GEORG MATTHIAS MONN (1717-1750)Concerto for cello, strings and basso continuo in G minor3. Allegro non tantoPerformed by the Freiburger BarockorchesterFeaturing Jean-Guihen Queyras, celloConducted by Petra Mullejans*Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music.Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later.We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old.Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation.Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point.The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré. [ More Detail ]
GEORG MATTHIAS MONN (1717-1750)Concerto for cello, strings and basso continuo in G minor2. AdagioPerformed by the Freiburger BarockorchesterFeaturing Jean-Guihen Queyras, celloConducted by Petra Mullejans*Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music.Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later.We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old.Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation.Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point.The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré. [ More Detail ]
GEORG MATTHIAS MONN (1717-1750)Concerto for cello, strings and basso continuo in G minor1. Allegro moderatoPerformed by the Freiburger BarockorchesterFeaturing Jean-Guihen Queyras, celloConducted by Petra Mullejans*Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music.Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later.We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old.Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation.Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point.The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré. [ More Detail ]
J.Haydn - Cello Concerto No.1 in C major 3rd MovMstislav Rostropovich (1927-2007)Academy of St Martin in the Fields*Note: If you liked this video, please support the artist by purchasing his/her products. Thank you.* [ More Detail ]
J.Haydn - Cello Concerto No.1 in C major 2nd MovMstislav Rostropovich (1927-2007)Academy of St Martin in the Fields*Note: If you liked this video, please support the artist by purchasing his/her products. Thank you.* [ More Detail ]
J.Haydn - Cello Concerto No.1 in C major 1st MovMstislav Rostropovich (1927-2007)Academy of St Martin in the Fields*Note: If you liked this video, please support the artist by purchasing his/her products. Thank you.* [ More Detail ]
Performance of the last movement of Haydn's Cello Concerto in D Major. June 2008. I am the cellist in this video. Even though I usually embrace constructive criticism, I have already extensively analysed my errors in this recording and would therefore appreciate it if you could refrain from negative comments this time around. Thanks, and enjoy!But first, for anyone who is interested, here is some background information on the piece:Some fun background info: For some time, music historians were unsure whether or not Haydn actually wrote this concerto; some scholars believed that the composer of the piece was Anton Kraft, Haydn's friend and the world's first cello virtuoso. It was later verified that the piece was, in fact, composed by Haydn, who intended for it to be performed by Kraft, accompanied by an orchestra of only about fourteen people. The concerto, however, was deemed too difficult to be played and as a result, it was not performed until about 180 years after its composition. It is still regarded as the most difficult cello concerto in the repertoire. Haydn himself was known for having a good sense of humour and I find that this movement in particular really exemplifies this. I find it profoundly ironic that one of the only light-hearted concertos written for the instrument is also the most challenging. The contrast between the blithe "maggiore" section and the melodramatic "minore" section borders on comical. The recurring section of the rondo comes back in one of the variations written upside-down. And the jocosity of the recurring theme bears an optimistic message of happiness prevailing. [ More Detail ]
Moisés Ferreira e orquestra sinfônica de Goiânia executam o concerto em dó maior de HaydnRegente convidado:Eliseu Ferreiraconcerto dia:05/09/07 [ More Detail ]
Moisés Ferreira e Orquestra sinfônica de Goiânia executam o concerto para violoncelo de Haydn.concerto dia 05/09/07Regente convidado:Eliseu Ferreira [ More Detail ]
In this episode we play the cello concerto in C Major by Joseph Haydn. We decided to play it with organ since it sounds more like an orchestra and it makes a nice match. We are playing in a wonderful church called Mountainview United Church. We hope you enjoy it. [ More Detail ]
J.Haydn - Cello Concerto No.2 in D major, Hob.VIIb:2 - I.Allegro moderatoMstislav Rostropovich (1927-2007)Academy of St Martin in the FieldsHenry Wood Hall, London - November 1975 [ More Detail ]
J.Haydn - Cello Concerto No.2 in D major, Hob.VIIb:2 - I.Allegro moderatoMstislav Rostropovich (1927-2007)Academy of St Martin in the FieldsHenry Wood Hall, London - November 1975 [ More Detail ]
Bence László, the student of Pikéthy Conservatory, Vác and the Young Talents Department of the Academy of Music, Budapest is performing this piece in Vác, 2007 [ More Detail ]
Franz Joseph Haydn, Concerto for cello and piano in C major, Hob. VII, No. 1, I. Moderato, Sifei Wen, violoncello, and Valeria Morgovskaya, Piano, Live in Concert, August 25, 2007, University of Southern California, United University Church, 7:00 p. m [ More Detail ]