Category Archives: ARTISTS AND ARTS – Music

Fabulous Renditions: Henrik Chaim Goldschmidt plays “Gabriel’s Oboe”


Henrik Chaim Goldschmidt plays “Gabriel’s Oboe”

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great compositions/performances: The Mission – Gabriel’s Oboe


The Mission – Gabriel’s Oboe (Full HD)

Brahms Violin Concerto in D major Op.77, Itzhak Perlman


Brahms Violin Concerto in D major Op.77, Itzhak Perlman

Published on Aug 8, 2015

Johannes Brahms Violin Concerto in D major Op.77
1. Allegro non troppo (Cadenza by Joachim)
2. Adagio 24:41
3. Allegro giocoso, ma non troppo vivace 34:52
Itzhak Perlman, Violin
Chicago Symphony Orchestra
Carlo Maria Giulini, Conductor
Rec.: 1986

F. Mendelssohn-Bartholdy – Suite ‘Ein Sommernachtstraum’ / A Midsummer Night’s Dream Op. 61 (Live)


F. Mendelssohn-Bartholdy – Suite ‘Ein Sommernachtstraum’ / A Midsummer Night’s Dream Op. 61 (Live)

great compositions/performances: Michael Collins, London Winds & RNO. Dvorak Serenade for wind instruments, cello and bass op.44


Michael Collins, London Winds & RNO. Dvorak Serenade for wind instruments, cello and bass op.44

historic musical bits: Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein


Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein

Fabulous renditions: Valentina Lisitsa plays Liszt’s Hungarian Rhapsody No. 2


Valentina Lisitsa plays Liszt’s Hungarian Rhapsody No. 2

Make music part of your life series: Frédéric Chopin, Scherzo No. 4 op. 54 E major – Evgenia Herschel


Frédéric Chopin, Scherzo No. 4 op. 54 E major

3 Marches, K. 408: No 1 in C Major (K. 383e) : March in C Major, K. 408


3 Marches, K. 408: No 1 in C Major (K. 383e) : March in C Major, K. 408

great compositions/performances: Claude Debussy – Children’s Corner


Claude Debussy – Children’s Corner

historic musical bits: Franz Schubert Symphony No.5 in B flat major D 485, Leonard Bernstein


Franz Schubert Symphony No.5 in B flat major D 485, Leonard Bernstein

great compositions/performances: Mozart – Symphony No. 38 in D, K. 504 [complete] (Prague)


Mozart – Symphony No. 38 in D, K. 504 [complete] (Prague)

great compositions/performances: Krystian Zimerman – Beethoven – Piano Concerto No 2, Op 19


Krystian Zimerman – Beethoven – Piano Concerto No 2, Op 19

today’s birthday: Édith Piaf (1915)


Édith Piaf (1915)

Encouraged by her father, a circus acrobat, Édith Giovanna Gassion began singing in the streets of Paris at age 15. She was eventually discovered by a cabaret owner who gave her her first nightclub job, taught her the basics of stage presence, and suggested she change her name to Piaf, Parisian slang for “sparrow.” As her popularity grew, she began performing in clubs across Europe and the Americas and appeared in several films. How did she allegedly aid French prisoners of war during WWII? More… Discuss

Edith Piaf – Non, Je ne regrette rien

great compositions/performances: Ottorino Respighi: Ancient Airs and Dances, Suite No. 3, Sir Neville Marriner Los Angeles Chamber Orchestra


Respighi: Ancient Airs and Dances, Suite No. 3

Published on Dec 23, 2012

Ottorino Respighi (1879 – 1936)
Ancient Airs and Dances / Antiche arie e danze per liuto
Suite No. 3 (1932)

I. Italiana (0:00)
II. Arie di corte (1:55)
III. Siciliana (8:39)
IV. Passacaglia (12:18)

Sir Neville Marriner
Los Angeles Chamber Orchestra

great compositions/performances: O. Respighi – Poema Autunnale Soloist: Julia Fischer, Orchestra: Orchestre Philharmonique de Monte-Carlo Conductor: Yakov Kreizberg


O. Respighi – Poema Autunnale

Ave Maria Schubert Liszt Valentina Lisitsa


Ave Maria Schubert Liszt Valentina Lisitsa

fabulous renditions: Valentina Lisitsa plays Schubert Impromptu op. 142 No.3 B flat major


Valentina Lisitsa. Schubert Impromptu op. 142 No.3 B flat major

Fabulous Renditons: Valentina Lisitsa plays Tchaikovsky Overture 1812 for Piano


Tchaikovsky Overture 1812 for Piano+ Valentina Lisitsa

Fabulous renditions: Valentina Lisitsa plays Tchaikovsky Children’s Album Детский альбом , Op. 39


Tchaikovsky Children’s Album Детский альбом , Op. 39 Valentina Lisitsa


Published on Dec 17, 2015

This was my first recital repertory when I was 4 years old!

It’s so nice to re-visit this masterpiece and to enjoy it as an adult:)
Simple enough for little hands to master, yet not an “instructional” music but real REAL music, a gem of Tchaikovsky writing.

00:08 Morning Prayer (Утренняя молитва)
02:00 Winter Morning (Зимнее утро)
03:43 Playing Hobby-Horses (Игра в лошадки)
04:33 Mama (Мама)
06:00 March of the Wooden Soldiers (Марш деревянных солдатиков)
07:05 The Sick Doll (Болезнь куклы)
10:47 The Doll’s Funeral (Похороны куклы)
13:15 The New Doll (Новая кукла)
14:00 Waltz (Вальс)
15:30 Mazurka (Мазурка)
16:53 Russian Song (Русская песня)
17:38 The Accordion Player (Мужик на гармонике играет)
18:48 Kamarinskaya (Камаринская)
19:20 Polka (Полька)
20:19 Italian Song (Итальянская песенка)
21:16 Old French Song (Старинная французская песенка)
22:35 German Song (Немецкая песенка)
23:44 Neapolitan Song (Неаполитанская песенка)
24:52 Nanny’s Story (Нянина сказка)
25:55 The Sorcerer (Баба-Яга)
26:46 Sweet Dreams (Сладкая греза)
29:46 Lark Song (Песня жаворонка)
31:12 The Organ-Grinder Sings (Шарманщик поет)
32:31 In Church (В церкви)

great compositions/performances: Peter Ilyich Tchaikovsky, Mazeppa : Act 1 Gopak


Peter Ilyich Tchaikovsky, Mazeppa : Act 1 Gopak

great compositions/performances: Khachaturian – Masquerade Suite, Neeme Järvi, Scottish National Orchestra


Khachaturian – Masquerade Suite,  Neeme Järvi,
Scottish National Orchestra

great compositions/performances: Aram Khachaturian – Adagio of Spartacus and Phrygia, London Symphony Orchestra / Aram Khachaturian


Aram Khachaturian – Adagio of Spartacus and Phrygia

historic musical bits: Beethoven Symphony No 7, A major, Leonard Bernstein, Wiener Philarmoniker


Beethoven Symphony No 7 A major Leonard Bernstein Wiener Philarmoniker

historic musical bits: Beethoven Symphony No 1 C major Leonard Bernstein Wiener Philarmoniker


Beethoven Symphony No 1 C major Leonard Bernstein Wiener Philarmoniker

great compositions/performances: Mozart – Piano Sonata No. 1 in C, K. 279


Mozart – Piano Sonata No. 1 in C, K. 279

great compositions/performances: Antonin Dvorak – New World Symphony


Antonin Dvorak – New World Symphony

historic musical bits: Mussorgsky – Pictures at an Exhibition Sir Georg Solti – Chicago Symphony Orchestra 1980


Mussorgsky – Pictures at an Exhibition

great compositions/performnaces: Kyung Wha Chung – Dvorák Violin Concerto in A Minor, Op.53 – Riccardo Chailly


Kyung Wha Chung – Dvorák Violin Concerto in A Minor, Op.53 – Riccardo Chailly

great compositions/performances: Franz Liszt – Hungarian Rhapsody No. 3 in B-flat major Piano: Artur Pizarro


Franz Liszt – Hungarian Rhapsody No. 3 in B-flat major

great compositions/performances: Der Barbier von Bagdad (The Barber of Bagdad) : Overture Conductor: Hanns-Martin Schneidt Orchestra: Berlin Radio Symphony Orchestra


Der Barbier von Bagdad (The Barber of Bagdad) : Overture

great compositions/performances: Martha Argerich plays Schumann’s Piano Concerto in A minor (cond. Pappano) – Rome, 19 Nov 2012


Martha Argerich plays Schumann’s Piano Concerto in A minor (cond. Pappano) – Rome, 19 Nov 2012

historic musical bits: David Oistrach plays Bruch’s-Scottish Fantasy in E-flat Major Op. 46, London Symphony Orchestra, Jascha Horenstein, conducting, 1962.


Bruch-Scottish Fantasy in E-flat Major Op. 46

great compositions/performances: Mozart – Symphony No. 25 in G minor, K. 183


Mozart – Symphony No. 25 in G minor, K. 183

great compositions/performances: Mozart – 3 German Dances, K. 605


Mozart – 3 German Dances, K. 605

historic musical bits: Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967


Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967

make music part of your life series: Mozart – 6 German Dances, K. 606 [complete] (Ländler)


Mozart – 6 German Dances, K. 606 [complete] (Ländler)

historic musical bits: BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN


BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN

Historic musical bits: Dvorak String Quartet No.12, Op.96 “American” (The Smetana Quartet – WIKI), rec. 1967)


https://lh3.googleusercontent.com/-LJsnTexnOYg/Vmym6juh5oI/AAAAAAAAqb4/DWys5Tg0aC0/w346-h449/3+-+1.gif
Dvorak String Quartet No.12, Op.96 “American” (The Smetana Quartet 1967)

 
 
Published on Dec 4, 2014

Antonin Dvorak (1841- 1904)
String Quartet “American” No.12, Op.96

Allegro ma non troppo (00:00)
Lento (7:02)
Molto vivace (15:00)
Finale: vivace ma non troppo (18:26)

The Smetana Quartet
violin – Jiri Novak
violin – Lubomir Kostecky
viola – Milan Skampa
cello – Antonin Kohout

Recorded in 1967
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String Quartet No. 12 (Dvořák)

From Wikipedia, the free encyclopedia
 

 The last page of the autograph score with Dvořák’s inscription: “Finished on 10 June 1893 in Spillville. Thanks God. I’m satisfied. It went quickly”

The String Quartet in F major Op. 96, nicknamed American Quartet, is the 12th string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák’s time in the United States. The quartet is one of the most popular in the chamber music repertoire.

Composition

Performance of the quartet by the Seraphina quartet (Caeli Smith and Sabrina Tabby, violins; Madeline Smith, viola; Genevieve Tabby, cello)
 
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Dvořák composed the Quartet in 1893 during a summer vacation from his position as Director (1892-1895) of the National Conservatory in New York. He spent his vacation in the town of Spillville, Iowa, which was home to a Czech immigrant community. Dvořák had come to Spillville through Josef Jan Kovařík who had finished violin studies at the Prague Conservatory and was about to return to Spillville, his home in the United States, when Dvořák offered him a position as secretary, which Josef Jan accepted, so he came to live with the Dvořák family in New York.[1] He told Dvořák about Spillville, where his father Jan Josef was a schoolmaster, which led to Dvořák deciding to spend the summer of 1893 there.[2]

In that environment, and surrounded by beautiful nature, Dvořák felt very much at ease.[3] Writing to a friend he described his state of mind, away from hectic New York: “I have been on vacation since 3 June here in the Czech village of Spillville and I won’t be returning to New York until the latter half of September. The children arrived safely from Europe and we’re all happy together. We like it very much here and, thank God, I am working hard and I’m healthy and in good spirits.”[4] He composed the quartet shortly after the New World Symphony, before that work had been performed.[5]

Dvořák sketched the quartet in three days and completed it in thirteen more days, finishing the score with the comment “Thank God! I am content. It was fast.”[3] It was his second attempt to write a quartet in F major: his first effort, 12 years earlier, produced only one movement.[6] The American Quartet proved a turning point in Dvořák’s chamber music output: for decades he had toiled unsuccessfully to find a balance between his overflowing melodic invention and a clear structure. In the American Quartet it finally came together.[3] Dvořák defended the apparent simplicity of the piece: “When I wrote this quartet in the Czech community of Spillville in 1893, I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it’s good that it did.”[7]

For his symphony Dvořák gave the subtitle himself: “From the New World“. To the Quartet he gave no subtitle himself, but there is the comment “The second composition written in America.”[8]

Negro, American or other influences?

For the London premiere of his New World symphony, Dvořák wrote: “As to my opinion I think that the influence of this country (it means the folk songs as are Negro, Indian, Irish etc.) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in couleur as in character,…”[9][10]

Dvořák’s appreciation of African-American music is documented: Harry T. Burleigh, a baritone and later a composer, who knew Dvořák while a student at the National Conservatory, said, “I sang our Negro songs for him very often, and before he wrote his own themes, he filled himself with the spirit of the old Spirituals.”[11] Dvořák said: “In the Negro melodies of America I discover all that is needed for a great and noble school of music.”[12] For its presumed association with African-American music, the quartet was referred to with nicknames such as Negro and Nigger, before being called the American Quartet.[13][14] Such older nicknames, without negative connotations at the time, were used until the 1950s.[15][16]

Dvořák wrote (in a letter he sent from America shortly after composing the quartet): “As for my new Symphony, the F major String Quartet and the Quintet (composed here in Spillville) – I should never have written these works ‘just so’ if I hadn’t seen America.”[17] Listeners have tried to identify specific American motifs in the quartet. Some have claimed that the theme of the second movement is based on a Negro spiritual, or perhaps on a Kickapoo Indian tune, which Dvořák heard during his sojourn at Spillville.[18]

A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America.[19]

On the whole, specific American influences are doubted: “In fact the only American thing about the work is that it was written there,” writes Paul Griffiths.[20] “The specific American qualities of the so-called “American” Quartet are not easily identifiable, writes Lucy Miller, “…Better to look upon the subtitle as simply one assigned because of its composition during Dvořák’s American tour.”[21]

 Dvořák’s transcription of the song of the scarlet tanager (top) and the appearance of the song in the third movement of the quartet.

Some have heard suggestions of a locomotive in the last movement, recalling Dvořák’s love of railroads.[22]

The one confirmed musical reference in the quartet is to the song of the scarlet tanager, an American songbird. Dvořák was annoyed by this bird’s insistent chattering, and transcribed its song in his notebook. The song appears as a high, interrupting strain in the first violin part in the third movement.[23]

Structure

The Quartet is scored for the usual complement of two violins, viola, and cello, and comprises four movements:[24] A typical performance lasts around 30 minutes.

I. Allegro ma non troppo

 
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First theme of the first movement, played by the Seraphina Quartet.

The opening theme of the quartet is purely pentatonic, played by the viola, with a rippling F major chord in the accompanying instruments. This same F major chord continues without harmonic change throughout the first 12 measures of the piece. The movement then goes into a bridge, developing harmonically, but still with the open, triadic sense of openness and simplicity.

 
 
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Second theme of the first movement.

The second theme, in A major, is also primarily pentatonic, but ornamented with melismatic elements reminiscent of Gypsy or Czech music. The movement moves to a development section that is much denser harmonically and much more dramatic in tempo and color.

 
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Fugato at end of development

The development ends with a fugato section that leads into the recapitulation.

 
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Cello bridge in recapitulation

After the first theme is restated in the recapitulation, there is a cello solo that bridges to the second theme.

II. Lento

 
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Theme of the second movement

The theme of the second movement is the one that interpreters have most tried to associate with a Negro spiritual or with an American Indian tune. The simple melody, with the pulsing accompaniment in second violin and viola, does indeed recall spirituals or Indian ritual music. It is written using the same pentatonic scale as the first movement, but in the minor (D minor) rather than the major. The theme is introduced in the first violin, and repeated in the cello. Dvořák develops this thematic material in an extended middle section, then repeats the theme in the cello with an even thinner accompaniment that is alternately bowed and pizzicato.

III. Molto vivace

 
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First section of the Scherzo movement. Listen for the song of the scarlet tanager high in the first violin

The third movement is a variant of the traditional scherzo. It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. The song of the scarlet tanager appears high in the first violin.

 
 
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Second section of the scherzo

The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.

IV. Finale: vivace ma non troppo

 
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Main theme of the last movement

The final movement is in a traditional rondo form, ABACABA. Again, the main melody is pentatonic.

 
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“B” section of the rondo

The B section is more lyrical, but continues in the spirit of the first theme.

 
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“C” section of the rondo

The C section is a chorale theme.

Performance and influence

In a first “private” performance of the quartet, in Spillville, June 1893, Dvořák himself played first violin, Jan Josef Kovařík second violin, daughter Cecilie Kovaříková viola, and son Josef Jan Kovařík the cello.[8]

The first public performance of the quartet was by the Kneisel quartet in Boston in January 1894.[25] Burghauser mentions press notices in New York as well as Boston, the first New York Herald, 18 December 1893.[8]

While the influence of American folk song is not explicit in the quartet, the impact of Dvořák’s quartet on later American compositions is clear. Following Dvořák, a number of American composers turned their hands to the string quartet genre, including John Knowles Paine, Horatio Parker, George Whitefield Chadwick, and Arthur Foote. “The extensive use of folk-songs in 20th century American music and the ‘wide-open-spaces’ atmosphere of ‘Western’ film scores may have at least some of their origins” in Dvořák’s new American style, writes Butterworth.[26]
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Smetana Quartet

From Wikipedia, the free encyclopedia
 

The Smetana Quartet (Czech: Smetanovo kvarteto) was a Czech string quartet that was in existence from 1945 to 1989.

Personnel

1st violin

2nd violin

Viola

Cello

Origins and activities

The Smetana Quartet arose from the Quartet of the Czech Conservatory, which was founded in 1943 (during the Nazi occupation) in Prague by Antonín Kohout, the cellist. With Jaroslav Rybenský and Lubomír Kostecký as first and second violins, and Václav Neumann as violist, the group gave its first performance as the Smetana Quartet on 6 November 1945, at the Municipal Library in Prague. Neumann left to pursue conducting in 1947, at which point Rybenský went to the viola desk and Jiří Novák (who shared first violin desk with Josef Vlach, founder of the Vlach Quartet, under Vaclav Talich in the Czech Chamber Orchestra) came in as first violin.[2]

By 1949 the group had official connections with the Czech Philharmonic. The first foreign tour was in 1949, to Poland, and the first recording was of a quartet by Bedřich Smetana in 1950. Rybenský was obliged to retire after ill health in 1952, and was replaced by Milan Škampa. The performers were appointed professors at the Academy of Musical Arts in 1967. Of their many recordings, those made at that time for German Electrola are considered particularly fine.[3]

For many years this group, which has been called the finest Czech quartet of its time, played the Czech repertoire from memory, giving these works a special intensity and intimacy.[4]

Antonín Kohout trained the Kocian Quartet (founded 1972)[5] and the Martinů Quartet (1976),[6] though the latter’s members had been pupils of Professor Viktor Moučka, cellist of the Vlach Quartet.

 

historic musical bits: Schumann : Piano Quintet in E flat major, Op. 44, Rudolf Serkin (Piano) Bush String Quartet(rec.1942)


Schumann : Piano Quintet in E flat major, Op. 44

Beautiful Music played beautifully: Young-Hyun Cho – Debussy Estampes, II. La soiree dans Grenade (Evening in Granada)


Young-Hyun Cho – Debussy Estampes, II. La soiree dans Grenade (Evening in Granada)

great compositions/performances: Alexandre Borodin, Petite Suite, Orchestre symphonique de Göteborg, Neeme Järvi, conducting (arrangement by Alexander Glazunov)


Alexandre Borodin – Petite Suite

Like a bridge over troubled waters (Simon and Garfunkel YouTube)


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Like a bridge over troubled waters

Simon & Garfunkel – Bridge over troubled water (with lyrics)

great compositions/performances: Nelson Freire: Robert Schumann – Fantasy in C major, Op. 17 (1983)


Nelson Freire: Robert Schumann – Fantasy in C major, Op. 17 (1983)

Make music part of your life: Of the Father’s Love Begotten – traditional a Capella choir


Of the Father’s Love Begotten – traditional a Capella choir

make music part of your life: Brahms Clarinet Sonata No. 2 in E-flat Major, Op. 120


Brahms Clarinet Sonata No. 2 in E-flat Major, Op. 120

 

STAND BY ME – John Lennon – Lyrics


STAND BY ME – John Lennon – Lyrics

Imagine – John Lennon (Original video with lyrics in English included)


Imagine – John Lennon (Original video with lyrics in English included)

Redemption Song | Playing For Change


Redemption Song | Playing For Change