Like Mozart's, the two string quintets of Brahms are scored for two violins, two violas and cello. The choice is characteristic. The register of the violas and the richness of texture that such an instrumentation can impart, whether in chamber music or in orchestral writing, was very typical of Brahms, and reflected in his music for the piano. He had first attempted the form in 1862, using two cellos, as Schubert had done, but had destroyed it, replacing it first with an arrangement for two pianos, and later, in a final version, as a piano quintet. Brahms had intended his String Quintet in G major, Op. 111, as his last chamber music composition. He wrote it in the summer of 1890 at Bad Ischl, following his usual custom of composing during summer holidays spent away from the city. It was, in the event, to be followed by four further compositions, the Clarinet Trio, the Clarinet Quintet, and two Clarinet Sonatas, the last also known in an effectively autumnal version for viola, an instrument offered in the other works as an alternative to the clarinet. The G major Quintet was first performed in Vienna on 11th November in the year of it's composition. It starts with a movement derived from sketches for a fifth symphony, allowing the cello an orchestrally conceived first subject. For the second subject Brahms turns to Vienna for inspiration. There is a shift to B flat major in the central development, further modulation leading to the return of the original key and thematic material in recapitulation. The D minor slow movement allows free variations on the opening material, until the theme returns in a simpler form, originally played by the first viola. The third movement opens in a melancholy G minor, the feeling dispelled by a G major trio section, which has the last word, after the re-appearance of the G minor material. The quintet ends with a Vivace ma non troppo presto, a rondo that finds a place for much else that is thoroughly Austrian or Austro-Hungarian in mood, ending in an energetic Hungarian cz�rd�s.

CHOPIN: Rondos and Variations

This mazurka uses Polish folk rhythms and modes, and has a metronome mark of 132, making it one of the slower Chopin mazurkas. The Mazurka starts with a piano section, in which the central theme is stated, which revolves around oscillating triplets and heavy accents on the third beat of each bar. A second theme is then stated fortissimo, in a passage full of sforzando's and wedge accents. The original theme is then stated forte, but quickly decrescendos. These two passages end with repeats.

Among forms that Chopin made his own was the Nocturne, at one time synonymous with the Serenade, but with the Irish pianist John Field and Chopin, his successor, a lyrical piano piece offering, nominally at least, a poetic vision of the night. Field wrote eighteen piano pieces with this title between the years 1814 and 1835 and these introduced a new form of piano music that was developed not only in the Nocturne but in other separate movements for piano throughout the century. Two nocturnes were published in 1840 by Eug�ne-Th�odore Troupenas, who briefly replaced Schlesinger, whom Chopin now accused of sharp practice in disposing of one of his German copyrights, giving vent, in private correspondence, to his rooted anti-semiotic suspicions. The G minor Nocturne, Opus 37, No. 1, encloses a tranquil chordal E flat major section, and is followed by a G major Nocturne, with a lilting secondary episode. By 1841 disagreement with Schlesinger had been put aside and he published a set of two nocturnes, the first in C minor and the second in F sharp minor, dedicated to Chopin's pupil Laure Duperr�. Opus 48, No.1, moves forward to a central C major section of gentler character, increasing in excitement as the opening material returns. The F sharp minor Nocturne that completes the set moves into a relatively sombre D flat major section of some harmonic complexity. Two more nocturnes were published by Schlesinger in 1844, dedicated to Jane Stirling, a middle-aged Scottish pupil of Chopin whose nuptial ambitions outweighed her musical talent. It was through her that Chopin travelled in 1848 to London and to Scotland and to an endless round of tedious social visits that lasted seven months, until he could escape back to Paris again, his health now much worse. In 1844, however, Chopin was still involved with George Sand, although their relationship had it's difficulties as her two children, Maurice and Solange, grew up and used him in their own rivalries and jealousies. The F minor Nocturne, Opus 55, No. 1, allows the opening material to re-appear in more elaborate form in conclusion. It is followed by a second, the Nocturne in E flat, marked by it's use of a second melodic voice, accompanying the first. Chopin wrote his last two nocturnes in 1846 and they were published in the same year by Brandus, who had bought Maurice Schlesinger's business and was later to acquire Troupenas. They were dedicated to another of the composer's piano pupils, Mlle. de K�nneritz. Opus 62, No.1, in B major, is introduced by two chords, the first suggesting another tonality. There is an A flat major central section and an elaborated return of the material of the opening section. The final work, the Nocturne in E major, has a secondary episode with a more energetic accompanying figure. The two nocturnes were written in the autumn of 1846 at Nohant, which Chopin only left in November to return alone to Paris, giving rise to rumors about a quarrel with George Sand, with whom he quarreled definitively the following year, after her daughter's marriage.

Since Chopin's mazurkas connect to an already established genre of music, some of the characteristics of that genre (the traditional Polish mazurka) remain the same in his interpretation of the genre. For example, both the traditional mazurka and Chopin's version contain a great deal of repetition. This can mean repetition of a single measure or small group of measures, repetition of a theme, or even repetition of an entire section. This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to, it is clear Chopin kept the original form in mind. Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece." In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their chromaticism and harmony, along with using classical techniques, such as counterpoint and fugues. In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres. One of these techniques is four part harmony in the manner of a chorale. The second mazurka of the set, in C-sharp minor, is faster than the previous one, with a more lively theme.

The Chopin nocturnes constitute 21 short pieces for solo piano written by Fr�d�ric Chopin between 1827 and 1846. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire. Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field. The nocturnes numbered 1 to 18 were published during his life, in twos or threes, in the order of composition. Numbers 19 and 20 were actually written first, prior to Chopin's departure from Poland, but published posthumously. Number 20 was not originally entitled "nocturne" at all, but since publication in 1870 as such, is generally included with publications and recordings of the set. Chopin composed his most popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz-like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. After a trill-like passage, the excitement subsides; the nocturne ends calmly.

Chopin: Polonaises, Vol. 2

Following in his father's footsteps must have been difficult enough, but Johann Strauss, Jr. made a name for himself, one that stands up to the rigorous tests of history. His work in nineteenth century light composition refined the waltz to such a degree that it was included in orchestra recitals as well as at ballroom dances.
Volume 6 of Naxos's salute to the younger Strauss's music focuses predominantly on his waltzes and polkas. Complete with detailed notes describing the history of each piece, the album contains excellent selections from the Marco Polo Strauss Edition. The CSSR State Philharmonic and Slovak State Philharmonic Orchestra perform admirably, using Strauss's original instrumentation wherever possible.
That Johann Strauss, Jr.'s popularity continues is no surprise--his eminently danceable melodies float and bound lightheartedly. Even the casual music listener will be inclined to dance to these waltzes and polkas. The "Waltz King" himself would no doubt be pleased.

This generous CD of excerpts from Verdi's Il trovatore is very good indeed. It contains more than half of the opera, comprising both of Leonora's arias, much of Azucena's second act (and last act) music, Ferrando's opening spiel, Manrico's third act scene, and some ensembles, including the first and last act finales. The singers are among the most expressive on any available recording of this opera, with Maurizio Frusoni a manly, fearless Manrico, Daniela Longhi an involved Leonora, Roberto Servile a bit light as di Luna, and Irina Tschistiakova a clear-toned, nice-and-loony Azucena. Will Humburg leads an exciting series of globs of the opera.

Strauss II: 100 Most Famous Works, Vol. 8

Strauss II: 100 Most Famous Works, Vol. 9

Strauss II: 100 Most Famous Works, Vol. 3

Music has its miraculous bodies of work, Bach's cantatas, Schubert's songs, Scarlatti's sonatas and here, for your consideration, the waltzes of Johann Strauss Jr. Much admired by serious composers such as Brahms and Schoenberg, this is "light" music not to be taken lightly, with a wealth of melodic invention wedded to an inimitable sense of charm and fantasy that runs through much of the roster of more than 500 waltzes, marches and polkas.
The Marco Polo label has undertaken the massive and unprecedented project of recording Strauss's entire orchestral output, and now Naxos is offering the highlights on 10 discs at a budget price. Volume Two features the famous waltzes 'Vienna Blood' and 'Voices of Spring' and the 'Thunder and Lightning' polka in addition to some lesser-known gems. The performances and recordings are on a consistently high plane and, if you're wondering how the 'Demolition Polka' got its name, the excellent liner notes, which place each work in historical context, will take care of that.

Strauss II: 100 Most Famous Works, Vol. 4

Strauss II: 100 Most Famous Works, Vol. 10