegl: