The orchestra was founded in 1900 by Ferdinand Löwe as the Vienna Concert S… Read Full Bio ↴The orchestra was founded in 1900 by Ferdinand Löwe as the Vienna Concert Society (German: Wiener Concertverein). In 1913 it moved into the Vienna Konzerthaus. In 1919 it merged with the Tonkünstler Orchestra. In 1933 it acquired its current name. Despite a lull in concert attendance after the introduction of the radio during the 1920s, the orchestra survived until the invasion of Austria in 1938 and became incorporated into the German Culture Orchestras. As such, they were used for purposes of propaganda until, depleted by assignments to work in munitions factories, the orchestra closed down on September 1, 1944.
Their first post-war concert occurred on September 16, 1945, performing Mahler's Third Symphony. Under the direction of Josef Krips, they quickly rebuilt a modern repertoire after ten years of isolation and travelled to the Bregenz Festival for the first time in the summer of 1946.
1946 marked the beginning of the tenure of maestro Herbert von Karajan who, though not principal conductor, worked with the VSO in the "Karajan Series" of concerts, going on extensive tours throughout Europe and North America. In 1959 the VSO performed for Pope John XXIII at Vatican City leading up to the debut of maestro Wolfgang Sawallisch.
Sawallisch's leadership saw a tour of the United States in 1964 as well as a combined U.S.-Japan tour in 1967. It also included the re-opening of the Theater an der Wien in 1962.
Krips returned in the interim between Sawallisch's departure and the arrival of Carlo Maria Giulini as principal conductor. In the 1980s Georges Prêtre took over the maestro's podium and increased the number of concerts on the VSO's schedule as well as infused their repertoire with French music.
The early 1990s saw Rafael Frühbeck de Burgos take over as principal conductor, introducing Spanish music much as Prêtre did. Vladimir Fedosejev became principal conductor in 1997.
Their first post-war concert occurred on September 16, 1945, performing Mahler's Third Symphony. Under the direction of Josef Krips, they quickly rebuilt a modern repertoire after ten years of isolation and travelled to the Bregenz Festival for the first time in the summer of 1946.
1946 marked the beginning of the tenure of maestro Herbert von Karajan who, though not principal conductor, worked with the VSO in the "Karajan Series" of concerts, going on extensive tours throughout Europe and North America. In 1959 the VSO performed for Pope John XXIII at Vatican City leading up to the debut of maestro Wolfgang Sawallisch.
Sawallisch's leadership saw a tour of the United States in 1964 as well as a combined U.S.-Japan tour in 1967. It also included the re-opening of the Theater an der Wien in 1962.
Krips returned in the interim between Sawallisch's departure and the arrival of Carlo Maria Giulini as principal conductor. In the 1980s Georges Prêtre took over the maestro's podium and increased the number of concerts on the VSO's schedule as well as infused their repertoire with French music.
The early 1990s saw Rafael Frühbeck de Burgos take over as principal conductor, introducing Spanish music much as Prêtre did. Vladimir Fedosejev became principal conductor in 1997.
Quartetto d'Archi No. 3 in Do maggiore Op. 76
Wiener Symphoniker Lyrics
We have lyrics for these tracks by Wiener Symphoniker:
Ave Maria Gratia plena Maria, gratia plena Maria, gratia plena Ave ave…
No. 1 Ave Maria Gratia plena Maria, gratia plena Maria, gratia ple…
O Little Town of Bethlehem Oh little town of Bethlehem, how still we see thee…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@user-wm1qv2if3k
たのしい一日のレコード
朝の音楽その1に入っていたのは
王宮の花火の音楽メヌエット
ブランデンブルク協奏曲第3番第1楽章
ブランデンブルク協奏曲第4番第1楽章
ブランデンブルク協奏曲第5番第1楽章
チェンバロ協奏曲第3番第3楽章
調和の霊感第6番第1楽章
アイネクライネナハトムジーク第2楽章
ヴァイオリンソナタ第5番「春」第1楽章
弦楽四重奏曲第17番「狩」第1楽章
ハイケンスのセレナード
踊れ喜べ幸いなる魂よからアレルヤ
ペールギュントから朝
以上が含まれていました
モーツァルトの狩は久しぶりに聴きました
@DamonJHK
00:06 - I. Allegro vivace assai
13:13 - II. Menuetto. Moderato
17:22 - III. Adagio
25:05 - IV. Allegro assai
@Garrett_Rowland
One of my favorite adagios of all time. Such lovely themes and such creative uses of harmony are explored through it.
@donaldgoodell7675
This marure String Quartet (according to Alan Tyson’s paper & ink analyses in the 1970s) shews the first several sheets of the 1st Movement was begun around the end of July 1783 (influenc’d by Joseph Haydn’s Opus 33 who met M. for the first time early December 1781 during Haydn’s 3-month Winter Hiatus from Esterhaza) but was not actually completed / revis’d-polish’d until 9 November 1784, 3 months after recovering from a near-Fatal streptococcal infection with severe Rheumatic edema leading to partial kidney failure (31 August through 7 Sept 1784) after which NDE he began his Verzeichnuess Catalog of his works, backdating the initial entries to Feb 1784 with the E-flat Klavier Quintet K. 452 (‘my favourite Composition so far...’) Interestingly when the 20 year old Thomas Attwood came to Mozart’s Domgasse Apartment (week of 22 July 1785) he ‘found M. fully-dres’d despite the heat, standing at his standup writing desk immers’d in the composition of a String Quartet which cost him some pains...his handshake was firm but his hand was eerily cold to the touch for such warm weather...’ But there’s no trace of Mozart’s illness in this music recorded here - and absolutely no trace of the fact that this Quartet had started out life as an unfinish’d musical fragment for 18 months (Tyson’s discoveries of Mozart’s papers shew the vast majority of Mozart’s compositions started out as ‘fragments’ with the 1st Violin part written out more or less in full along with the baseline and only the barest indications (as Aides d’memoire) of the other parts...
@peenut169
Honestly, who needs porn when you've got this
@mediolanumhibernicus3353
Mozart loved porn!
@jonathaneffemey944
Thanks so much for posting!
@colincampbell9825
The adagio seems more a piece of conceptual art or poetry than a strictly musical composition. An extraordinary intellectual journey within an already extraordinary piece. Truly moving...
@nickn2794
I am reading "Composer and Critic - two hundreds years of musical criticism" by Max Graf (it's old, you find it on library genesis). I am reading critics of the time thought of his music in these years, and expecially these quartets to Haydn, to be "too intellectual, unbearable, ununderstandable, unplayable, unlikeable mixture of too complex sounds and harmonies, with little or no feeling". Crazy!
@concerned1
It is scientific. As opposed to the aural pornography of the Romantics
@jeffryphillipsburns
Why? How? What is the “concept”?