Classical Music - Pre 20th C
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Symphony No. 3 in C, op. 43
After poems b y Vietezslav HÃ¡lek, 1876
From the New World (Op. 95)
(1900) The story told in Rusalka contains many of the same elements as Hans Christian Anderen's The Little Mermaid.
For piano, 1886, and for orchestra, 1887
Twelve concerti for various combinations
Twelve violin concerti, 1714
(1713) Ottone in the City
For violin and piano, 1843
For piano and orchestra, op. 73
(1877) From the Biblical story.
For voice and piano, 1891
(1859) From Goethe's Faust.
From Romeo and Juliet by Shakespeare
Originally for organ, 1891
From the Suite Bergamasque
Prelude Ã l'aprÃ¨s-midi d'un faune
(1767) Based on Euripides' Alcestis.
(1762) Based on the mythological journey of Orpheus to the Underworld.
Grieg called it, â€œthe infernal thing reeking of cow-pies and provincialismâ€
In London Town, overture for orchestra, op.40
Oratorio for soloists, chorus and orchestra, op. 38
(1893) Hansel und Gretel is often performed at Christmas time.
For piano four hands and version for orchestra
"Children's Pieces", for piano, 1842
1842, part of the Incidental Music for A Midsummer Night's Dream; commonly used as a wedding recessional
Mass No. 9, aka, Missa Sancti Bernardi von Offida
His last symphony, op. 104, 1795
Op. 50; quartets 36-41; 1787
Op. 33; quartets 29-34; 1781
Op. 20; quartets 23-28; 1772
(Dance of Death), for piano and orchestra
For piano in four movements
Suite for orchestra, 1886-7
Tone poem for orchestra, 1895
Versions for piano and violin, and for violin or cello and orchestra
First performed in Fishamble Street, Dublin in 1742.
(1744) Semele has sometimes been identified as an oratorio rather than an opera.
(1875) Carmen, with its dramatic sound and exotic subject matter, is an example of Romanticism.
Based on the poem by Robert Burns
For vocal soloists, chorus and orchestra, 1881
(1816) The audience attending the opening performance judged it a failure - they voiced audible displeasure throughout by hissing and cat-calling. At its second performance the opera was, inexplicably, a hit, and went on to a succesful run.
(1825) With an initial run of only four performances, this opera was presumed lost until it was unearthed in the 1970s. It is widely held as one of Rossini's best works, and has been in performance worldwide since it's re-introduction in 1984 at the Rossini Opera Festival.
In thirteen volumes; vocal and solo piano pieces
(1844) Based on Victor Hugo's play, "Hernani".
- (1842) "Va, pensiero" (also known as the Hebrew's Chorus) is thought of by many native Italians as their "unofficial" national anthem, and is often sung on patriotic occasions.
- From Shakespeare's play.
(1862) Based on Shakespeare's Much Ado About Nothing.
Unstaged dramatic work, 1846
Or, A Bargain Broken; incidental music
(1689) From the fourth book of The Aeneid.
Or, the Princess of Persia; incidental music
Suite for piano, B. 46 (incomplete)
"Souvenirs", for piano, B. 45
"Recuerdos de viaje", work for piano
(1867) From Daniel Defoe's book of the same name.
Choral symphony for soprano, baritone, chorus and orchestra, op. 7, 1892
Variations on a Theme of Haydn, op. 56a
(1874) Fun fact: The title of this opera is the inspiration for the character of Die Fledermaus on Fox's cancelled cartoon show, The Tick (from the comic book of the same name).
Canteloube is credited as the composer, however this is his arrangement of a collection of ancient folk songs.
Motet setting of Psalm 51, c. 1504
Musical setting of the Mass, c. 1510
For piano and orchestra, op. 67
Concert paraphrase on the US national anthem
For piano, chorus and orchestra, op. 80, 1808
Incidental music, after Goethe's play, op. 84
The third symphony, originally in honor of Napoleon, but when Napoleon crowned himself Emperor, Beethoven tore up the score.
Fidelio was first staged in Vienna, on Nov. 20, 1805.
Originally the last movement of quartet op. 130; now op. 133; Stravinsky called it contemporary music that will remain contemporary forever
An ode written in 1785 by the German poet and historian Friedrich Schiller, known especially for its musical setting by Beethoven in the fourth and final movement of his Ninth Symphony. [wikipedia]
The sixth symphony...the first hint of "program" music.
Incidental music, op. 113
String Quartet No. 11, op. 95
For mezzo-soprano and orchestra
Seldom-performed tone poem often confused with Rimsky-Korsakovâ€™s composition with a similar name
Written as a suite of ten piano pieces
For violin and guitar, op. 11
Based on The Carnival of Venice
Based on â€œThe Book of 1001 Nightsâ€
Based on a poem by Goethe
(1879) Based on Pushkin's novel.
Symphonic fantasia after Dante, 1876
For unaccompanied chorus, 1878
In B minor (unnumbered), 1885
(1869) The first of Der Ring des Nibelungen (The Ring of the Nibelung).
A cycle of four operas: Das Rheingold, Die Walkure, Siegfried, and Gotterdammerung. Spoofed in the modern musical theater comedy "Das Barbecue".
(1868) The original story was conceived by Wagner. Distinguished from the bulk of Wagner's work as a departure due to his use of ryhmed verse, arias, choruses, and a quintet. Another feature that marks it as a quirk in Wagner's oeuvre: it contains a ballet.
(1870) The source of the famous "Ride of the Valkyries", which you may recognize as the melody Macintosh chose for its classic flying toaster screen-saver. You young'uns won't know that one.
(1876) The title is a German translation of the Norse word "Ragnarok". Prophesied in Norse mythology, Ragnarok is a war between the gods which ultimately brings about the end of the world.
(1850) The story is based on medieval Germanic lore.
(1882) Wagner's last opera, from the epic poem "Parzival" by Wolfram von Eschenbach. The story of Parsifal's quest for the Holy Grail.
(1876) The third of Der Ring des Nibelungen (The Ring of the Nibelung).
Composed as a birthday present Wagner's second wife after the birth of their son in 1869
(1845) Based on German legends.
(1859) Often cited as the seed or genesis of the atonal movement that began in the 20th century.
Scenes From Childhood, op. 15, 1838
(1892) Traditionally performed as a double-bill with Cavalleria Rusticana by Pietro Mascagni. Contains the famous tenor aria "Vesti la giubba", familiar to many for its imagery of a weeping clown.
(1790) Though its story was not offensive to sophisticated Vienna at the time of its debut, moral standards changed over time. It came to be thought of as risque, and remained so throughout the 19th and early 20th century.
(1791) The role of the Queen of the Night (with its famously acrobatic aria, "Der Holle Rache kocht meinem Herzen") was originated by Mozart's sister-in-law, Josepha Hofer.
(1787) The character of Don Giovanni is based on legendary womanizer Don Juan.
Piano Concerto #9; K. 271
(1786) This comic opera was banned at some European courts due to the scandalous behavior of its characters. Chiefly offensive to royal audiences was the depiction of an aristocrat (The Count) as morally corrupt. Also objectionable was the notion that Figaro, a mere servant, might be so much cleverer than his entitled master.
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