{"id":446,"date":"2014-05-24T16:27:22","date_gmt":"2014-05-24T15:27:22","guid":{"rendered":"https:\/\/www.euler-viola.com\/?post_type=avada_portfolio&#038;p=446"},"modified":"2017-01-12T16:49:34","modified_gmt":"2017-01-12T15:49:34","slug":"romantic-serenades","status":"publish","type":"avada_portfolio","link":"https:\/\/www.euler-viola.com\/en\/tontraeger\/romantic-serenades\/","title":{"rendered":"Romantic Serenades"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-overflow:visible;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_2 1_2 fusion-one-half fusion-column-first\" style=\"--awb-bg-size:cover;width:50%;width:calc(50% - ( ( 4% ) * 0.5 ) );margin-right: 4%;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\">\n<h3>Romantic Serenades<\/h3>\n<h4>Joseph Kreutzer (1790-1840)<\/h4>\n<p>Trio op. 16<br \/>\n1 I Allegro risoluto 7:05<br \/>\n2 II Adagio 4:27<br \/>\n3 III Alla Polacca 6:24<\/p>\n<h4>Anton Diabelli (1781-1858)<\/h4>\n<p>Serenate Concertanten op. 105<br \/>\n4 I Andante sostenuto 1:26<br \/>\n5 II Allegro moderato 5:52<br \/>\n6 III Adagio non tanto &#8211; Scherzo, presto &#8211; Adagio non tanto &#8211; Prestissimo 4:33<br \/>\n7 IV Allegro non tanto 4:47<br \/>\n8 V Marcia, allegro moderato 5:13<\/p>\n<h4>Wenzeslav Matiegka (1773-1830)<\/h4>\n<p>Notturno op. 21<br \/>\n9 I Allegro moderato 7:27<br \/>\n10 II Menuetto 3:49<br \/>\n11 III Lento e patetico 5:49<br \/>\n12 IV Zingara 2:47<br \/>\n13 V St\u00e4ndchen: M\u00e4dchen, o schlummre noch nicht! 7:06<\/p>\n<h4>TRIO KONTRASTE<\/h4>\n<p>Stephanie Hamburger, flute<br \/>\nChristian Euler, viola<br \/>\nMaximilian Mangold, guitar<br \/>\nMusicaphon CD 56903<div class=\"fusion-clearfix\"><\/div><\/div><\/div>\n<div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_2 1_2 fusion-one-half fusion-column-last\" style=\"--awb-bg-size:cover;width:50%;width:calc(50% - ( ( 4% ) * 0.5 ) );\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\">\n<audio class=\"wp-audio-shortcode\" id=\"audio-446-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/Kreutzer_op16_AllaPolacca.mp3?_=1\" \/><a href=\"https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/Kreutzer_op16_AllaPolacca.mp3\">https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/Kreutzer_op16_AllaPolacca.mp3<\/a><\/audio>\n<h6>Joseph Kreutzer (1790-1840): Trio op. 16, 3rd movement Alla Polacca<\/h6>\n<h6><audio class=\"wp-audio-shortcode\" id=\"audio-446-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/matiegka_op21_lento_e_patetico.mp3?_=2\" \/><a href=\"https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/matiegka_op21_lento_e_patetico.mp3\">https:\/\/www.euler-viola.com\/wp-content\/uploads\/2013\/11\/matiegka_op21_lento_e_patetico.mp3<\/a><\/audio>\n<p>Wenzeslav Matiegka (1773-1830): Notturno op. 21, 3rd movement Lento e patetico<\/h6>\n<p>In the early 19th century the guitar experienced a true flowering in several European  metropolises. Numerous guitar virtuosos kindled a wave of enthusiasm for the guitar, undertook extended concert tours through Europe and were extremely productive composers at the same time.<\/p>\n<p>The guitar &#8211; which for a long time had gone unregarded and, in contrast to the lute, was without a tradition in art music &#8211; found entry into concert life and became a fashionable instrument.<\/p>\n<p>A majority of the concerts, however, were not public performances in today&#8217;s sense of the word, but rather took place in the private salons of the nobility and well-to-do middle classes. Whoever had social ambitions, issued invitations to musical soirees. <\/p>\n<p>The private venues for these soirees were naturally not of the size of a concert hall, and a pianoforte was not always available. For this reason, works for smaller chamber music formations with guitar, large numbers of which were published in the early nineteenth century, enjoyed great popularity. <\/p>\n<p>This popularity was certainly also enhanced by the predominantly serenade-like character of these compositions. (Maximilian Mangold)<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Romantic Serenades for Flute, Guitar and Viola by Joseph Kreutzer, Anton Diabelli and Wenzeslav Matiegka Musicaphon CD 56903 <\/p>\n","protected":false},"author":3,"featured_media":383,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-446","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - aioseo.com -->\n\t<meta name=\"description\" content=\"Romantic Serenades Joseph Kreutzer (1790-1840) Trio op. 16 1 I Allegro risoluto 7:05 2 II Adagio 4:27 3 III Alla Polacca 6:24 Anton Diabelli (1781-1858) Serenate Concertanten op. 105 4 I Andante sostenuto 1:26 5 II Allegro moderato 5:52 6 III Adagio non tanto - 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