Schubert the "Trout" Quintet Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Schubert the Schubert The "Trout" Quintet mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The "Trout" Quintet Country: UK Released: 1959 Style: Romantic, Classical MP3 version RAR size: 1777 mb FLAC version RAR size: 1424 mb WMA version RAR size: 1312 mb Rating: 4.1 Votes: 989 Other Formats: AAC MP4 DXD VOC WMA WAV TTA Tracklist A1 First Movement: Allegro Vivace A2 Second Movement: Andante B1 Third Movement: Scherzo (Presto) B2 Fourth Movement: Theme And Variations (Andantino) B3 Fifth Movement: Allegro Giusto Credits Cello – Nikolaus Hübner Composed By – Franz Schubert Double Bass – Johann Krump Ensemble – Members Of The Vienna Octet* Liner Notes – Dyneley Hussey Viola – Günther Breitenbach Violin – Willi Boskovsky Notes LABELS: - Black/silver 'grooved wideband' labels - "ORIGINAL RECORDING BY" at 11 o'clock - "Made in England" at bottom - "RECORDING FIRST PUBLISHED 1959" CATALOG NUMBERS: - SXL 2110 on sleeve - SXL.2110 on labels Second Title: Piano Quintet In A Major "The Trout" DECCA STEREOPHONIC Barcode and Other Identifiers Matrix / Runout: (Side A Label (Inverted)): ZAL.3835 Matrix / Runout: (Side B Label (Inverted)): ZAL.3836 Matrix / Runout: (Side A Runout): ZAL-3835-2D Matrix / Runout: (Side B Runout): ZAL-3836-2E Other versions Category Artist Title (Format) Label Category Country Year Schubert* - Curzon* Schubert* - With Members Of The Curzon* With LXT 5433 Vienna Octet* - The Decca LXT 5433 UK 1958 Members Of The "Trout" Quintet (LP, Vienna Octet* Mono) Franz Schubert Franz Schubert - Clifford - Clifford Curzon Curzon With The Vienna Ace Of SDD 2131 SDD 2131 Canada 1968 With The Vienna Octet* - The Trout Diamonds Octet* Quintet (LP) Franz Schubert, Clifford Curzon, Franz Schubert, Clifford Willi Boskovsky, Curzon, Willi Boskovsky, BLK 21 Nikolaus Nikolaus Hübner, BLK 21 Decca Germany Unknown 004 Hübner, Günther Breitenbach, 004 Günther Johann Krump - Breitenbach, Forellenquintett (LP) Johann Krump Schubert* / Clifford Curzon / Mitglieder Des Schubert* / Wiener Oktetts - Grosse Clifford Curzon / Komponisten Und Ihre 411 375-1 Decca 411 375-1 Germany Unknown Mitglieder Des Musik 13: Schubert - Wiener Oktetts Klavierquintett A-Dur, Op. 114 "Forellenquintett" (LP) Franz Schubert - Clifford Franz Schubert Curzon With The Vienna - Clifford Curzon Octet* - Quintette Pour 420.413-4 Decca 420.413-4 Netherlands Unknown With The Vienna Piano En La Majeur, Octet* Opus 114 "La Truite" (Cass) Related Music albums to The "Trout" Quintet by Schubert Schubert, Curzon With Members Of The Vienna Octet - The "Trout" Quintet Schubert, The Vienna Octet - Octet In F Major Franz Schubert / The New Vienna Octet - Octet In F Major, Op. 166, D.803 Mozart, Alfred Boskovsky, Members Of The Vienna Octet - Clarinet Quintet K. 581 / Divertimento In F K. 247 Mozart - Members Of The Vienna Octet - Divertimento N° 17 In D Major, K. 334 Mozart, Members Of The Vienna Octet - Divertimenti K.334 K.136 Franz Schubert - SCHUBERT: GASTEIN SYMPHONY / SYMPHONY NO.7 Franz Schubert - The Rossomund Quintet, The Cologne Festival Orchestra, Edvard Hestion - The Trout Piano Quintet Schubert, Wiener Oktett - Oktett Für Klarinette, Horn, Fagott, Kontrabass Und Streicher F-dur, Op. 166 Mendelssohn, Spohr, Melos Ensemble - Mendelssohn: Octet In E Flat Major, Op. 20, Spohr: Double Quartet In D Minor, Op. 65.
Recommended publications
  • Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
    Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier.
    [Show full text]
  • Guide to Repertoire
    Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well).
    [Show full text]
  • 2021-22 Music for Participation at Any Approved Event
    school of the IHSAA. Cash may be accepted as expense money 2021-22 Music for participation at any approved event. 2. District awards given at Music Festivals’ or clinics’ expense may (Note: Adjudication forms are available at www.idahomusiced.org.) be allowed if approved by the respective district Board of I. Introduction, Philosophy and Definitions Control. Awards should be provided by the district music This section is a statement of policies, procedures, regulations, president. standards, and instructions for the festival manager, adjudicators, and music directors’ participation in Idaho High School Activities V. Eligibility Association (IHSAA) sanctioned Music Festival events. The 1. All students who participate in State Solo Contest, All-State, IHSAA does not sponsor any state music event. District Music Festivals or clinics are required to be members 1. In general, the IHSAA is concerned with music events of an appropriate large performing ensemble accredited class involving the students of member schools in music events at (band/percussion, orchestra, choir or show/jazz/madrigal which ratings are issued, and clinics at which music education ensemble) at an IHSAA member high school. Each student is emphasized. District music activities are scheduled and must be an active member in the division of competition or regulated by appointed music instructors and the elected Idaho event as his/her primary participation in the ensemble Music Educators Association officers of the district in which (band/percussion, orchestra, choir or show/jazz/madrigal the events occur. ensemble) at the time of both the district and state events. The 2. Music activities that fall under the jurisdiction of the IHSAA only exception to this rule may be if a class is not offered at that are District Music Festivals and Clinics.
    [Show full text]
  • Chamber Music Repertoire Trios
    Rubén Rengel January 2020 Chamber Music Repertoire Trios Beethoven , Piano Trio No. 7 in B-lat Major “Archduke”, Op. 97 Beethoven , String Trio in G Major, Op. 9 No. 1 Brahms , Piano Trio No. 1 in B Major, Op. 8 Brahms , Piano Trio No. 2 in C Major, Op. 87 Brahms , Horn Trio E-lat Major, Op. 40 U. Choe, Piano Trio ‘Looper’ Haydn, P iano Trio in G Major, Hob. XV: 25 Haydn, Piano Trio in C Major, Hob. XV: 27 Mendelssohn , Piano Trio No. 1 in D minor, Op. 49 Mendelssohn, Piano Trio No. 2 in C minor, Op. 66 Mozart , Divertimento in E-lat Major, K. 563 Rachmaninoff, Trio élégiaque No. 1 in G minor Ravel, Piano Trio in A minor Saint-Saëns , Piano Trio No. 1, Op. 18 Shostakovich, Piano Trio No. 2 in E minor, Op. 67 Stravinsky , L’Histoire du Soldat Tchaikovsky, Piano Trio in A minor, Op. 50 Quartets Arensky , Quartet for Violin, Viola and Two Cellos in A minor, Op. 35 No. 2 (Viola) Bartok, String Quartet No. 1 in A minor, Sz. 40 Bartok , String Quartet No. 5, Sz. 102, BB 110 Beethoven , Piano Quartet in E-lat Major, Op. 16 Beethoven , String Quartet No. 4 in C minor, Op. 18 No. 4 Beethoven , String Quartet No. 5 in A Major, Op. 18 No. 5 Beethoven, String Quartet No. 8 in E minor, Op. 59 No. 2 Borodin , String Quartet No. 2 in D Major Debussy , String Quartet in G Major, Op. 10 (Viola) Dvorak, Piano Quartet No. 2 in E-lat Major, Op.
    [Show full text]
  • Schubert's Recapitulation Scripts – Part II
    CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible.
    [Show full text]
  • The SCHUBERT OCTET
    The Live Concerts Presenting: The SCHUBERT OCTET New York Philomusica Records This late work in the short l ife of a genius capitalizes expansively on the liesurely form known to 18th cen Program content is from the concerts. Known tury society as the divertimento. Numerous master for exceptional musicianship and superb pieces by Haydn, Mozart and Beethoven (ref. NY Philomusica Records catalogue) preceded it, all ex engineering/production values, the label, introduced in 2002, has been emplars of the elegant form and none more free of around since 1971 under other names. anxiety than the Octet. Its melodic splendor and sen suous intimacy are the perfect vehicle for the poetic utterances of the winds, led by Joseph Rabbai, a founding member of the ensemble who rejoins it after About the New York Philomusica... 23 years as principal clarinetist of the Metropolitan Founded in 1971 by Artistic Director, Opera Orchestra, partnered by frequent guest Minne A. Robert Johnson, NY Philomusica sota Orchestra Principal Bassoonist, John Miller and, has presented its listeners with in his final performance with the ensemble, Founder programs linking both familiar and Released: October, 2007 and Artistic Director, A. Robert Johnson, horn. These lesser-known masterpieces of the Recorded: December 14, 2006 three are gracefully and fully matched by the quintet past with intriguing works of recent Promotion: Major media of strings led by Katharina Grossmann. Dennis Roo vintage. The ensemble is praised exposure and radio exposure ney's review in The Strad captures the sense of it all consistently for its innate musicality (see quote). and distinctive programming.
    [Show full text]
  • Download Program Notes
    PROGRAM: ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE OCTOBER 25 / 2:30 PM BING CONCERT HALL ARTISTS PROGRAM Tomo Keller, violin and leader Harvey de Souza, violin Gioachino Rossini: String Sonata No. 1 in G Major (ca. 1804) Robert Smissen, viola Moderato Stephen Orton, cello Andante Lynda Houghton, double bass Allegro Timothy Orpen, clarinet Lawrence O’Donnell, bassoon Wolfgang Amadeus Mozart: Horn Quintet in E-flat Major, K. 407 (1782) Stephen Stirling, horn Allegro Andante Allegro INTERMISSION Franz Schubert: Octet in F Major, op. 166, D. 803 (1824) Adagio – Allegro Adagio Allegro vivace Andante con variazioni Menuetto: Allegretto Andante molto – Allegro The Academy of St. Martin in the Fields Chamber Ensemble appears by arrangement with David Rowe Artists (www.davidroweartists.com). PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 54 STANFORD LIVE MAGAZINE SEPTEMBER/OCTOBER 2015 PROGRAM: ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE GIOACHINO ROSSINI (1792–1868) WOLFGANG AMADEUS MOZART textures. The Andante is music of great beauty STRING SONATA NO. 1 IN G MAJOR (1756–1791) and intimacy, a love duet between the horn (CA. 1804) HORN QUINTET IN E-FLAT MAJOR, and first violin. The Horn Quintet, believed K. 407 (1782) to have been composed in Vienna toward the “Six dreadful sonatas composed by me at end of 1782, is scored for a combination of the country estate of my friend Agostino Wolfgang Amadeus Mozart called his lifelong instruments without precedent.
    [Show full text]
  • PROGRAM NOTES June 6 2021 Final
    Classical Series Sunday, June 6, 2021 at 5:00 p.m. Helzberg Hall, Kauffman Center for the Performing Arts Michael Stern, Music Director and conductor Jason Seber, David T. Beals III Associate Conductor IGOR STRAVINSKY Octet I. Sinfonia — Allegro II. Tema con variazioni III. Finale Jason Seber, conductor, David T. Beals III Chair Kayla Burggraf, flute Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Julian Kaplan, trumpet, James B. and Annabel Nutter Chair Steven Franklin, trumpet Porter Wyatt Henderson, trombone Adam Rainey, bass trombone CLAUDE ARRIEU Wind Quintet in C (LOUISE MARIE SIMON) I. Allegro II. Andante III. Allegro scherzando IV. Adagio V. Allegro vivace Kayla Burggraf, flute Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair David Sullivan, horn Classical Series Program Notes June 6, 2021 Serenade in D Minor, op. 44 I. Moderato quasi marcia II. Menuetto — Trio: Presto III. Andante con moto IV. Finale: Allegro molto Michael Stern, conductor Kristina Fulton, oboe, Shirley Bush Helzberg Chair Alison Chung, oboe Raymond Santos, clarinet, Bill and Peggy Lyons Chair John Klinghammer, clarinet Ann Bilderback, bassoon, Barton P. and Mary D. Cohen Chair Maxwell Pipinich, bassoon Thomas DeWitt, contrabassoon David Sullivan, horn Stephen Multer, horn David Gamble, horn Susie Yang, cello, Richard Hill Chair Jeffrey Kail, double bass The 2020/21 Season is generously sponsored by The Classical Series is sponsored by SHIRLEY AND BARNETT C. HELZBERG, JR. Additional support provided by R. CROSBY KEMPER JR.
    [Show full text]
  • A Catalogue of Twentieth-Century Cello Ensemble Music Ivan M
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A catalogue of twentieth-century cello ensemble music Ivan M. Antonov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Antonov, Ivan M., "A catalogue of twentieth-century cello ensemble music" (2005). LSU Doctoral Dissertations. 1369. https://digitalcommons.lsu.edu/gradschool_dissertations/1369 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CATALOGUE OF TWENTIETH-CENTURY CELLO ENSEMBLE MUSIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Ivan Milkov Antonov B.M., State Academy of Music, Sofia (Bulgaria), 1994 M.M., University of Central Arkansas, 1996 December 2005 ACKNOWLEDGMENTS I would like to thank the members of my committee for their time and guidance on this project and especially my teacher Dennis Parker. I would like to thank Kevork Mardirossian for his support. I would like to thank my dear friends Bo and Aaron for their tremendous help in so many ways. I couldn’t have done it without you! Special thanks to all the individual composers and music resource centers for their quick response and valuable information.
    [Show full text]
  • Doctoral Recital Clinton L
    Department of MUSIC College of Fine Arts presents a Doctoral Recital Clinton L. Williams, conductor PROGRAM Ludwig van Beethoven Octet in E-flat Major, Op. 103 ( 1770-1827) Allegro Andante Menuetto, Trio Finale (Presto) Chris Fujiwara, oboe Erin Vander Wyst. clarinet Alexandra Gilroy, oboe Jonathan Cannon, clarinet Kim Kehau Chai II, bassoon Tom Frauenshuh, hom Brock Norred, bassoon Chris Golden, hom INTERMISSION Jean Fran~aix Octuor (1912-1997) Moderato, Allegrissimo Scherzo Andante Mouvement de valse Tallyn Wesner, clarinet Dmytro Nehrych, violin Brian Marsh, bassoon David Chavez, viola Fred Stone, hom Anthony Rodriguez, cello James Harvey, violin Christopher Davis, double bass This recital is presented in partial folfillment ofthe requirements for the degree Doctor ofMusical Arts in Applied Music. Clinton L. Williams is a student ofThomas G. Leslie. Wednesday, April17, 2013 2:30p.m. Room 160 Lee and Thomas Beam Music Center University of Nevada, Las Vegas Ludwig van Beethoven, Wind Octet in E-flat Major, op. 103 In 18th-century Vienna and the provinces it ruled, not many noblemen were wealthy enough to support a full-scale orchestra, but many of them maintained small cadres of wind performers to play at dinnertime and at whatever festivities might be planned for the rest of the evening, plus occasional events like weddings, graduation parties, and the like. The basic ensemble of oboes, clarinets, bassoons, and horns - two each - could be augmented by extra horns, basset-horns (clarinet cousins), or a double-bass. The general term for such groups, and the music composed or arranged for them, was Harmoniemusik, and virtually every composer of the day contributed to the genre.
    [Show full text]
  • "Moments Musicaux” and "Impromptus" by Franz Schubert Yoko
    "My song implores from the darkest depths" "Moments Musicaux” and "Impromptus" by Franz Schubert Yoko Kaneko (fortepiano Graf, 1827) Although the life of Franz Schubert (1797-1828) was extremely short (31 years), it was perpetually overflowing with music of extraordinary genius. Did he not write more than a thousand works in 18 years, starting in 1810 (with a "Fantasy" for piano four hands) until his death in 1828, his last known work, according to the Deutsch catalogue, being a fugue ... ? It is true that several compositions remained unfinished, while others did not get beyond the preliminary stages, yet so many great works have come down to us perfectly formed. There are nine complete symphonies together with a tenth which has been reconstituted using existing fragments of music; 21 sonatas for piano together with many other piano pieces, including notably, military marches, the C major “Wanderer Fantasy”, the “Valses Sentimentales”, six “Moments Musicaux”, the “Hungarian Melody” “for piano, two books of four “Impromptus”, the “Fantasy" in F minor for piano four hands. The chamber music includes three “sonatinas” for violin and piano, a "Rondo", a “Fantasy" in C major, a Sonata for violin and piano and the “Arpeggione” sonata; fifteen string quartets; six trios either for strings or with piano; two quintets ( the “Trout”, for piano and strings and another for two violins, viola, and two cellos); an “Octet” for strings and winds; 185 chorals; eleven Masses; 15 operas ... and more than two hundred Lieder. The son of a elementary school teacher, expected to become a schoolteacher himself, Franz Schubert's musical gift would soon take over; at the age of 13, he composed a “Fantasy” for piano four hands which is still preserved.
    [Show full text]
  • Der Tod Und Die Forelle: New Thoughts on Schubert's Quintet
    Der Tod und die Forelle: New Thoughts on Schubert's Quintet 1. Michael Griffel Introductory Note: In the early years of Current Musicology, the only required courses beyond the MA level for PhD students in historical musicology were . the two "Research Seminars in Musicology;' one taught by Denis Stevens and the other by Paul Henry Lang. These courses were designed to engage advanced students in original research, advanced methodology, and signifi­ cant writing and to prepare them for the qualifying examinations on music history and on theoretical and aesthetic writings in the required languages (French, German, Italian, and Latin). In the fall of 1968, Professor Lang selected as his topic for the research seminar (in which I was enrolled) the symphonies of Franz Schubert. This was the last research seminar given by Professor Lang, who was approaching retirement from Columbia. He di­ vulged to those of us taking the course that in his opinion the three master composers of the tonal era who were most in need of scholarly attention were Handel, Haydn, and Schubert. Lang self-confidently claimed that his recently published study of Handel was setting the record straight on that great composer but that similar work still needed to be done on the other two, and especially on Schubert's instrumental compositions. l The seminar whetted my appetite, and I soon found that Lang was quite right: there was, for example, not a single complete recording of the Schubert symphonies by a major orchestra back in 1968. I decided to write my PhD dissertation on the Schubert symphonies, and so my interest in Schubert's instrumental music got its start.
    [Show full text]