Uploaded April 2012 | Updated September 2026, 12 hours ago
Johann Sebastian Bach Sonata in G minor BWV 1020, Sonata Flute & Harpsichord BWV 1020
Allegro
Adagio
Allegro
March
Johann Sebastian Bach Sonata in G minor BWV 1020, Sonata Flute & Harpsichord BWV 1020
Allegro
Adagio
Allegro
March
![Gabriel Fauré - Fantaisie (fantasy) for flute & piano, or orchestra, in E minor, Op. 79 (1898)
Gabriel Fauré Fantaisie Fantasy for flute & piano, or orchestra, in E minor, Op. 79 (1898)
Gabriel Urbain Fauré (pronounced: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 4 November 1924)[n 1] was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes for piano, and the songs Après un rêve and Clair de lune. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his greatest works in his later years, in a harmonically and melodically much more complex style.
Marc Grauwels, Joris Van Den Hauwe, Andre Vandernoot Gabriel Fauré - Fantaisie (fantasy) for flute & piano, or orchestra, in E minor, Op. 79 (1898)](https://i.ytimg.com/vi/jk7447P_8rw/mqdefault.jpg)
![Igor Stravinsky -The Rite of Spring Full Suite (Le Sacre du Printemps) Full Concert
Igor Stravinsky The Rite of Spring - Le Sacre du Printemps; Symphony in Three Movements Artist: Esa-Pekka Salonen Conducts Composer: Igor Stravinsky Time - 53:14 Full HD Full Concert
Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra - Time: 32:17
Symphony in Three Movements, for orchestra - Time: 20:57
The Rite of Spring, original French title Le sacre du printemps (Russian: Весна священная, Vesna svyashchennaya), is a ballet with music by Igor Stravinsky; choreography by Vaslav Nijinsky; and concept, set design and costumes by Nicholas Roerich. It was produced by Sergei Diaghilev for his Ballets Russes ballet company and had its première in Paris on 29 May 1913.
The musics innovative complex rhythmic structures, timbres, and use of dissonance have made it a seminal 20th century composition. In 1973, composer and conductor Leonard Bernstein said of one passage, That page is sixty years old, but its never been topped for sophisticated handling of primitive rhythms..., and of the work as a whole, ...its also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name.
A performance of the work lasts about 33 minutes.
Themes
The Rite is divided into two parts with the following scenes (there are many different English translations of the original titles; the ones given are Stravinskys preferred wording followed by the original French in parenthesis):
Nicholas Roerichs 1913 set design for Part I: Adoration of the Earth.
First Part: Adoration of the Earth (Première Partie: Ladoration de la Terre)
Introduction
The Augurs of Spring: Dances of the Young Girls (Les Augures Printaniers: Danses des Adolescentes)
Ritual of Abduction (Jeu du Rapt)
Spring Rounds (Rondes Printanières)
Games of the Two Rival Tribes (Jeux des Cités Rivales)
Procession of the Oldest and Wisest One [the Sage] (Cortège du Sage
The Kiss of the Earth (The Oldest and Wisest One) [(The Sage)] (Adoration de la Terre (Le Sage))
The Dancing Out of the Earth, OR The Dance Overcoming the Earth (Danse de la Terre
Second Part: The Exalted Sacrifice (Seconde Partie: Le Sacrifice)
Introduction
Mystic Circle of the Young Girls (Cercles Mystérieux des Adolescentes)
The Naming and Honoring of the Chosen One (Glorification de lÉlue)
Evocation of the Ancestors OR Ancestral Spirits (Evocation des Ancêtres)
Ritual Action of the Ancestors (Action Rituelle des Ancêtres)
Sacrificial Dance (The Chosen One) (Danse Sacrale (LÉlue))
Though the melodies draw upon folk-like themes designed to evoke the feeling of songs passed down from ancient time, the only tune Stravinsky acknowledged to be directly drawn from previously existing folk melody is the opening, first heard played by the solo bassoon. Igor Stravinsky -The Rite of Spring Full Suite (Le Sacre du Printemps) Full Concert](https://i.ytimg.com/vi/lWotpIy0uTg/mqdefault.jpg)




![Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach
The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe damore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro — Magnificat
Aria (soprano II) — Et exsultavit spiritus meus
A. Chorale motet — Vom Himmel hoch
Aria (soprano I) — Quia respexit humilitatem
Coro — Omnes generationes
Aria (bass) — Quia fecit mihi magna
B. Coro — Freut euch und jubiliert
Aria (alto, tenor) — Et misericordia
Coro — Fecit potentiam
C. Coro — Gloria in excelsis Deo
Aria (tenor) — Deposuit potentes
Aria (alto) — Esurientes implevit bonis
D. Aria (soprano, bass) — Virga Jesse floruit
Aria (soprano I/II, alto) — Suscepit Israel
Coro — Sicut locutus est
Coro — Gloria Patri
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bachs time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243a Magnificat in E-flat major 01 Chorus Magnificat
BWV0243a Magnificat in E-flat major 02 Air Et exultavit spiritus meus
BWV0243a Magnificat in E-flat major 03 Chorale Vom Himmel hoch da komm ich her
BWV0243a Magnificat in E-flat major 04 Air Quia respexit humilitatem
BWV0243a Magnificat in E-flat major 05 Chorus Omnes generationes
BWV0243a Magnificat in E-flat major 06 Air Quia mihi fecit magna
BWV0243a Magnificat in E-flat major 07 Chorale Freut euch und jubilieret
BWV0243a Magnificat in E-flat major 08 Duet Et misericordia
BWV0243a Magnificat in E-flat major 09 Chorus Fecit potentiam
BWV0243a Magnificat in E-flat major 10 Chorale Gloria in excelsis Deo
BWV0243a Magnificat in E-flat major 11 Air Deposuit potentes
BWV0243a Magnificat in E-flat major 12 Air Esurientes implevit bonis
BWV0243a Magnificat in E-flat major 13 Chorale Virga Jesse floruit
BWV0243a Magnificat in E-flat major 14 Trio Suscepit Israel
BWV0243a Magnificat in E-flat major 15 Chorus Sicut locutus est
BWV0243a Magnificat in E-flat major 16 Chorus Gloria Patri
Composer Bach, Johann Sebastian
Opus/Catalogue Number BWV 243a ; BC.E14
Key E♭ major
Movements/Sections 12
Year/Date of Composition 1723
First Performance Leipzig, 25 December 1723
First Publication 1862
Librettist Bible, Luke 1:46 55
Language Latin
Piece Style Baroque
Instrumentation Soloists: 2 Sopranos, Alto, Tenor, Bass; Mixed Chorus (SSATB)
Orchestra: 3 trumpets, timpani, 2 recorders, 2 oboes, 2 violins, viola, continuo (+ bassoon)
Full Concert Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach](https://i.ytimg.com/vi/pY4wRVREgB8/mqdefault.jpg)
![Handel - Op.4 No.3 in G Minor, HWV 291 (The Organ Concerto)
George Frideric Handel - The Organ Concerto Op.4 No.3 in G Minor
Organ concertos, Op.4 (Handel)
From Wikipedia, the free encyclopedia
George Frideric Handel, 1733, by Balthasar Denner
The Handel organ concertos Op 4, HWV 289 294, refer to the six organ concertos for chamber organ and orchestra composed by George Frideric Handel in London between 1735 and 1736 and published in 1738 by the printing company of John Walsh. Written as interludes in performances of oratorios in Covent Garden, they were the first works of their kind for this combination of instruments and served as a model for later composers.
My sister gave you an account of Mr. Handels playing here for three hours together: I did wish for you, for no entertainment in music could exceed it, except his playing on the organ in Esther, where he performs a part in two concertos, that are the finest thing that I ever heard in my life.
—Mrs. Pendarves, 15th March, 1735
When Handel first came to Italy ... he became known to Domenico Scarlatti. As he was an exquisite player on the harpsichord, the Cardinal [Ottoboni] was determined to bring him and Handel together for a trial of skill ... It has been said that some gave the preference to Scarlatti. However, when they came to the Organ there was not the least pretence for doubting to which of them it belonged ... Handel had an uncommon brilliancy and command of finger; but what distinguished him from all other players who possessed these same qualities, was that amazing fullness, force and energy, which he joined with them. And this observation may be applied with as much justice to his compositions as to his playing.
—John Mainwaring, Memoirs of the Life of the late G. F. Handel, 1760
Handels six organ concertos were published in 1738 by John Walsh as the composers Opus 4. The four concertos HWV 290-293 had been written to be played in the intervals of performances of his oratorios Esther, Deborah and Athalia in March and April 1735 in the newly opened theatre of John Rich in Covent Garden; the other two concertos HWV 289 and 294 served the same purpose in February and March of the following year for performances at the same venue of Alexanders Feast HWV 75, Handels setting of Drydens ode.
291 Op.4 No.3 G minor 1735 5 March 1735 1738 Adagio - Allegro - Adagio -Allegro Variant versions of last movement. First performed with the oratorio Esther (HWV 50b) Handel - Op.4 No.3 in G Minor, HWV 291 (The Organ Concerto)](https://i.ytimg.com/vi/pZITiTnmoTE/mqdefault.jpg)


![Heitor Villa-Lobos - Bachianas Brasileiras No.4
Heitor Villa-Lobos - Bachianas Brasileiras No.4 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Scored for piano (1930-41); orchestrated in 1942 (Preludio dedicated to Tomas Terán)
Preludio (Introdução)
Coral (Canto do sertão)
Aria (Cantiga)
Danza (Mindinho) [Miudinho on p. 45 of the orchestra score, and in Villa-Lobos 1974, 190.] Heitor Villa-Lobos - Bachianas Brasileiras No.4](https://i.ytimg.com/vi/r-XGAWjwj-c/mqdefault.jpg)