Download Serenade No. 13 In G Major

Antonn Dvok's Serenade for Strings in E major (Czech: Smycov serenda E dur), Op. 22 (B. 52), is one of the composer's most popular orchestral works. It was composed in just two weeks in May 1875.

The first movement starts off the Serenade in the key of E major. The second violins and cellos introduce the lyrical main theme over an eighth note pulse in the violas. The theme is traded back and forth, and the second violins reprise it under a soaring passage in the firsts.

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At measure 31, the movement modulates into G major and presents a new, dancelike theme, based on a dotted rhythm. At measure 54, the movement modulates back into E major and the primary theme returns. The movement ends on three E major chords.

The third movement is a lively, hyperactive Scherzo in F major. The theme is stated and subsequently developed in sections of different tempos and moods, including a foray into A major. The most monothematic movement yet, the scherzo ends with a coda combining material from the scherzo and trio.

The movement's recapitulation starts with the main theme, followed in turn by the second and third themes. A 20-bar eighth-note passage leads into a quotation of the first movement's theme, bringing the piece full circle. A Presto coda follows, and the Serenade ends with three E major chords.

If YouTube video descriptions are to be believed (and that is one of the only sources of information I have about this work), then we are told by the uploader (?) of the above video that the gavottes that bookend this work, both in F major, were written by Leopold, not Wolfgang Amadeus, Mozart.

Yoonshin has earned many prestigious prizes throughout her career, including top prize awards in the Lipizer International Violin Competition in Italy; the Lipinski & Wieniawski International Violin Competition in Poland; the Henry Marteau International Violin Competition in Germany; and first prize at the Stradivarius International Competition in the United States. In her native South Korea, Yoonshin has won virtually all of the major violin competitions.

The Serenade in E-flat major, K. 375, exists today in two versions: a sextet of two clarinets, two bassoons, and two horns, and an octet that adds two oboes. The sextet came first, finished in October 1781 and premiered on the 15th at the home of Viennese court painter Joseph Hickel. Mozart documented what happened next in a letter to his father later that month:

This serenade is in five movements, all of which begin and end in e-flat. It begins with a rather impulsive allegro that regularly shifts moods and character and is anchored by the e-flat chords that Mozart mentions in his letter. The first of the two menuettos is fitting with the character of the contemporary dance, stately and built around easily identifiable melodies, but with some chromatic twists. The central adagio is a delicate sonatina that achieves full bloom in its recapitulation. The second menuetto begins energetic and turns pensive in its trio. The finale blazes with enthusiasm to its final note.

Serenade for Flute, Violin and Viola in D Major, Op. 25, 1st MovementPicturecereal (Photograph)eat (Photograph)Composition InformationYear1801 (originally)

2007 (in Baby Einstein)ComposerBeethovenKeyD majorComposition ListPreviousPiano Sonata No. 13 in A Major, Op. 120, D.664, 3rd MovementNextMessiah, HWV 56, Part 2, No. 26, All We Like Sheep Have Gone Astray

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

In the late 19th and early 20th centuries, as orchestras got larger and larger and symphonies longer and longer, composers sometimes felt the need to go in the opposite direction and reduce performing forces as well as work durations. The string orchestra represented a welcome change from the full symphonic ensemble, and inspired a revival of the classical serenade-divertimento tradition, which had largely fallen into neglect during the first half of the 19th century.

The Concerto in E major (BWV 1053) is thought to be the transcription of a now-lost oboe concerto. Bach also recycled the same music in two of his church cantatas: the first two movements in No. 169, and third in No. 49 (both written in 1731). It is the longest of the concertos, and structurally the most forward-looking one. The most adventurous modulations and motivic transformations occur towards the middle of the movement, and the return to the home key is set of by a single measure of Adagio. These features create the impression of what would later evolve into a development section and a recapitulation, foreshadowing the sonata forms of the classical era. e24fc04721