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MSO performs one of Maestro Ryan Cayabyab's most beloved compositions, "Tuwing Umuulan at Kapiling Ka", at its tribute concert for Mr. C last June 9, 2019 at the Arete, Ateneo De Manila University. The concert was the season opening of MSO's 2019-2020 Season Concert Series: Live Music Lives, and the first tribute concert staged for Mr. C since his proclamation as National Artist for Music in 2018.

Queen - Bohemian Rhapsody (Orchester-Version) | WDR Funkhausorchester

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L. van Beethoven: Klavierkonzert Nr. 1 in C-Dur, II. Largo

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Debussy - Arabesque No.1 and No.2

The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time. Of the arabesque in baroque music, he wrote: “that was the age of the ‘wonderful arabesque' when music was subject to the laws of beauty inscribed in the movements of Nature herself.”

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9 of Clara Schumann’s all-time best pieces of music

9 of Clara Schumann’s all-time best pieces of music. Picture: Getty

By Maddy Shaw Roberts,  ClassicFM

 

We explore the musical canon of one of the Romantic period’s most unsung composers.

A virtuosic pianist and brilliant composer, Clara Schumann was one of the stars of the Romantic era – but her music hasn’t always been given the credit it deserves.

Working in a field overwhelmingly dominated by men, the 19th-century musician is quoted as saying sometime in her later years: “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose – there has never yet been one able to do it. Should I expect to be the one?”

Despite the obstacles she faced, Clara Schumann’s canon includes 30 Lieder, choral music, solo piano pieces, one piano concerto, plus chamber and orchestral works. Here are the most memorable among them.

1. Piano Concerto in A minor

   Clara Schumann was one of the most acclaimed pianists of her time and wrote exquisitely and extensively for the instrument. This beautiful piano concerto gives us more than a hint of her incredible pianism and musical imagination.

2. Piano Trio in G minor

   This gorgeous chamber composition for violin, piano and cello has been called a “masterpiece” among Clara Schumann’s works.

   She wrote it in the summer of 1846, during a traumatic period of her somewhat turbulent life. Her husband, Robert Schumann, was extremely ill and the couple had travelled to Nordeney in an attempt to improve his health condition. Clara, who had recently fallen pregnant, suffered a miscarriage during their stay on the island.

   Clara’s trio is said to have greatly influenced her husband’s first piano trio, Op. 63, which was written a year later.

   
   

3. 6 Lieder, Op.13

   After her marriage Clara turned, to some extent, away from writing for the piano, and towards lieder and choral works. These Sechs Lieder, or Six Songs, are a setting of the romantic poems of Herine, Geibel and Rckert. Written in the first weeks of her nuptials, the songs convey the intimacy of the first, blissful season of marriage.

4. Variations on a theme by Robert Schumann

   The Schumanns had a close relationship, emotionally and musically, and their works were frequently paired at concerts.

   These Variations are almost a love letter to the couple’s passion for music-making, the seven moments gradually developing Robert Schumann’s simple theme into an intricate, expansive work for the keyboard.

5. Three Romances

   Romances were one of Clara Schumann’s favourite forms to compose in, and these are some of her most exquisite. She toured the piece and played it before royalty with its dedicatee, her close friend and violin virtuoso, Joseph Joachim.

   One critic said at the time: “All three pieces display an individual character conceived in a truly sincere manner and written in a delicate and fragrant hand.”

6. Scherzo No. 2 in C minor

   A pianist herself, Clara Schumann loved to write flourishing works for the piano that showed the virtuosity of the performer.

   Her Scherzo No. 2 is fiery and beautifully nuanced – hear it played below by the brilliant young piano star Isata Kanneh-Mason, a 21st-century champion for Clara’s music.

7. 4 Pièces caractéristiques

   Clara frequently performed this piece during her early career. And at one performance, who should be in the crowd but her contemporary, Polish piano virtuoso and composer Frédéric Chopin, who found himself captivated by Clara’s work.

   Its lively opening, marked ‘Allegro furioso’, is delightfully contrasted by its plaintive third movement, marked ‘Andante con sentimento’.

8. Impromptu in E major

   A largely forgotten work, the ‘Impromptu’ is bliss in a bottle for lovers of Romantic piano music. Composed in 1844, it was not published until 1885, when Schumann was well into her 60s and still delighting concert audiences.

9. Soirées Musicales

   The Soirées Musicales comprise six miniatures – a Toccatina, a Notturno, two Mazurkas, a Ballade and a rhythmic Polonaise, all familiar-sounding titles for fans of Chopin’s music. The ‘Polonaise’, in particular, gently nods to the Polish giant’s form.

Want to vote for Clara Schumann’s music in the world’s biggest survey of classical music tastes? Cast your vote before 22 March 2023 in the Classic FM Hall of Fame.

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Franz Lehár - Giuditta (Walzer, Waltz)

Giuditta ist einer von Lehars elektrisierenden Konzertwalzern, die sich aus berühmten Melodien seiner Operetten zusammensetzen. Bei Giuditta ist es Musik aus der gleichnamigen Operette. Das Bild zeigt das Lehár-Denkmal im Wiener Stadtpark. - Magnificent Giuditta-Waltz on themes from "Giuditta"

My Choice - Franz Lehár: Wilde Rosen Walzer (Wild Roses Waltz)

Wilde Rosen Walzer - Wild Roses Waltz - by Franz Lehár. Lehár was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of a bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army. Franz studied violin and composition at the Prague Conservatory, where his violin teacher was Antonín Bennewitz, but was advised by Antonín Dvořák to focus on composing music. After graduation in 1899 he joined his father's band in Vienna, as assistant bandmaster. In 1902 he became conductor at the historic Vienna Theater an der Wien, where his first opera Wiener Frauen was performed in November of that year. He is most famous for his operettas -- the most successful of which is The Merry Widow (Die lustige Witwe) -- but he also wrote sonatas, symphonic poems, marches, and a number of waltzes (the most popular being Gold und Silber, composed for Princess Pauline von Metternich's "Gold and Silver" Ball, January 1902), some of which were drawn from his famous operettas. Individual songs from some of the operettas have become standards, notably "Vilja" from The Merry Widow and "You Are My Heart's Delight" ("Dein ist mein ganzes Herz") from The Land of Smiles (Das Land des Lächelns).

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La Mer - Mantovani and his Orchestra

Annunzio

318,368 views Dec 3, 2011

The Mantovani Experience - SAMPLE FROM "LEGACY OF LOVE" - Universal Music Enterprises La mer, trois esquisses symphoniques pour orchestre (French for The sea, three symphonic sketches for orchestra), or simply La mer (i.e. The Sea), is an orchestral composition (L 109) by the French composer Claude Debussy. It was started in 1903 in France and completed in 1905 on the English Channel coast in Eastbourne. The premiere was given by the Lamoureux Orchestra under the direction of Camille Chevillard on 15 October 1905 in Paris. The piece was initially not well received - partly because of inadequate rehearsal and partly because of Parisian outrage over Debussy's having recently left his first wife for the singer Emma Bardac. But it soon became one of Debussy's most admired and frequently performed orchestral works, and became more so in the ensuing century.