Oboe Concerto (Mozart)

Wolfgang Amadeus Mozart's Oboe Concerto in C major, K. 314 was composed in the spring or summer of 1777, for the oboist Giuseppe Ferlendis (1755–1802) from Bergamo. In 1778, Mozart re-worked it as a concerto for flute in D major. The concerto is a widely studied piece for both instruments and is one of the more important concerti in the oboe repertoire.

Movements

As with his Flute Concerto No. 1, the piece is arranged for a standard set of orchestral strings - (violin I/II, viola and cello/double-bass doubling the bass line), two oboes, and two horns in D/C. The first and last movements are in the home key of C major, while the second movement is in the subdominant key of F major.

The piece itself is divided into three movements:

Flute Concerto No. 2

The Flute Concerto No. 2 in D Major is an adaptation of the original oboe concerto. Dutch flautist Ferdinand De Jean (1731–1797) commissioned Mozart for four flute quartets and three flute concerti; which Mozart only completed three quartets and only one new flute concerto. Instead of creating a new second concerto, Mozart rearranged the oboe concerto he had written a year earlier as the second flute concerto, although with substantial changes for it to fit with what the composer deemed flute-like. However, De Jean did not pay Mozart for this concerto because it was based on the oboe concerto.

Tschaikovsky Piano Concerto No. 2 (ballet)

Tschaikovsky Piano Concerto No. 2 is a ballet made by New York City Ballet's co-founder and founding choreographer George Balanchine for his earlier company, American Ballet Caravan, to eponymous music from 1879–80. The premiere took place on 29 May 1941 at Teatro Municipal, Rio de Janeiro, under the title Concerto No. 2; it was renamed Ballet Imperial before receiving its final title.

Tschaikovsky Piano Concerto No. 2 was first staged for New York City Ballet by Frederic Franklin on 15 October 1964 at the New York State Theater, Lincoln Center, and was re-choreographed by Balanchine for a 1973 premiere under its current title. Traditional tutus and scenery in the grand Russian style were used through the 1964 NYCB revival; from Balanchine's 1973 revision it has been danced with chiffon skirts designed by Karinska and without scenery. He said that the ballet is "a contemporary tribute to Petipa, 'the father of the classical ballet,' and to Tschaikovsky, his greatest composer."

Flute concerto

A flute concerto is a concerto for solo flute and instrumental ensemble, customarily the orchestra. Such works have been written from the Baroque period, when the solo concerto form was first developed, up through the present day. Some major composers have contributed to the flute concerto repertoire, with the best known works including those by Mozart and Vivaldi.

Traditionally a three-movement work, the modern-day flute concerto has occasionally been structured in four or more movements. In some flute concertos, especially from the Baroque and modern eras, the flute is accompanied by a chamber ensemble rather than an orchestra.

The 20th century saw the flute concerto championed by the famous French flutist Jean-Pierre Rampal.

Selected repertoire

The following concertos are presently found near the centre of the mainstream Western repertoire for the flute.

Baroque

Classical

Romantic

Modern

See also

Flute Concerto (Carter)

The Flute Concerto is a composition for solo flute and orchestra by the American composer Elliott Carter. The work was commissioned by Elena Bashkirova for the Jerusalem International Chamber Music. Carter began the composition in September 2007 and completed it in March 2008 at the age of 99. The piece was first performed at the Jerusalem International YMCA on September 9, 2008 by the flutist Emmanuel Pahud and the Jerusalem International Chamber Music Ensemble under the conductor Daniel Barenboim.

Composition

The Flute Concerto has a duration of roughly 13 minutes. Carter described the origins of the piece in the score program note, writing:

Instrumentation

The work is scored for a solo flute and reduced orchestra comprising another flute (doubling piccolo), oboe (doubling cor anglais), two clarinets (second doubling bass clarinet), bassoon (doubling contrabassoon), two horns, trumpet, trombone, percussion, harp, piano, and strings.

Reception

The Flute Concerto has been praised by music critics. Reviewing the North American premiere of the piece, Jeremy Eichler of The Boston Globe wrote:

Flute Concerto (Nielsen)

Carl Nielsen's Concerto for flute and orchestra (FS 119) was written in 1926 for Holger Gilbert-Jespersen, who succeeded Paul Hagemann as flautist of the Copenhagen Wind Quintet. The concerto, in two movements, was generally well received at its premiere in Paris in October 1926 where Nielsen had introduced a temporary ending. The first complete version was played in Copenhagen the following January. The flute concerto has become part of the international repertoire.

Background

In 1921, Nielsen heard the Copenhagen Wind Quintet rehearsing music by Mozart and was struck by the group's tonal beauty and musicianship. That same year, he wrote his Wind Quintet expressly for this ensemble. The last movement of the wind quintet is a theme and variations depicting in music the personalities of the five players and their respective instruments, much in the manner that Elgar portrayed his friends in the Enigma Variations. Promising he would write a concerto for each member of the quintet, he started with the flautist Holger Gilbert-Jespersen (1890-1975). As a result of poor health, he was only able to complete one more concerto before his death, the Clarinet Concerto, for the group's clarinetist, Aage Oxenvad, which he completed in 1928.

Number Two

Number Two, No. 2, or similar may refer to:

Film

Television

Music

No. 2 (Thees Uhlmann album)

#2 is the second solo record from German singer-songwriter Thees Uhlmann released on Uhlmann's own Grand Hotel van Cleef Records. The album was produced by Tobian Kuhn. Of the album's production, Uhlmann stated that he often would write the first lyrics of a song and wait for Kuhn's reaction. Once satisfied, they would continue the rest of the piece. The album was a critical and commercial success in Uhlmann's native Germany, reaching #2 on the German Albums Chart.

Track listing

All lyrics written by Thees Uhlmann, all music composed by Uhlmann and Tobias Kuhn.

Charts

References