Mahlers penultimate symphony received its premiere performance in Munich on September 12th, 1910 with a chorus of about 850, and an orchestra of 171. These massive forces led to Mahlers agent dubbing the work Symphony of a Thousand. Mahler did not approve of the title at all, but it remains. The piece was a great success at its premiere, one of few of Mahlers works to be well received in his lifet...

Mahlers penultimate symphony received its premiere performance in Munich on September 12th, 1910 with a chorus of about 850, and an orchestra of 171. These massive forces led to Mahlers agent dubbing the work Symphony of a Thousand. Mahler did not approve of the title at all, but it remains. The piece was a great success at its premiere, one of few of Mahlers works to be well received in his lifet...

Mahlers penultimate symphony received its premiere performance in Munich on September 12th, 1910 with a chorus of about 850, and an orchestra of 171. These massive forces led to Mahlers agent dubbing the work Symphony of a Thousand. Mahler did not approve of the title at all, but it remains. The piece was a great success at its premiere, one of few of Mahlers works to be well received in his lifet...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Liszts second Mephisto Waltz was originally composed for piano solo sometime between 1878 and 1881. It was orchestrated shortly thereafter and performed in this setting on May 9, 1881 in Budapest, with the orchestra conducted by S. Erkel. The score reproduced here was originally issued by Breitkopf & Hrtel of Leipzig in 1913 as part of the tenth volume of Liszt-Stiftung Edition, edited principally...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Haydns second great oratorio, known in English as The Seasons, was composed 1799-1800 in the wake of the great success and popularity of its predecessor. As with The Creation, the German libretto provided to Haydn was the work of Baron Gottfried van Swieten, who adapted and translated excepts from the lengthy English poem of James Thompson also entiled The Seasons. The premiere, given on April 24,...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Johann Pachelbels beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical Archiv fr Musikwissenschaft. The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by...

Verdi received a request in November of 1869 from the Viceroy of Egypt to compose a commemorative hymn for the opening of the Suez Canal. Verdi refused the request on the grounds that he was not accustomed to writing such ceremonial music. The Viceroy then perusaded French Egyptologist Auguste Mariette, who wrote a scenario set in ancient Egypt drawn partially from Metastasios 1756 libretto for Ni...

Verdi received a request in November of 1869 from the Viceroy of Egypt to compose a commemorative hymn for the opening of the Suez Canal. Verdi refused the request on the grounds that he was not accustomed to writing such ceremonial music. The Viceroy then perusaded French Egyptologist Auguste Mariette, who wrote a scenario set in ancient Egypt drawn partially from Metastasios 1756 libretto for Ni...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Originally composed in 1786 as a work for orchestra, Haydns piece inspired by the Seven Last Words of Christ was recast as a string quartet the next year and published as his Op.51. On his way to London in 1794, Haydn heard an adaptation of his orchestral work for chorus with orchestra made by the Passau kapellmeister Joseph Friebert with German text based upon the original Latin seven words. Impr...

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered t...

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered t...

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered t...

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered t...

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered t...

Sergei Rachmaninoff was the solo pianist for the world premiere of his third concerto, renowned as one of the most challenging in the entire piano repertoire, in New York on November 28, 1909 with the New York Symphony conducted by Walter Damrosch. The score reproduced here is an authoritative Soviet edition produced sometime after the composers death. Unlike so many of the on-demand scores now av...

Sergei Rachmaninoff was the solo pianist for the world premiere of his third concerto, renowned as one of the most challenging in the entire piano repertoire, in New York on November 28, 1909 with the New York Symphony conducted by Walter Damrosch. The score reproduced here is an authoritative Soviet edition produced sometime after the composers death. Unlike so many of the on-demand scores now av...

Sergei Rachmaninoff was the solo pianist for the world premiere of his third concerto, renowned as one of the most challenging in the entire piano repertoire, in New York on November 28, 1909 with the New York Symphony conducted by Walter Damrosch. The score reproduced here is an authoritative Soviet edition produced sometime after the composers death. Unlike so many of the on-demand scores now av...

Sergei Rachmaninoff was the solo pianist for the world premiere of his third concerto, renowned as one of the most challenging in the entire piano repertoire, in New York on November 28, 1909 with the New York Symphony conducted by Walter Damrosch. The score reproduced here is an authoritative Soviet edition produced sometime after the composers death. Unlike so many of the on-demand scores now av...