The Mass K257 falls in the stream of the so-called Credo-Masses. The name is derived from the long setting of the Credo, a practice adopted on many occasions, including, among others, Mozart’s own Kleine Credo Messe K192 and, later on, Beethoven’s Missa Solemnis.
Embued in the richness of the folk tunes of Hungary, Bartók’s Rumanian Folk Dances are an orchestral miniature firmly set in the repertoire, often appearing in conducting auditions and competitions.
The very first phrase of Wagner’s Prelude to Act 1 of Parsifal holds in itself the germs of dramatically important leitmotifs recurring throughout the whole opera: the Redemption, the Wound, and the spear motif.
Leonore 3, one of the 4 overtures Beethoven wrote for his only opera Fidelio, is a huge symphonic fresco, often programmed as a standalone concert piece
A prominent figure in the Czech musical world, Josef Suk was acclaimed by some of the greatest composers of his time like Brahms and Dvořák. His string serenade is to this day one of the audiences’ favorites.
A masterpiece written in 4 days: Mozart’s Linz symphony breaks the conventions with the Haffner and sets the tone for his latest symphonies
As with the first movement, Brahms begins the 4th movement of his first symphony with an introduction in C minor. The grandiosity of the musical gesture gives us a taste of what’s to come.
An analysis of Tchaikovsky’s Serenade for strings, a cornerstone of the repertoire and a piece that every conductor must face at one point or another
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