In essence

1705 Posts
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Gustav Mahler: Symphony No. 9 (1908-11)
The German born conductor Bruno Walter worked closely with Gustav Mahler as an assistant and protégé. In addition, he frequently heard Mahler conduct his own works. Since Mahler did not live to lead performances of Das Lied von der Erde
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Mozart in London V
Scholars are generally in agreement that the young Wolfgang Amadeus Mozart attended a performance of J.C. Bach’s opera “Adriano in Siria,” which premiered at King’s Theatre London on 26 January 1765. J.C. was clearly at the centre of London’s almost
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German Adventures I
Liszt and Charlotte von Hagn
Liszt Was Liebe sei?, S288/1/R575a Was Liebe sei?, S288/2/R575b Was Liebe sei?, S288/3/R575c After a highly successful tour of Russia, Franz Liszt arrived in Berlin and played his first recital at the Berlin Singakademie on 27 December 1841. His performance
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Mozart in London IV
During his stay in London, Wolfi apparently composed a number of duet sonatas, that is, two players performing at one piano. They were probably intended for his personal use and included the participation from his sister Nannerl. Advertisements from 1765
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Johannes Brahms: “Ein Deutsches Requiem” Op. 45
The “German Requiem” by Johannes Brahms, more so than any other of his compositions, first established the composer’s reputation among a wide range of music lovers in Germany, and subsequently secured his international reputation as well. Not unexpectedly, however, the
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Resistance is Futile!
Franz Liszt and Caroline and Eveline
Piano Concerto No. 2 in A minor, Op. 85 (1819) While in the waning stages of his relationship with Marie d’Agoult, Franz Liszt would deliberately forget to put their “fidelity ring” on his finger. “I felt a curious pleasure in
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Mozart in London III
After a mere four weeks in England, Wolfi showed remarkable progress and growth as a composer. Leopold wrote, ”what he had known when he left Salzburg is nothing compared with what he knows now; it defies the imagination … right
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Ariadne auf Naxos: Take One!
After the rousing financial success of “Der Rosenkavalier”, Richard Strauss and Hugo von Hofmannsthal eagerly sought to continue their artistic collaboration. It seems, however, that they were pulling in slightly different artistic directions. Strauss wanted them to reengage with “Semiramis”,
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