Category Archives: YouTube: MUSIC THAT MOVES ME

Music from evreywhere, all kinds,

Environmental Health – protect yourself: Poisonous or toxic plants of North America


Poisonous or toxic plants of North America

 

Ludwig van Beethoven – Symphony No. 6 in F major, op. 68 “Pastorale”: make music part of your life series



From: ChamberMusicTube ChamberMusicTube

Ludwig van BeethovenSymphony No. 6 in F major, op. 68 “Pastorale

From Wikipedia

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German Pastoral-Sinfonie[1]), is a symphony composed by Ludwig van Beethoven, and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four hour concert.[4]

Form

The symphony has five movements, rather than the four typical of symphonies of the Classical era. Beethoven annotated the beginning of each movement as follows:

  1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo

  2. Szene am Bach (Scene by the brook): Andante molto mosso

  3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro

  4. Gewitter, Sturm (Thunder. Storm): Allegro

  5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song; cheerful and thankful feelings after the storm): Allegretto

Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor): make music part of your life series


Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor)

Parts/Movements

  1. Adagio – Allegro passionato
  2. Tema con varazioni
  3. Intermezzo. Allegretto
  4. Finale. Andante maestoso

Review :

While the Symphony No. 6 in C minor, Op. 58, of 1896 by Alexander Glazunov is not the most personally characteristic of his eight completed symphonies — the optimistic Third or the Olympian Fifth are more typical of his confident symphonic aesthetic — it is arguably the most typically Russian of his symphonies. Part of the reason for this is the scoring — violins in octaves above massed brass at its climaxes à la Tchaikovsky and gorgeously colorful woodwind writing in its central movements — part of it is the themes — ardent and powerful with a yearning quality characteristic of fin de siècle Russian symphonies — but most of it is the furious tone of the opening movement.
******With the darkly unfolding Adagio leading into a Allegro appassionato that balances a passionately despairing first theme with a fervently supplicating second theme, Glazunov’s Sixth sounds like a Russian symphony composed after the death of Tchaikovsky. But the Sixth is more than the work of a symphonic epigone. While the tone of the opening movement sounds typically Russian, its chromatic melodic and cogent harmonic structure makes it sound much more modern than contemporary symphonies by Kalinnikov or even Rachmaninov. Even more modern are the Sixth’s second and fourth movements.
******The second movement is a theme and seven variations that slowly transmutes the tone of the symphony from the fury of the opening movement to one of calm acceptance.
******The brief third-movement Intermezzo that precedes the Finale is lighter in tone than anything else in the symphony.
******The Finale itself is one of Glazunov’s most successful closing movements. With its magisterial Andante maestoso introduction announcing the chorale theme that will ultimately cap the movement, its highly contrasted themes — the first confidently striding in the winds Moderato maestoso, the second a lilting Scherzando theme for the flutes, horns, and strings — the Finale seems at first too episodic to cohere. Glazunov’s superb technical skills, however, form all the Finale’s material into an organic whole and the tone of the Finale — powerfully positive — is altogether Glazunov’s own. ~ James Leonard, Rovi

Read more:
               http://www.answers.com/topic/symphony-no-6-in-c-minor-op-58#ixzz3AkekJ1oA

               http://www.bbc.co.uk/music/artists/5a0988a4-695c-4bff-bc68-4f312427495e.html
              http://www.allmusic.com/composition/symphony-no-6-in-c-minor-op-58-mc0002366895

 

this day in the yesteryear: Jimi Hendrix Headlines Woodstock (1969) (with rare video)


Jimi Hendrix Headlines Woodstock (1969)

The Sistine Chapel (with virtual video tour)


The Sistine Chapel

The Sistine Chapel is located in the Palace of the Vatican, the official residence of the Pope in Vatican City. It was built between 1473 and 1481 and is known for its artwork—especially the ceiling paintings by Michelangelo. Attracted to ambitious sculptural projects—which he did not always complete—Michelangelo agreed to the project reluctantly. His confidence grew in time, and he devoted his last 30 years to The Last Judgment fresco in the chapel. For whom is the Sistine Chapel named? More… Discuss
FROM: 

vatican virtual The Sistine Chaple, vatican secrets, virtual tour,1st day


Get our android app

http://www.androidzoom.com/android_ap…
or visit romavita.com for a free mp3 and for iphone see our tour at
http://www.mytourguide.com
to use while in the chapel and learn how the Vatican City’s Sistine Chapel, contains a veiled meaning; theology.

Dohnanyi Serenade Trio in C Major, Op.10 (Heifetz, Primrose, Feuermann) – 1941: unique musical moments


Dohnanyi Serenade Trio in C Major, Op.10 (Heifetz, Primrose, Feuermann) – 1941

Erno Dohnanyi (1877-1960):
Serenade Trio for Strings in C Major, Op.10 (1902 – Hungary)
1. Marcia (Allegro)
2. Romanza (Adagio non troppo, quasi andante) 1:48
3. Scherzo (Vivace) 5:07
4. Tema con variazio, (Andante con moto) 8:48
5. Rondo (Finale) (Allegro vivace) 13:54

Jascha Heifetz, violin (189101987)
William Primrose, viola (1904-1982)
Emanuel Feuermann, cello (1902-1942)

Concerto op. 99 (complete) Castelnuovo-Tedesco – Flavio Sala, guitar: make music part of your life series



FROM:

Concerto op. 99 (complete) Castelnuovo-Tedesco – Flavio Sala, guitar

Guitar Concerto op. 99 in D – Flavio Sala plays Mario Castelnuovo-Tedesco. http://www.flaviosala.com Samara Philarmonic Orchestra. Mikhail Sherbakov, Conductor. Samara, Russia 2011.
—————————————-­—————————————-­—————-
TAKE GUITAR LESSONS ONLINE WITH FLAVIO:
http://takelessons.com/profile/flavio-s

LIKE MY FB FANS PAGE
http://www.Facebook.com/FlavioSalaFans

SUBSCRIBE MY YOUTUBE CHANNEL
http://www.Youtube.com/Guitargurugu

ABOUT THE GUITAR I PLAY
https://www.facebook.com/CamilloPerre…

—————————————-­—————————————-­———
“Flavio Sala is the new Paganini of the guitar” – Alirio Diaz
“It was very exciting for me to listen to Flavio Sala” – Steve Howe
“Flavio Sala has a great technical ability” – Paco de Lucia

Italian guitarist, with more than 40,000 fans around the world (http://www.Facebook.com/FlavioSalaFans) and millions of views on Youtube (http://www.Youtube.com/Guitargurugu), Flavio Sala is considered the new star of the guitar, acclaimed by critics and audiences worldwide for his incredible instrumental technique, combined with extraordinary sensitivity and musical creativity.
—————————————-­—————–
My name is Flavio Sala and I am a guitarist. I was born in Bojano (Italy) on May 9, 1983. When I was seven year old, my father put a guitar in my hands and taught me the first two or three chords. Then I learnt copying my brothers. I fell in love with guitar and really felt like becoming a professional performer, without even know what that meant. I studied at the Conservatory with Pasqualino Garzia and at the “Accademia Musicale Chigiana” with Oscar Ghiglia. Till the age of fourteen I believed that classical music was the best, but after playing and playing it, I started to understand that I could not keep playing the same things during all my life. It was when I discovered Paco de Lucia, Pat Metheny, John McLaughlin, Miles Davis, Frank Zappa, Jaco Pastorius and many others that I started to change and open my mind: since that moment I have been dreaming to become an eclectic artist, I just want to play on my guitar the music I love. I got really fascinated with flamenco, jazz, latin jazz but later also pop, rock and salsa artists/singers: “Why do they look so comfortable, happy enjoying their music and playing, and classical musicians always look like suffering on the stage all the time?” That used to happen also to me and I wanted to cut it down, absolutely!
CLICK HERE TO READ MORE http://www.FlavioSala.com

FOLLOW ME ON TWITTER
http://www.Twitter.com/FlavioSala1

VISIT MY CD STORE
http://www.FlavioSala.com/cd_store

ITUNES
https://itunes.apple.com/au/artist/fl…

AMAZON
http://www.amazon.com/s/ref=nb_sb_nos…

CDBABY
http://www.cdbaby.com/cd/flaviosala2

ABSTRACTLOGIX
http://www.abstractlogix.com/xcart/pr…

FOLLOW ME ON SPOTIFY https://play.spotify.com/artist/5svjU…

VISIT MY BLOG
http://www.FlavioSala.com/Blog

DOWNLOAD MP3 for FREE
http://flaviosala.com/download/

BOOK FLAVIO FOR A CONCERT
http://flaviosala.com/booking/

YOUTUBE PLAYLISTS
https://www.youtube.com/user/guitargu…

Vladimir Horowitz 1950 / Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”: unique musical moments



From:  ss sabu  ss sabu

Vladimir Horowitz 1950 / Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”

Vladimir Horowitz 1950
Chopin
Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”

From Wikipedia, the free encyclopedia

Chopin, 1835

Frédéric Chopin‘s Piano Sonata No. 2 in B-flat minor, Op. 35, popularly known as The Funeral March, was completed in 1839 at Nohant, near Châteauroux in France. However, the third movement, whence comes the sonata’s common nickname, had been composed as early as 1837.

The sonata comprises four movements:

  1. Grave – Doppio movimento

  2. Scherzo

  3. Marche funèbre: Lento

  4. Finale: Presto

Funeral march

As noted above, the third movement is structured as a funeral march played with a Lento interlude. While the term “funeral march” is perhaps a fitting description of the 3rd movement, complete with the Lento Interlude in D-flat major, the expression “Chopin’s Funeral March” is used commonly to describe only the funeral march proper (in B-flat minor).

It was transcribed for full orchestra in 1933 by the English composer Sir Edward Elgar (in D minor), and its first performance was at his own memorial concert the next year. It was also transcribed for large orchestra by the conductor Leopold Stokowski; this version was recorded for the first time by Matthias Bamert.

The emotive “funeral march” has become well known in popular culture. It was used at the state funerals of John F. Kennedy, Sir Winston Churchill and Margaret Thatcher and those of Soviet leaders, including Leonid Brezhnev. It was also played in the funeral of the Spanish poet Miguel Hernández and at thegraveside during Chopin’s own burial at Père Lachaise Cemetery in Paris.

 

Sergei Rachmaninoff – Scherzo in D minor (V. Polyansky – Russian State SO): make music part of your life series



From:  Wolfgang Amadé Mozart  Wolfgang Amadé Mozart

Sergei Rachmaninoff – Scherzo in D minor (V. Polyansky – Russian State SO)

Philadelphia Sinfonia – Astor Piazzolla “Melodia en La Menor”: make music part of your life series



From:     Philadelphia Sinfonia  Philadelphia Sinfonia

Philadelphia Sinfonia – Astor Piazzolla “Melodia en La Menor” 

(for bandoneón & strings)

Philadelphia Sinfonia
(Youth Orchestra)
Gary D. White, Conductor & Music Director
Astor Piazzolla – Melodia en La Menor
(live performance featuring the strings of Philadelphia Sinfonia – 2009)

Philadelphia Sinfonia Association includes 3 orchestras:
Philadelphia Sinfonia – our advanced orchestra (high school & college)
Philadelphia Sinfonia Players – our intermediate orchestra (middle school & high school)
Philadelphia Sinfonia Chamber Orchestra – our strings only chamber orchestra

Our talented and dedicated students come from all over the Delaware Valley to participate in our high-level orchestral training program.

“Educating Musicians. Creating Artists.” – Philadelphia Sinfonia Association

http://www.philadelphiasinfonia.com – website
info@philadelphiasinfonia.com – email

Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky: make music part of your life series



From:

Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky

Sergei Rachmaninov:  Suite for two pianos n°1 op.5:

I. Allegretto. Barcarolle 0:00
II. Adagio sostenuto. La nuit… L’amour 7:35
III. Largo di molto. Les larmes 13:53
IV. Allegro maestoso. Pâques 19:24

Vadim Rudenko
Nikolai Luganski
Live recording, Moscow

Luigi Boccherini – String Quintet in E maj Opus 11 No 5 G275: make music part of your life series



FROM:

Luigi Boccherini – String Quintet in E maj Opus 11 No 5 G275

I Amoroso
II Allegro e con spirito
III Minuetto, trio
IV Rondeau, andante

Performed by La Magnifica Comunità

Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov): great compositions/performances



From: Kanaal van viool7  Kanaal van viool7

Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov)

Tchaikovsky's tomb at the Alexander Nevsky Mon...

Tchaikovsky’s tomb at the Alexander Nevsky Monastery (Photo credit: Wikipedia)

*****Isaac Stern: violin-
*****National Symphony Orchestra-Mstislav                 Rostropovich: conductor-1977

 

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954: great compositions/performances



From:  Czarmuzyki Ewa Chamiec

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954

(Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska –1954! — Archiwum Polskiego Radia.)

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman: great compositions/performances



From:  Silvio Finotti  Silvio Finotti

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman, Boston Symphony Orchestra / Seiji Ozawa

A. Dvořák – Carnival, Overture, Op. 92: make music part ofyour life series



from:

Antonin Dvořák – Carnival, Overture, Op. 92

Orchestra: Konzerthaus Orchester Berlin
Conductor: Lothar Zagrosek
Composer: Antonín Leopold Dvořák (1841 – 1904)

Prokofiev: Piano Concerto n. 2 – Yefim Bronfman: make music part of your life series



From:

orso1149  orso1149

Prokofiev: Piano Concerto n. 2 – Yefim Bronfman

Yefim Bronfman plays the Prokofiev’s Piano Concerto n. 2 in G minor op. 16
Andantino – Allegretto, Scherzo, Intermezzo, Allegro tempestoso
Vassily Sinaisky conducts the Rai National Symphony Orchestra (Orchestra Sinfonica Nazionale della Rai)
Giampaolo Pretto, flute
Turin, 1997

Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60) : great compositions/performances


 FROM:

Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60)

Title of Composition: Lieutenant Kije Suite, Op. 60
Composer: Sergei Prokofiev
Created in: 1933
Orchestra: Los Angeles Philharmonic
Conductor: Andre Previn
Recorded in: 1986

The CD is available for purchase at either Arkivmusic:
http://www.arkivmusic.com/classical/a…

Or at Amazon (MP3 is also available):
http://www.amazon.com/Prokofiev-Alexa…

The CD also includes Alexander Nevsky, Op. 78, a cantata that’s also composed by Prokofiev.

The images in the video are not my own.
The first image can be found here: http://www.publicdomainpictures.net/v…
The second image can be found here: http://www.publicdomainpictures.net/v…
This recording of Lieutenant Kije Suite is owned by Telarc.
-----------------------------------------

From Wikipedia, the free encyclopedia

Lieutenant Kijé[1] (Russian: Поручик Киже, Poruchik Kizhe) is the score composed by Sergei Prokofiev for the 1934 Soviet film Lieutenant Kijé directed by Aleksandr Faintsimmer based on the novel of the same title by Yury Tynyanov.

Movements

The suite, in five movements broadly follows the plot of the movie:[2]

  1. Kijé’s Birth. A clerk, while writing out the morning orders for his Imperial majesty Tsar Paul, miscopies two words, creating a Lieutenant “Kijé”. The Tsar learns of his “existence”, and issues numerous orders concerning him. The palace administrators have no choice but to carry them out.
  2. Romance. The fictional lieutenant falls in love.
  3. Kijé’s Wedding. Since the Tsar prefers his heroic soldiers to be married, the administrators concoct a fake wedding.
  4. Troika.
  5. Kijé’s Burial. The administrators finally rid themselves of the non-existent lieutenant by saying he has died.

Première

1937, Paris

Instrumentation

Baritone voice (sometimes performed as tenor saxophone).

2 flutes, piccolo, 2 oboes, 2 clarinets, tenor saxophone (sometimes performed on bassoon), 2 bassoons, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, 3 percussionists (cymbals, sleigh bells, triangle, bass drum, snare drum, tambourine), harp, piano or/and celeste, and strings.

 

 

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD: great compositions/performances



FROM:

hellsan631    hellsan631

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD

Includes all 3 movements. Taken from “Liszt: The Piano Concertos; 3 Etudes de Concert (1976)”

1. Il lamento  0:00 to 10:40

2. La leggierezza  10:50 to 16:16

3. Un sospiro  16:24 to 22:28

**Quality – AAC, audio bitrate: 320kbps
Video MP4 – 348kbps

***Perhaps the most Beautiful piece of music is the 3rd movement. There is another version of it on YouTube, but it is in extremely low audio quality. With this recording, you can sometimes hear the performer’s clothes move, or his breathing, only slightly.

***If I enjoy the rest of the CD enough, I will upload the other 2 piano concertos.

Credits:
Franz Liszt
Claudio Arrau (Piano)
Recorded in London England, November of 1976
Philips Classics

*Change to 720p Video to get the a 192 kbps Audio Stream (the highest you can get on YouTube)

Liszt: The Piano Concertos; 3 Etudes de Concert
Études de concert (3), for piano, S. 144 (LW A118)

MQ0001081958
MC0002358753
F 2049358
C 11442


From Wikipedia, the free encyclopedia

Three Concert Études (Trois études de concert), S.144, are a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.[1] As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. The Italian subtitles now associated with the studies – Il lamento (“The Lament”), La leggierezza (“Lightness”), Un sospiro (“A sigh”) – were not in early editions.[2]

Étude No. 1, Il lamento

Il lamento is the first of Liszt’s Three Concert Études. Written in A-flat major, it is among the composer’s longest pieces in this genre. It starts with a four-note lyrical melody which folds itself through the work, followed by a Chopin-like chromatic pattern which reappears again in the coda section. Although this piece opens and ends in A-flat major, it shifts throughout its three parts to many other keys including A, G, B, D-sharp, F-sharp and B.[1]

Étude No. 2, La leggierezza

La leggierezza (meaning “lightness”) is the second of the Three Concert Études. It is a monothematic piece in F minor with a very simple melodic line in each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something a bit more frenetic.[3] It starts with a fast, but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the light atmosphere of its title.[3] The technical difficulties involved are fast passages of minor thirds in the right hand and light, but quick leggiero chromatic scales.

Étude No. 3, Un sospiro

The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for “A sigh”). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszt’s lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.

The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners.

Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.

Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.

This étude, along with the other Three concert études, was written in dedication to Liszt’s uncle, Eduard Liszt (1817–1879), the youngest son of Liszt’s grandfather and the stepbrother of his own father. Eduard handled Liszt’s business affairs for more than thirty years until his death in 1879.

In film

Brahms viola sonata op. 120 no. 2 in E flat major: great compositions/performances



FROM:

Brahms viola sonata op. 120 no. 2 in E flat major

Piano: Daniel Barenboim
Viola: Pinchas Zukerman
Be apart of my Facebook page! http://www.facebook.com/Blop888

From Wikipedia, the free encyclopedia

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons:

  • in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach‘s three, now most often played on the cello)
  • in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d’amore, like most of their viola works – though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow‘s opus 16 cello sonatas, or Johannes Brahms‘s opus 120 clarinet sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonatas of Felix Mendelssohn (1824, posthumously published around 1981) and the opus 1 sonata of the composer Ernst Naumann (1832-1910), published in 1854.

this day in the yesteryear: Cortés Conquers Tenochtitlán (1521)


Cortés Conquers Tenochtitlán (1521)

Tenochtitlán was the flourishing capital of the Aztec Empire with an estimated population of between 200,000 and 300,000, a unique system of lake agriculture known as chinampas, and a ceremonial precinct that contained a great pyramid sacred to the Aztec war god Huitzilopochtli. Spanish conquistador Hernán Cortés was chased from the city in 1520, but returned a year later, took the city after a three-month siege, and razed it. What tragedy helped Cortés to defeat the Aztecs this time? More… Discuss

memento: Robin Williams “Good Morning Vietnam”



FROM:

BadfishKoo  BadfishKoo
Good Morning Vietnam-Best Scenes

Robin Williams Walk of Fame

Robin Williams Walk of Fame (Photo credit: Wikipedia)

Henrik Chaim Goldschmidt plays “Gabriel’s Oboe” : great compositions/performances


Henrik Chaim Goldschmidt plays “Gabriel’s Oboe

The oboist Henrik Chaim Goldschmidt plays Ennio Morricone’s “Gabriel’s Oboe” with The Faroe Islands Philharmonic Orchestra, 10.01.2009

http://www.singh-goldschmidt.dk

JOHN BARRY: “GIVE ME A SMILE”: make music part of your life series


FROM:
John Dunlea    John Dunlea


JOHN BARRY:   “GIVE ME A SMILE”
(A tribute to the musical genius of John Barry)

The Air That I Breath – The Hollies: make music part of your life series


The Air That I Breath – The Hollies

 FROM:

History

This song was a major hit for The Hollies in early 1974, reaching number two in the U.K.. In the summer of 1974, the song reached number six in the United States on the Billboard Hot 100 chart and number three on the Adult Contemporary chart.[2] In Canada, the song peaked at number five on the RPM Magazine charts. The audio engineering for “The Air That I Breathe” was done by Alan Parsons.

“The Air That I Breathe”
Song by Albert Hammond from the album It Never Rains in Southern California
Released 1972
Genre Soft rock
Length 3:40
Label Mums Records 31905
Writer Albert Hammond, Mike Hazlewood
Producer Albert Hammond, Don Altfeld
“The Air That I Breathe”
Single by The Hollies
B-side “No More Riders”
Released UK: January 1974
US: March 1974
Genre Soft rock
Length 4:13
Label UK: Polydor 2058435
US: Epic 5-11100
The Hollies singles chronology
“The Day That Curly Billy Shot Down Crazy Sam Mcgee”
(1973)
“The Air That I Breathe”
(1974)
Son of a Rotten Gambler
(1974)

Tentipi presents – Time Lapse 2 Chile


Tentipi presents – Time Lapse 2 Chile

Stunning timelapse photography taken of the skies over the Atacama desert, Chile. The Paranal Observatory uses a combination of huge telescopes to achieve this, and it is quite simply BRILLIANT. The laser is used as a calibration device to allow for curvature of the Earth’s atmosphere and produce higher resolution images.

Please let us know what you think of the footage.

Credits:

ALL IMAGES: (eso.org) Taken on location by Stéphane Guisard and José Francisco Salgado, at the VLT (Paranal), ALMA (Chajnantor) Observatories and the E-ELT Site (Armazones) in the Atacama Desert, II Region, CHILE.

ESO/S. Guisard (http://www.eso.org/~sguisard)

ESO/José Francisco Salgado (http://www.josefrancisco.org)

MUSIC SCORE: “Post Mortem” – God Is An Astronaut (2008)
[http://www.facebook.com/godiaa]

EDITION: Nicolas Bustos

http://www.youtube.com/user/NikoBustos

what was that tune again?…Leroy Anderson’S The Typewriter (Voces para La Paz- La Paz Symphony Orchestra): make music part of your life series


Typewriter symphony Orchestra

The Typewriter, by Leroy Anderson

Liszt Ferenc – Missa Choralis: great compositions/performances



FROM:
77beton77    77beton77

Liszt Ferenc – Missa Choralis

Liszt Concerto #2 file1 Valentina Lisitsa (audio): great compositions/performances


FROM:

Liszt Concerto #2 file1 Valentina Lisitsa (audio)

From Wikipedia, the free encyclopedia

Franz Liszt wrote drafts for his Concerto for Piano and Orchestra No. 2 in A major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly. The fourth and final period of revision ended in 1861. Liszt dedicated the work to his student Hans von Bronsart, who gave the first performance, with Liszt conducting, in Weimar on January 7, 1857.

Form

This concerto is one single, long movement, divided into six sections that are connected by transformations of several themes:

  • Adagio sostenuto assai

    The key musical idea of this concerto comes at the beginning. Quietly yet confidently, half a dozen woodwinds, no more than five at a time, play a sequence of two chords—an A major chord with a C sharp on top, then a dominant seventh on F natural. The first chord sounds very ordinary. The second opens possibilities unhinted by what preceded it. One note connects the two chords—an A. This sequence sounds colorful and strange yet inevitable and easily grasped.

  • Allegro agitato assai

    This is technically the scherzo of the piece. It starts in B-flat minor and ends in C-sharp minor.

  • Allegro moderato

    This section contains a great deal of lyricism and proceeds at an unhurried pace. Among its charms is a metamorphosis of the opening theme, played by solo cello while accompanied by the piano, showing the influence of Italian bel canto on Liszt’s work.

  • Allegro deciso

  • Marziale un poco meno allegro

    Yet another transformation of the gentle opening theme, this movement has also nearly always been attacked as vulgar and a betrayal of both the initial character of this theme and the concerto on the whole. American musicologist Robert Winter disagreed. He called the march “a masterstroke that demonstrates the full emotional range of thematic transformation.”[1] The march contains the force and weight needed to reestablish the home key of A major, from which the music has been moving quite far since the concerto opened.

  • Allegro animato

Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido’ No.1, Op.13, (RV54): make music part of your life series


Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido‘ No.1, Op.13, (RV54)

FROM:
vivaldi369  vivaldi369
Álbum: Antonio Vivaldi: Sonatas for Flute, Op.13 “IL Pastor Fido”
Interpretes del álbum: Bela Drahos, Pal Kelemen & Zsuzsa Pertis
Compositor: Antonio Lucio Vivaldi
Año: 1991
Genero: Barroco Italiano
Movimientos: Moderato-Allegro-Affectuoso-Allegro-Giga

Handel – Overture from “Il Pastor Fido”, HWV 8a: make music part of your life series


Handel – Overture from “Il Pastor Fido“, HWV 8a

 FROM:

Overture from “Il Pastor Fido”, HWV 8a.

The English Concert, on period instruments. Simon Standage, violin solo. David Reichenberg, oboe solo. Alastair Mitchell, bassoon solo. Amanda McNamara, double bass solo. Nigel North, theorbo solo. Trevor Pinnock, harpsichord and conductor. Composed by G.F. Handel (1685-1759).

I. [without tempo indication] – Lentement ( 0:00 )
II. Largo ( 4:11 )
III. Allegro ( 8:04 )
IV. [Menuet] ( 10:17 )
V. Adagio ( 12:16 )
VI. [Allegro] ( 20:36 )

Frederic Chopin – Krakowiak Op.14: great compositions/performances


Hopeful that this and all other posts and shared Links are received everywhere!

Frederick Chopin – Krakowiak Op.14

Grande rondò da concerto.

FROM:

Brahms-Violin Sonata No. 2 in A Major Op. 100: make music part of your life series


Brahms-Violin Sonata No. 2 in A Major Op. 100

FROM:
Kanaal van viool7

Isaac Stern: violin-Myra Hess: piano-Live-Edinburgh-1960

Peter Cornelius(1824-1874) Barbier von Bagdad-Overture: Great performances


Peter Cornelius(1824-1874) Barbier von Bagdad-Overture

English: German conductor Hans Knappertsbusch ...

English: German conductor Hans Knappertsbusch (1888-1965) Deutsch: Hans Knappertsbusch (1888-1965), deutscher Dirigent (Photo credit: Wikipedia)

Conductor: Hans Knappertsbusch
Orchestra: Bavarian State Orchestra
1953,live

Itzhak Perlman “Rèverie et caprice” Berlioz: Great compositions/performances


 FROM:

Itzhak Perlman “Rèverie et caprice” Berlioz

Rèverie et caprice op 8 for violin and orchestra
by Hector Berlioz
Itzhak Perlman, violin
Orchestre de Paris
Daniel Barenboim, conductor

“Concerto in G Major for Two Flutes and Orchestra” by Domenico Cimarosa (1749-1801): make music part of your life series


Concerto in G Major for Two Flutes and Orchestra” by Domenico Cimarosa (1749-1801)

 FROM:

Schubert Impromptu op. 142 No.3 B flat major: great compositions/performances


 FROM:

Schubert Impromptu op. 142 No.3 B flat major

 

Elevazione – Adagio para oboé violoncelo, orquestra de cordas e orgão. Domenico Zipoli: make music part of your life series


Elevazione – Adagio para oboé violoncelo, orquestra de cordas e orgão. Domenico Zipoli

 FROM

Recital de formatura em oboé. Oboé: Lília Reis; Cello: Rodolpho Borges.
Escola de Música de Brasília. 10/09/2009.

From Wikipedia, the free encyclopedia
Domenico Zipoli (17 October 1688 – 2 January 1726) was an Italian Baroque composer who worked and died in Córdoba (Argentina). He became a Jesuit in order to work in the Reductions of Paraguay where his musical expertise contributed to develop the natural musical talents of the Guaranis. He is remembered as the most accomplished musician among Jesuit missionaries.

Early training and career

Zipoli was born in Prato, Italy, where he received elementary musical training. However, there are no records of him having entered the cathedral choir. In 1707, and with the patronage of Cosimo III, Grand Duke of Tuscany, he was a pupil of the organist Giovani Maria Casini in Florence. In 1708 he briefly studied under Alessandro Scarlatti in Naples, then Bologna and finally in Rome under Bernardo Pasquini. Two of his oratorios date to this early period: San Antonio di Padova (1712) and Santa Caterina, Virgine e martire (1714). Around 1715 he was made the organist of the Church of the Gesù (a Jesuit parish, the mother church for The Society of Jesus), in Rome, a prestigious post. At the very beginning of the following year, he finished his best known work, a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo.

Jesuit musician-missionary

For reasons that are not clear, Zipoli travelled to Sevilla, Spain, in 1716, where, on 1 July, he joined the Society of Jesus with the desire to be sent to the Reductions of Paraguay in Spanish Colonial America. Still a novice, he left Spain with a group of 53 missionaries who reached Buenos Aires on 13 July 1717.

He completed his formation and sacerdotal studies in Cordoba (in contemporary Argentina) (1717–1724) though, for the lack of an available bishop, he could not be ordained priest. All through these few years he served as music director for the local Jesuit church. Soon his works came to be known in Lima, Peru. Struck by an unknown infectious disease, Zipoli died in the Jesuit house of Cordoba, on 2 January 1726. A previous theory placing his death in the ancient Jesuit church of Santa Catalina, in the hills of the Province of Córdoba (Argentina), has now been discredited. His burial place has never been found.

Legacy

Zipoli continues to be well known today for his keyboard music. His Italian compositions have always been known but recently some of his South American church music was discovered in Chiquitos, Bolivia: two Masses, two psalm settings, three Office hymns, a Te Deum laudamus and other pieces. A Mass copied in Potosí, Bolivia in 1784, and preserved in Sucre, Bolivia, seems a local compilation based on the other two Masses. His dramatic music, including two complete oratorios and portions of a third one, is mostly gone. Three sections of the ‘Mission opera’ San Ignacio de Loyola – compiled by Martin Schmid in Chiquitos many years after Zipoli’s death, and preserved almost complete in local sources – have been attributed to Zipoli.

Society of Jesus
The JHS or IHS monogram of the name of Jesus (...

The JHS or IHS monogram of the name of Jesus (or traditional Christogram symbol of western Christianity), derived from the first three letters of the Greek name of Jesus, Iota-Eta-Sigma (ΙΗΣΟΥΣ). Partly based on memories of church decorations. Has some degree of resemblance to a portion of the emblem of the Jesuits, due to common medieval influences (see Feast of the Holy Name of Jesus), but is not exactly the same, nor intended to be so. (Photo credit: Wikipedia)

History of the Jesuits
Regimini militantis
Suppression

Jesuit Hierarchy
Superior General
Adolfo Nicolás

Ignatian Spirituality
Spiritual Exercises
Ad majorem Dei gloriam
Magis

Notable Jesuits
St. Ignatius of Loyola
St. Francis Xavier
St. Peter Faber
St. Aloysius Gonzaga
St. Robert Bellarmine
St. Peter Canisius
St. Edmund Campion
Pope Francis

 

 

Ottorino Respighi – Three Botticelli Pictures: grest compositions/performances


Ottorino Respighi – Three Botticelli Pictures

FROM: 

Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a: great compositions/performances


Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a

FROM:

Maxime Brisole

From Wikipedia

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »1. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »1. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

 

Agustín Barrios – Confesión César Amaro guitarra: make music part of your life series


Agustín Barrios – Confesión César Amaro guitarra

FROM:

CESAR  AMARO

(La famosa romanza compuesta en Río de Janeiro en 1919.)

 

Carl Maria von Weber/Hector Berlioz – Invitation to the Dance, Op. 65: great compositions/performances



From: Fledermaus1990

Carl Maria von Weber/Hector Berlioz – Invitation to the Dance, Op. 65

Invitation to the Dance (Aufforderung zum Tanz), Op. 65, J. 260, is a piano piece in rondo form written by Carl Maria von Weber in 1819. It is also well known in the 1841 orchestration by Hector Berlioz. It is sometimes called Invitation to the Waltz, but this is a mistranslation of the original.

Weber dedicated Invitation to the Dance to his wife Caroline (they had been married only a few months).[2] He labelled the work “rondeau brillante”, and he wrote it while also writing his opera Der Freischütz.

It was the first concert waltz to be written: that is, the first work in waltz form meant for listening rather than for dancing.

Conductor: Ondrej Lenard
Orchestra: Slovak Radio Symphony Orchestra

Bedřich Smetana – Piano Trio in G minor, Op. 15: make music part of your life series


Sviatoslav Richter plays Schubert Sonata D.575: Great compositions/performances


Sviatoslav Richter plays Schubert Sonata D.575

The Piano Sonata in B major, D. 575 by Franz Schubert is a sonata for solo piano, posthumously published as Op. 147. Schubert composed the sonata in August 1817.

Movements

I. Allegro ma non troppo (B major)

II. Andante (E major)

III. Scherzo: Allegretto – Trio (G major, D Major)

IV. Allegro giusto (B major)

 

Franz Liszt – Tasso, Lamento e Trionfo: make music part of your life series


Franz Liszt – Tasso, Lamento e Trionfo

FROM

Saint Saens – Piano conc.No.2 – Arthur Rubinstein: great compositions/performances


Saint Saens – Piano conc.No.2 – Arthur Rubinstein

Benjamin Britten: Simple Symphony op.4: make music part of your life series


FROM:

Benjamin Britten: Simple Symphony op.4

1. Boisterous Bourree 0:00
2. Playful Pizzicato 3:17
3. Sentimental Saraband 6:45
4. Frolicsome Finale 13:07

Filharmonický orchestr Iwasaki / Iwasaki Philharmonic Orchestra Prague
dirigent: Chuhei Iwasaki

recorded XI.2013 in recording studio HAMU, Prague
Recording director: Kristina Štanclová
Recording engeneer: Jaroslav Pokorný

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141: great compositions/performances


Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141

Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141
1. Allegro maestoso 12’42
2. Poco adagio 10’21
3. Scherzo, vivace 7’49
4. Finale, allegro 9’49

W. A. Mozart – Symphony No. 41 “Jupiter” in C major Do major) (Harnoncourt): great compositions/performances


W. A. Mozart – Symphony No. 41 “Jupiter” in C major (Harnoncourt)

Uploaded on Feb 10, 2012

W. A. Mozart – Symphony No. 41 “Jupiter” in C major, K. 551 (1788):
1. Allegro vivace, 4/4
2. Andante cantabile, 3/4 in F major
3. Menuetto: Allegretto – Trio, 3/4
4. Molto allegro, 2/2

The Chamber Orchestra of Europe
Conductor – Nicolaus Harnoncourt
Grosser Musikvereinsaal Wien

CANNERY ROW (1982) – FORGOTTEN TREASURE


CANNERY ROW (1982) – FORGOTTEN TREASURE

Uploaded on May 5, 2010

CANNERY ROW (1982) DIRECTED BY DAVID S WARD, STARRING NICK NOLTE , DEBRA WINGER, AUDRA LINDLEY, FRANK MCRAE, M. EMMETT WALSH, AND JOHN HOUSTON AS THE NARRATOR. RAQUEL WELCH WAS FAMOUSLY FIRED AND WAS REPLACED BY WINGER PRIOR TO THE PRODUCTION OF THIS FILM. AUDRA LINDLEY (MRS. ROPER FROM “THREE’S COMPANY”) GIVES A STAND OUT PERFORMANCE IN THIS FORGOTTEN TREASURE!