Tag Archives: Tempo

Fantasia on Hungarian Folk Melodies AKA XIV.Hungarian Rhapsody for Piano & Orchestra S123


Franz Liszt (1811-1886)
Fantasia on Hungarian Folk Melodies
AKA XIV.Hungarian Rhapsody for Piano & Orchestra S123
Oravecz György (piano)
Budapest Symphony Orchestra
Kocsár Balázs (cond.)
Recording Year: 1995

00:00 Andante mesto
01:55 Adagio
02:41 Allegro molto
02:57 Allegro eroico
04:40 Piu animato
05:22 Molto adagio, quasi fantasia
06:09 Moderato.Fest.
07:00 Allegretto a la Zingarese
09:00 Molto animato
09:50 Adagio
10:33 Vivace assai
12:45 Frisch
12:50 Prestissimo

Other recommended live-video with Oravecz György:
Tom & Jerry – The Cat Concerto from Hungary/Budapest, 2012,June 8.
Liszt II. Rhapsody for piano & orchestra
http://www.youtube.com/watch?v=O7rxj0…

Recordings with Oravecz György:
[Oravecz György] Liszt: XIV.Hungarian Rhapsody for Piano Solo
http://www.youtube.com/watch?v=dgOCO-…
[Oravecz György] Liszt: Fantasia on Hungarian Folk Melodies for Piano & Orchestra
http://www.youtube.com/watch?v=FBuuwA…
[Oravecz György] Liszt: Totentanz for Piano Solo
http://www.youtube.com/watch?v=01zFys…
[Oravecz György] Liszt: Totentanz for Piano & Orchestra
http://www.youtube.com/watch?v=w2FPuP…

Claude Debussy – Sonata for Flute, Viola and Harp: make music part of your life series


Classical Music  Classical Music
Doriot Anthony Dwyer, flute.

Burton Fine, viola.
Ann Hobson, harp.

- Pastorale. Lento, dolce rubato.
- Interlude: Tempo di Minuetto.
- Finale. Allegro moderato ma risoluto.

Syrinx, for Flute solo. Doriot Anthony Dwyer, flute.

The Sonata for flute, viola and harp (French: Sonate pour flûte, alto, et harpe), L. 137, was written by Claude Debussy in 1915.
The first performance was a private one at the home of Jacques Durand, Debussy’s publisher, on December 10, 1916 and the first public performance was thought to be at a charity concert on March 9, 1917 (Walker, 1988). However, Thompson (1968) reported a performance of the sonata at London’s Aeolian Hall by Albert Fransella, H. Waldo Warner and Miriam Timothy on February 2, 1917 as part of a concert otherwise given by the London String Quartet.
According to Léon Vallas (1929, cited in Walker, 1988), Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola’s timbre would be a better combination for the flute than the oboe’s, so he changed the instrumentation to flute, viola and harp

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev) Erudite Music Channel: make music part of your life series


P. I. TchaikovskySerenade for Strings in C major, Op. 48 (Fedoseyev)

Sergei Rachmaninoff -Symphonic Dances, Op. 45: great compositions/performances


Sergei Rachmaninoff -Symphonic Dances, Op. 45

Mozart Quartet No 16 K 428 Hagen Quartet: great compositions/performances


Mozart Quartet No 16 K 428 Hagen Quartet

Johannes Brahms – Symphony No.3 in F, Op.90: great compositions/performances


Johannes BrahmsSymphony No.3 in F, Op.90

Schumann – Symphony No 2 in C major, Op 61 – Harding: make music part of your life series


Schumann – Symphony No 2 in C major, Op 61 – Harding

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev): make music part of your life series


P. I. TchaikovskySerenade for Strings in C major, Op. 48 (Fedoseyev)

Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi: make music part of your life series


3. Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi

Liszt – Piano Concerto No. 1 in Eb, S.124 (Richter): great compositions/performances


Franz Liszt: Piano Concerto #1 in Eb S.124(Richter)

J.S. Bach – Brandenburg Concerto No. 6 in B-flat Major, BWV 1051: make music part of your life series


J.S. Bach – Brandenburg Concerto No. 6 in B-flat Major, BWV 1051

Alexander Borodin: String Quartet no. 2 in D: Great compositions/performances


Alexander Borodin: String Quartet no. 2 in D

Mendelssohn / String Symphony No. 2 in D major: make music part of your life series


Mendelssohn / String Symphony No. 2 in D major

 

 

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

Wolfgang Amadeus Mozart: Piano Concerto no. 8, in C major “Lutzow” in KV 246: make music part of your life series


Derek Han, piano. Philharmonia Orchestra, Paul Freeman.
Wolfgang Amadeus Mozart – Piano Concerto No. 8 in C major, KV 246
I. Allegro aperto
II. Andante
III. Tempo di menuetto

  • Purchase

    • Concerto for Piano and Orchestra No 8 K.246 “Lützow”, III. Rondeau. Tempo di Minuetto (iTune

Franz Schubert – Symphony No.2 in B-flat major, D.125 (1815): make music part of your life series



***from  KuhlauDilfeng2  KuhlauDilfeng2

Franz SchubertSymphony No.2 in B-flat major, D.125 (1815)

***Picture: Carlo Bossoli – Abendliches Vergnügen vor den Toren Konstantinopels

***Franz Schubert:  Symphony No.2 in B-flat major, D.125 (1815)

Mov.I: Largo – Allegro vivace 00:00
Mov.II: Andante 14:07
Mov.III: Menuetto: Allegro vivace 22:20
Mov.IV: Presto vivace 25:32

***Orchestra: Failoni Orchestra
***Conductor: Michael Halász

In the opening movement, the initial theme of the Allegro vivace is based on the corresponding first theme of Ludwig van Beethoven’s overture to The Creatures of Prometheus.

The second movement is a theme with five variations in E flat major. Although there is some variation in the melody, the primary focus of the variations are on instrumentation and tone color. The first variation features violins and winds. The second variation passes the theme between the low strings and the woodwinds. The third variation is again violins and winds. The fourth variation is in C minor and features some acceleration with the use triplet-sixteenth notes. The fifth variation maintains the triplet-sixteenths, but they move into the background with the melody returning close to its original form as a kind of recapitulation. A coda concludes the movement.

The minuet is in C minor and mainly scored for the tutti and fortissimo. The contrasting Trio in E flat major is more thinly scored winds, violins and pizzicato bass. The melody of the trio is actually a variation of the theme used in the second movement forming a melodic and harmonic (E-flat/C minor) link is made between the inner two movements.

The finale is a galop in fast 2/4 time.

***From Wikipedia, the free encyclopedia:

List of compositions by Franz Schubert by genre

Andante For Flute in C Major Mozart, James Galway At Lincoln Center 1980: great compositions/performances


Andante For Flute in C Major Mozart

Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker: make music part of your life series


Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker

Ludwig van Beethoven Symphony No. 3 in E flat major (Op. 55):
Berliner Philharmoniker

Symphony No. 3 in E flat major (Op. 55), is a landmark musical work marking the full arrival of the composer’s “middle-period,” a series of unprecedented large scale works of emotional depth and structural rigor.
The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.
Instrumentation
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 3 horns in E flat, 2 trumpets in E flat and C, timpani in E flat and B flat, and strings.
Form
The piece consists of four movements:
1. Allegro con brio
2. Marcia funebre: Adagio assai in C minor
3. Scherzo: Allegro vivace
4. Finale: Allegro molto

Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier: great compositions/performances



From   glemoine14  glemoine14

Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier

Wolfgang Amadeus Mozart (1756-1791):Trio for Clarinet, Viola and Piano in E-flat major, “Kegelstatt”, K. 498 (1786)
Trio pour clarinette, alto et piano en Mi bémol majeur
I      Andante;
II    Menuetto;
III  Rondo: Allegretto

Portal: clarinet / clarinette
Pasquier: viola / alto
Pennetier: piano

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1: great compositions/performances



From Carlos Garcia Carlos Garcia

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1

ANTONIN DVORAK.-
Rhapsody en Re mayor Op. 45 Nº1

1. Allegro con moto
2. Allegro ma non troppo-Moderato
3. Andante maestoso-Allegro assai

Orquesta Filarmónica Checa
Director: Václav Neuman
Fecha y año de composición 1878
Dedicatoria Baron Paul von Dervies
Estilo Romantic

Instrumentación: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Timpani, Bass Drum, Cymbals, Triangle, Harp, Violins I, Violins II, Violas, Cellos, Double Basses.

1878 fue un año importante para Antonín Dvorák : Dvorák amigo de Johannes Brahms le ayudó a levantar desde el pozo de la oscuridad haciendo los arreglos para la publicación alemana de sus Duetos moravos; en consecuencia, recibió el encargo del primer volumen de sus Danzas eslavas que, hasta el día de hoy, siguen siendo, junto con el “Nuevo Mundo” Symphony, Dvorák música más conocidas. Estos eventos marcan el inicio de Dvorák llamado períodos eslavo “(finales de 1870 a principios de 1880), durante el cual él respondió directamente a la demanda del público y de los deseos de su editor por componer música explícitamente bohemio / Checo / Morava de tono, el estilo, y en cierta medida, de diseño. Las tres eslava rapsodias para orquesta, op. 45, de 1878, son las más grandes manifestaciones de esa financieramente rentable vena musical.

El primero de los tres eslava rapsodias en re mayor, op. 45/1, fue compuesto durante febrero y marzo de 1878 y por lo tanto en realidad es anterior a las Danzas eslavas; N º 2 en sol menor y n º 3 en La bemol mayor que siguió en el otoño y principios del invierno, respectivamente. La orquesta empleada es bastante grande; el contingente habitual de los vientos y las cuerdas se ve aumentada por el arpa y una brigada de percusión de tamaño considerable. Las tres piezas se unen para formar un ciclo de clases, aunque casi nunca se oye hablar de ellos interpretados juntos como un conjunto.
La característica más memorable del N º 1 es el episodio-march como central, mientras que el No. 2 se distingue por sus numerosos cambios entre 3/4 y 4/4. La tercera eslava Rhapsody se abre con un solo de arpa cuya sustancia es inmediatamente absorbido por los instrumentos de viento, y procede a explorar una serie de melodías de buen carácter; la gran culminación parece disolverse elusively sin una resolución final, pero al final dos acordes brillantes dibujar la pieza a la cadencia que anhelamos

1878 was an important year for Antonín Dvorák: Dvorák friend Johannes Brahms helped him lift from the pit of darkness making arrangements for the German publication of his Moravian Duets; consequently, he was commissioned the first volume of his Slavonic Dances that until today, remain, along with the “New World” Symphony, Dvorák‘s music known. These events mark the beginning of Dvorák Slavonic called periods (late 1870s to early 1880s), during which he answered directly to the public demand and the wishes of his editor to compose music specifically Bohemian / Czech / Moravian tone , style, and to some extent, design. Slavic Three rhapsodies for orchestra, op. 45, 1878, are the largest demonstrations that financially rewarding musical vein.

The first of the three Slavonic Rhapsodies in D major, op. 45/1, was composed during February and March 1878 and therefore actually predates the Slavonic Dances; No. 2 in G minor and No. 3 in sun-flat major followed in the fall and early winter, respectively. The orchestra employed is quite large; the usual contingent of winds and strings is augmented by harp and percussion brigade of considerable size. The three pieces come together to form a cycle of classes, but almost never hear of them performed together as a whole.
The most memorable feature of the No. 1-march is the central episode, while No. 2 was distinguished by its many changes between 3.4 and 4.4. The third Slavonic Rhapsody opens with a harp solo whose substance is immediately absorbed by the wind instruments, and proceeds to explore a number of tunes of good character; seems to dissolve the grand climax elusively without a final resolution, but in the end two bright chords drawing the piece to the cadence that yearn

Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano: make music part of your life series


Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano

Frédéric Chopin – 12 Études Opp. 10 & 25. 3 Nouvelles Études. (Claudio Arrau, “The Philosopher of the Piano”, 1956) (2007 Digital Remastering)
Recorded: 15-22 & 29.VI. and 5.IX.1956, No.3, Abbey Road Studios, London. First issued in 1957 by Columbia Ltd. Mono/ADD
“Great Recordings of the 20th Century”. EMI Icons, EMI Classics, 2011 & Warner Classics, 2013.

I. Book No.1: 12 Etudes for Piano Op.10, 1830-32.
Before Chopin, there was a tradition of writing studies for the development of keyboard technique, but the pieces were primarily didactic. This set of 12 Études, dedicated to Liszt, represents a new form: concert pieces that serve a secondary function as development of advanced piano skills. Each étude begins with a pattern of pianistic figuration, which creates the specific technical problem for the étude and persists for the duration of the piece. That Chopin was able to create poetry in spite of such controlled and limited means of expression is a testament to his creative genius. The twelve Études published as Chopin’s Opus 10 are an indispensable tool of the modern pianist’s craft: they are a rite of passage that no serious pianist can ignore.
00:00 Nº 1 in C major. Allegro
01:59 Nº 2 in A minor. Allegro
03:23 Nº 3 in E major. Lento ma non troppo (Tritesse – L’intimite) – http://youtu.be/FKDir13g7ow
07:55 Nº 4 in C sharp minor. Presto (Torrent)
10:10 Nº 5 in G flat major. Vivace (Black Keys)
11:55 Nº 6 in E flat minor. Andante
14:49 Nº 7 in C major. Vivace (Toccata)
16:26 Nº 8 in F major. Allegro
18:51 Nº 9 in F minor. Allegro molto agitato
21:00 Nº 10 in A flat major. Vivace assai
23:14 Nº 11 in E flat major. Allegretto
26:17 Nº 12 in C minor. Allegro con fuoco (Revolutionary – Fall of Warsaw)

II. Book No.2: 12 Etudes for Piano Op.25, 1835-37.
This Op.25 collection bears a dedication to Liszt’s mistress, Countess Marie d’Agoult, a writer who used the pseudonym Daniel Stern (the Op.10 Études are dedicated to Franz Liszt). One reason Chopin attempted to capture Liszt’s sympathies with the dedications had to do with the performance design of the pieces in the two sets: each was written to highlight some facet of pianism.
28:57 Nº 1 in A flat major. Allegro sostenuto (Aeolian Harp – Shepherd Boy)
31:21 Nº 2 in F minor. Presto (Balm)
33:05 Nº 3 in F major. Allegro (Carwheel)
35:08 Nº 4 in A minor. Agitato
37:28 Nº 5 in E minor. Vivace
40:52 Nº 6 in G sharp minor. Allegro (Thirds)
43:00 Nº 7 in C sharp minor. Lento (Cello)
48:21 Nº 8 in D flat major. Vivace (Sixths)
49:30 Nº 9 in G flat major. Allegro assai (Butterfly)
50:35 Nº 10 in B minor. Allegro con fuoco
55:04 Nº 11 in A minor. Lento – Allegro con brio (Winter Wind)
58:41 Nº 12 in C minor. Allegro molto con fuoco (Ocean)

III. Trois Nouvelles Études for piano, 1839-40.
Chopin composed this set of etudes for the Méthode des methods, a publication of Ignaz Moscheles, a leading pianist and composer of his day who was not always in agreement with Chopin’s compositional techniques, and François-Joseph Fétis, a now largely forgotten Belgian musicologist.
1:01:26 Nº 1 in F minor
1:03:31 Nº 2 in A flat major
1:05:56 Nº 3 in D flat major

As always with Arrau, the Pianist takes a back seat to Music Making, are a prime example of how myth making regarding Arrau’s Recordings. Arrau approaches Chopin’s Etudes as a genuinely mature musician and sensitive interpreter. In Opus 10, No. 3, for instance, he infuses the music with a deep sadness that recalls its XIX Century title, “La Tristesse.” Incidentally, this record received the Grand Prix du Disque Frédéric Chopin from the Warsaw Chopin Society when it was re-released in 1990.

The 24 Études of Frédéric Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study “in [his] own manner,” and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin’s intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room

Despite the slightly cramped, airless sonics, Arrau’s characteristically warm and ample sonority makes itself felt in these 1956 recordings. The pianist uncovers layers of depth and disquiet in the slower Études that others merely prettify. The treacherous extensions in the E-Flat Étude, for instance, are distinctly projected and balanced, rather than strummed. Arrau’s spectacularly honest technique enables him to articulate Chopin’s sparkling figurations with a liquid legato unaided by the pedal.

Schubert / Symphony No. 8 in B minor, D. 759 “Unfinished” (Mackerras): make music part of your life series



FROM:

Schubert / Symphony No. 8 in B minor, D. 759 “Unfinished” (Mackerras)

Franz Schubert (1797-1828)

Symphony No. 8 in B minor, D. 759 “Unfinished” (1822):
1. Allegro moderato – 00:00
2. Andante con moto – 13:32

***Performed by Charles Mackerras and the Orchestra of the Age of Enlightenment (1990).

***Painting: Wanderer in the Storm, Karl Julius von Leypold

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

 

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)

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

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

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.

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


 FROM:

Schubert Impromptu op. 142 No.3 B flat major

 

Ottorino Respighi – Three Botticelli Pictures: grest compositions/performances


Ottorino Respighi – Three Botticelli Pictures

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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).

 

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)

 

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

Wolfgang Amadeus Mozart – Divertimento in F major KV 138: make music part of your life series


Wolfgang Amadeus Mozart – Divertimento in F major KV 138

Number: KV 138 Composer: Wolfgang Amadeus Mozart Date: March 1772 Place: Salzburg, Austria Extra: Also called as ‘The Salzburg Symphony No. 3′:
I. Allegro
II. Andante
III. Presto

 

Beethoven Namensfeier Overture in C major, Op.115: make music part of your life series


FROM:

Beethoven Namensfeier Overture in C major, Op.115

Ludwig van Beethoven (1770 † 1827)

Work: Namensfeier ‘Name-Day Celebration‘ Overture in C major, Op.115

Movement: Maestoso – Allegro assai vivace

Herbert von Karajan
Berliner Philharmoniker Orchestra

Johannes Brahms – Serenade No.1 in D-major, Op.11 (1857): make music part of your life series


Johannes Brahms – Serenade No.1 in D-major, Op.11 (1857)

Johannes Brahms

Mov.I: Allegro molto 00:00
Mov.II: Scherzo: Allegro non troppo 10:27
Mov.III: Adagio non troppo 17:55
Mov.IV: Menuetto I & II 33:35
Mov.V: Scherzo: Allegro 37:13
Mov.VI: Rondo: Allegro 39:47

Orchestra: Capella Agustina
Conductor: Andreas Spering

Saint-Saëns – Violin Sonata No. 1 – Heifetz, Smith: Great compositions/performances


from:  ryan teall:

Saint-Saëns – Violin Sonata No. 1 – Heifetz, Smith

Camille Saint-Saëns, Violin Sonata No. 1, Op. 75 (1885)

I. Allegro agitato
II. Adagio (6:45)
III. Allegro moderato (12:33)
IV. Allegro molto (16:13)

Jascha Heifetz, Brooks Smith

Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky: make music part of your life series


Symphony No. 1 in G Minor, Op. 13 “Winter Dreams” – Pyotr Ilyich Tchaikovsky

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Mendelssohn – String Quartet No. 1, Op. 12: make music part of your life series


Mendelssohn – String Quartet No. 1, Op. 12

Felix Mendelssohn-Bartoldy

String Quartet No.1, Op.12 (1829)

1. Adagio non troppo – Allegro non tardante
2. Canzonetta – Allegretto (7:42)
3. Andante espressivo (11:48)
4. Molto allegro e vivace (15:23)

Melos Quartet

Editor:
Julius Rietz (1812–1877)

Publisher Info.:
Felix Mendelssohn-Bartholdys Werke, Serie 6.
Leipzig: Breitkopf & Härtel, 1875. Plate M.B. 22.

Reprinted:
Mineola: Dover Publications

Antonín Dvořák – Sonatina in G major, Op. 100: make music part of your life series


Antonín Dvořák – Sonatina in G major, Op. 100

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Sonatina in G major, Op. 100
1. Allegro risoluto 5’52
2. Larghetto 4’02
3. Scherzo 2’56
4. Allegro 6’20

Johann Nepomuk Hummel – Piano Concerto in A-minor, Op.85 (1816): make music part of your life series


Johann Nepomuk Hummel – Piano Concerto in A-minor, Op.85 (1816)

Johann Nepomuk Hummel (14 November 1778 — 17 October 1837) was an Austrian composer and virtuoso pianist.

Work: Piano Concerto in A-minor, Op.85 (1816)

Mov.I: Allegro moderato 00:00
Mov.II: Larghetto 16:19
Mov.III: Rondo: Allegro moderato 20:47

Pianist: Alessandro Commellato
Orchestra: Solamente Naturali
Conductor: Didier Talpain

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

 

 

great compositions/performances: Hélène Grimaud plays Gershwin’s Piano Concerto in F


Gershwin : Piano Concerto (Hélène Grimaud)

George Gershwin (1898 – 1937)
“Concerto In F For Piano & Orchestra”

I. Allegro (00:00)
II. Adagio (13:53)
III. Allegro agitato (25:45)

*** Hélène Grimaud, piano

*** David Zinman & Baltimore Symphony Orchestra

(Recorded on May 24 1997, at Joseph Meyerhoff Symphony Hall, Baltimore, Unites States.)

Mozart – Piano Concerto No. 27 in B flat, K. 595 (make music part of your life series)


Mozart – Piano Concerto No. 27 in B flat, K. 595

The Piano Concerto No. 27 in B flat major, K. 595, is a concertante work by Wolfgang Amadeus Mozart, for piano and orchestra. It is the last piano concerto he wrote. The manuscript is dated 5 January 1791. However, Alan Tyson’s analysis of the paper on which Mozart composed the work indicated that Mozart used this paper between December 1787 and February 1789, which implies composition well before 1791. Simon Keefe has written that the composition of the work dates from 1788. By contrast, Wolfgang Rehm has stated that Mozart composed this concerto in late 1790 and early 1791. Cliff Eisen has discussed the controversy over the time of composition in his review of the published facsimile of the score. The work followed by some years the series of highly successful concertos Mozart wrote for his own concerts, and by the time of its premiere Mozart was no longer so prominent a performer on the public stage. The concerto may have been first performed at a concert on 4 March 1791 in Jahn’s Hall by Mozart and by a clarinetist Joseph Bähr. If so, this was Mozart’s last appearance in a public concert, as he took ill in September 1791 and died on 5 December 1791. Another possibility is that it was premiered by Mozart’s pupil Barbara Ployer on the occasion of a public concert at the Auersperg palace in January 1791. The work is scored for flute, two oboes, two bassoons, two horns, solo piano and strings, which makes it thinner than Mozart’s other late concertos, all of which except for No. 23 have trumpet and timpani.
It has the following three movements:

1. Allegro
2. Larghetto in E-flat major
3. Allegro
Although all three movements are in a major key, minor keys are suggested, as is evident from the second theme of the first movement (in the dominant minor), as well as the presence of a remote minor key in the early development of that movement and of the tonic minor in the middle of the Larghetto.
Another interesting characteristic of the work is its rather strong thematic integration of the movements, which would become ever more important in the nineteenth century. The principal theme of the Larghetto, for instance, is revived as the second theme of the final movement (in the 65th measure). The principal theme for finale was also used in Mozart’s song “Sehnsucht nach dem Frühling” (also called “Komm, lieber Mai”) , K. 596, which immediately follows this concerto in the Köchel catalogue.
Mozart wrote down his cadenzas for the first and third movements.
Simon Keefe has discussed the concerto in detail, with emphasis on the distinctive character and experiments in style of the concerto compared to Mozart’s other concerti in this genre.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/
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NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome.
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ENJOY!!!! :D