best classical music , Schubert Symphony No 5 B flat major Bavarian RSO Maazel

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra

Movements:
– Allegro in B♭, in cut (2/2) time.
– Andante con moto in E♭, in 6/8 time 4:50
– Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
– Allegro vivace in B♭, in 2/4 time 21:36

 

great compositions/performances, Robert Schumann , Symphony No 1 in B flat major, Op 38, Frühlingssinfonie Spring, Bernstein

Robert Schumann Symphony No 1 in B flat major, Op 38 Frühlingssinfonie Spring Bernstein

La Casa di Davide

Published on Oct 30, 2014

Robert Schumann Symphony No. 1 in B flat major, Op. 38 Frühlingssinfonie (“Spring”)
Leonard Bernstein conducts Wiener Philarmoniker
– Andante un poco maestoso – Allegro molto vivace (B flat major) 0:00
– Larghetto (E flat major) 11:56
– Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II (G minor) 19:44
– Allegro animato e grazioso (B flat major) 25:30

Franz Schubert – “Andantino con variazioni” – Klavierduo Burshtin/Kharmats

Helmut Goldschmidt

Piano Michael Burshtin & Faina Kharmats, Israel
Franz Schubert: Andantino con variazioni op 84/1 D823 / 2 for piano four hands..
Recorded live piano concert at Miel Castle, NRW on 14/09/2012
Photo show of photos from the Tanzbrunnen / Rhine park in spring

Michael Burshtin:
1964 – winner of the II Pianist Competition of the creative artist Artist Central Asia and Kazakhstan, the Kyrgyz Republic in Tashkent..
1966-1967 – graduated from the Conservatory Tashkent as a pianist and composer
1966-1968 – Professor of Piano special technique Conservatory Tashkent
1968-1993 – Professor of piano technique at the Kyrgyz Art Institute Frunze (Bishkek)
1975 – In-depth studies at the Tchaikovsky Konservatoriom, Moscow
1981 – completion of the training courses as a pianist at Mussorgsky Conservatory, Sverdlovsk
1993- Moved to Israel
1993 -… – Freelance pianist and composer in Israel

Faina Kharmats:
1968 – graduated from the Conservatory Tashkent
1968-1971 – teacher for piano special technology at the Music High School in Frunze (Bishkek)
1971-1993 – Lecturer in Piano special technique on Kyrgyz Art Institute in Frunze (Bishkek)
1972 – completion of the training courses on Rimsky-Korsakov Conservatory, St. Petersburg
1983-1991 – Incoming studies at the Tchaikovsky Conservatory, Moscow
1993 – Moved to Israel

About 50 of his works are in Moscow, St. Petersburg, Kiev, Alma-Ata, Frunze and published in New York. His own works were put on the international music festival in Riga, St. Petersburg, Nizhny Novgorod and Sverdlovsk performed and interpreted by famous artists. Numerous concerts, radio broadcasts in Bishkek, Tashkent, Alma-Ata and Jerusalem, in which Michael Burshtin has performed as a soloist and orchestral pianist, Ensemblist and companion, complete the picture of this great artist. Numerous concert recordings have been released on CD.
For over 40 years, live music and the couple Michael Burshtin and Faina Kharmats together. The result of this long-time play and concert experience as a piano duo comes with every interpretation of the performed works expressed. The piano Burshtin / Kharmats can, without exaggeration, fit into the class of these genres.
More Videos: twopianisten / Pioanotrio

Mozart Piano Concerto No.21 in C major, ‘Elvira Madigan’ K.467 by Keith Jarrett , great compositions/performances

Mozart Piano Concerto No.21 in C major, ‘Elvira Madigan‘ K.467 by Keith Jarrett

EssentialClassical

Published on Feb 25, 2012

Wolfgang Amadeus Mozart (1756 † 1791)

Work: Piano Concerto No.21 in C major, ‘Elvira Madigan’ K.467

01. Allegro maestoso
02. Andante
03. Allegro vivace assai

Performed:
Keith Jarrett, (Pianist)

Conductor: Dennis Russell Davies
Stuttgart Chamber Orchestra

————————

Artwork: The Vision of St Hubert by Jan The Elder Brueghel, (1615-1630)

151,803

Claudio Abbado Conductor: “Haydn Variations” Brahms, great compositions/performances

Claudio Abbado “Haydn Variations” Brahms

Ulrich Dünnebach

Variations on a Theme of Joseph Haydn, op 56a
by Johannes Brahms
Staatskapelle Dresden
Claudio Abbado, conductor

 

BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN, great compositions/performances

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

roger bridgland

Beethoven Symphony No.6 (Pastoral) in F Op.68
Leonard Bernstein (conductor)
Boston Symphony Orchestra****************************************************

From Wikipedia, the free encyclopedia

 

“Pastoral Symphony” redirects here. For other uses, see Pastoral Symphony (disambiguation).

Part of a sketch by Beethoven for his Symphony No. 6

 

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]

Background

Portrait of Beethoven in 1804, when he had been working on the Sixth Symphony for two years.

 Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations.

The first sketches of the Pastoral Symphony appeared in 1802. It was composed simultaneously with Beethoven’s more famous—and more fiery—Fifth Symphony. Both symphonies were premiered in a long and under-rehearsed concert in the Theater an der Wien in Vienna on 22 December 1808.

The composer said that the Sixth Symphony is “more the expression of feeling than painting”,^[5] a point underlined by the title of the first movement.

Instrumentation

The symphony is scored for piccolo (fourth movement only), 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in F and B flat, 2 trumpets in C and E flat (third, fourth, and fifth movements only), 2 trombones (alto and tenor, fourth and fifth movements only), timpani (fourth movement only), and strings.

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

The third movement ends on an imperfect cadence that leads straight into the fourth; the fourth movement leads straight into the fifth without a pause. A performance of the work lasts about 40 minutes.

Description of movements

Beethoven wrote a short descriptive note at the head of each movement.

I. Allegro ma non troppo

‘Awakening of cheerful feelings on arrival in the countryside.’

The symphony begins with a placid and cheerful movement depicting the composer’s feelings as he arrives in the country. The movement, in 2/4 meter, is in sonata form, and its motifs are extensively developed. At several points Beethoven builds up orchestral texture by multiple repetitions of very short motifs. Yvonne Frindle commented,^[6] “the infinite repetition of pattern in nature [is] conveyed through rhythmic cells, its immensity through sustained pure harmonies.”

II. Andante molto mosso

‘Scene by the brook.’

This movement, titled by Beethoven “By the brook,” is in 12/8 meter; the key is B flat major, the subdominant of the main key of the work. The movement is in sonata form.

At the opening the strings play a motif that clearly imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, with the remaining cellos playing mostly pizzicato notes together with the double basses. Toward the end of the movement there is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets).

III. Allegro

‘Merry gathering of country folk.’

This is a scherzo in 3/4 time, which depicts country folk dancing and reveling. It is in F major, returning to the main key of the symphony.

The form of the movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio. Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner.^[7]

The final return of the theme conveys a riotous atmosphere with a faster tempo. The movement ends abruptly, leading without a pause into the fourth movement.

IV. Allegro

‘Thunder. Storm.’

The fourth movement, in F minor, depicts a violent thunderstorm with painstaking realism, building from just a few drops of rain to a great climax with thunder, lightning, high winds, and sheets of rain. The storm eventually passes, with an occasional peal of thunder still heard in the distance. There is a seamless transition into the final movement. This movement parallels Mozart‘s procedure in his String Quintet in G minor K. 516 of (1787), which likewise prefaces a serene final movement with a long, emotionally stormy introduction.^[8]

V. Allegretto

‘Shepherd’s song. Happy and thankful feelings after the storm.’

The finale is in F major and is in 6/8 time. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many classical finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds’ song of thanksgiving.

The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus “storm instruments”), with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven “pianissimo, sotto voce”; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic F major chords

Alexander Glazunov Symphony No 5 in B flat major, Op 55, great compositions/performances

Alexander Glazunov Symphony No 5 in B flat major, Op 55

jvdesuit1

Published on Apr 29, 2014/2,628 views

(Gennadij Rozhdestvenskij, conductor – USSR Ministry of Culture Symphony

The symphony has four movements:
– 00:00 Moderato maestoso – Allegro
– 12:19 Scherzo. Moderato
– 17:46 Andante
– 28:29 Allegro maestoso
*********************************************************************

From Wikipedia, the free encyclopedia

The Symphony No. 5 in B-flat major, Op. 55 (also known as The Heroic^{[citation needed]}), was written by Alexander Glazunov from April to October 1895. Although in this symphony Glazunov returned to his conventional four-movement layout (his Fourth Symphony had only three) he frequently utilizes thematic transformation. Glazunov described it as “silenced sounds” and “an architectural poem”.^{[citation needed]}

Instrumentation

The symphony calls for a romantic orchestra of the following instruments:

3 flutes (3rd doubling piccolo), 2 oboes, 3 clarinets in B flat (3rd doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, bells, harp, strings

Overview

Glazunov dedicated his Fifth to Sergei Taneyev, a Russian composer, pianist, and teacher, and it was first performed at the Second Russian Concert at the Hall of the Nobility in St. Petersburg on 17 November 1896; the premiere was conducted by the composer himself. A Leipzig newspaper called the symphony “very profound” and “sparkling” and reported that the scherzo had to be reprised on opening night to the delight of the audience.

Related articles

• Schubert Symphony No 5 B flat major Bavarian RSO Maazel, great compositions/performances
• Symphony No. 3 in D Major, Op. 29 “Polish” – Pyotr Ilyich Tchaikovsky, #Great compositions/performancers

Max Bruch: Violin Concerto no. 1 in G minor, op. 26 – Akiko Suwanai (諏訪内 晶子), great compositions/performances ( 偉大な組成物/公演)

Max Bruch: Violin Concerto no. 1 in G minor, op. 26 – Akiko Suwanai (諏訪内 晶子)

Movements:

1. Vorspiel: Allegro moderato

2. Adagio

3. Finale: Allegro energico

Roberto Mastrosimone

Uploaded on Feb 18, 2011 / 387,496 views

Akiko Suwanai (諏訪内 晶子) plays the Bruch’s Violin Concerto op.26
Eliahu Inbal conducts the Orchestra Sinfonica Nazionale della Rai
Turin, 1998
**************************************************************************
From Wikipedia, the free encyclopedia

Max Bruch‘s Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in the repertory. It continues to be performed and recorded by many violinists and is Bruch’s most famous composition.^[1]

History

The concerto was first completed in 1866 and the first performance was given on 24 April 1866 by Otto von Königslow with Bruch himself conducting. The concerto was then considerably revised with help from celebrated violinist Joseph Joachim and completed in its present form in 1867. The premiere of the revised concerto was given by Joachim in Bremen on 5 January 1868 with Karl Martin Rheinthaler conducting.^[2]

The fate of the score

Bruch sold the score to the publisher N. Simrock outright for a small lump sum — but he kept a copy of his own. At the end of World War I, he was destitute, having been unable to enforce the payment of royalties for his other works because of chaotic world-wide economic conditions. He sent his autograph to the duo-pianists Rose and Ottilie Sutro (for whom he had written his Concerto in A-flat minor for Two Pianos and Orchestra, Op. 88a, in 1912), so that they could sell it in the United States and send him the money. Bruch died in October 1920, without ever receiving any money. The Sutro sisters decided to keep the score themselves, but they claimed to have sold it, and sent Bruch’s family some worthless German paper money as the alleged proceeds of the alleged sale. They always refused to divulge any details of the supposed purchaser. In 1949, they sold the autograph to Mary Flagler Cary, whose collection, including the Bruch concerto, now resides at the Pierpont Morgan Public Library in New York.^[3]

 Movements

The concerto is in three movements:

1. Vorspiel: Allegro moderato
2. Adagio
3. Finale: Allegro energico

The first movement is unusual in that it is a Vorspiel, a prelude, to the second movement and is directly linked to it. The piece starts off slowly, with the melody first taken by the flutes, and then the solo violin becomes audible with a short cadenza. This repeats again, serving as an introduction to the main portion of the movement, which contains a strong first theme and a very melodic, and generally slower, second theme. The movement ends as it began, with the two short cadenzas more virtuosic than before, and the orchestra’s final tutti flows into the second movement, connected by a single low note from the first violins.

The slow second movement is often adored for its powerful melody, and is generally considered to be the heart of the concerto. The rich, expansive themes, presented by the violin, are underscored by a constantly moving orchestra part, keeping the movement alive and helping it flow from one part to the next.

The third movement, the finale, opens with an extremely intense, yet quiet, orchestral introduction that yields to the soloist’s statement of the exuberant theme in brilliant double stops. It is very much like a dance that moves at a comfortably fast and energetic tempo. The second subject is a fine example of Romantic lyricism, a slower melody which cuts into the movement several times, before the dance theme returns with its fireworks. The piece ends with a huge accelerando, leading to a fiery finish that gets higher as it gets faster and louder and eventually concludes with two short, yet grand, chords.

Bruch also composed two more violin concertos, but neither has gained as much fame as his first.

 Other Great compositions/performances at EUZICASA:
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And many more: use the search engine in my website to find 100+ Classical music posts in best interpretation, and much more music all kinds!

Beethoven, Piano Concerto No. 2 Op. 19 in B flat major. Evgeny Kissin , make music pat of your life series

Beethoven, Piano Concerto No. 2 Op. 19 in B flat major. Evgeny Kissin

Marco Veranda

Published on Apr 30, 2013

Performer: Evgeny Kissin
Orchestra: London Symphony Orchestra
Conductor: Colin Davis
Recorded: 2008

I. Allegro con brio [0-14:39]
II. Adagio [14:40–23:33]
III. Rondò. Molto allegro [23:34–29:19]

Valentina Lisitsa – Beethoven – Moonlight Sonata Op.27 No.2, great compositions/performances

Valentina Lisitsa – Moonlight Sonata Op.27 No.2 Mov.1,2,3 (Beethoven)

facevideobook

Published on Apr 18, 2013

The Piano Sonata No.14 “Quasi Una Fantasia” Opus 27 No.2 (Moonlight Sonata)
Movement 1: Adagio sostenuto
Movement 2: Allegretto
Movement 3: Presto agitato

***Composer: Ludwig van Beethoven
***Performer: Valentina Lisitsa

Schubert Symphony No 5 B flat major Bavarian RSO Maazel, great compositions/performances

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

English: Franz Schubert (Photo credit: Wikipedia)

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra
Allegro in B♭, in cut (2/2) time.
Andante con moto in E♭, in 6/8 time 4:50
Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
Allegro vivace in B♭, in 2/4 time 21:36

Wolfgang Amadeus Mozart – Marche in C major KV 408/1 (383e)

Wolfgang Amadé Mozart

Luc Devos, pianoforte

• Music

  • “3 Marches, K. 408: No 1 in C Major (version for keyboard)” by Luc Devos (Google Play • eMusic • iTunes • AmazonMP3)

Schumann – Wilhelm Kempff (1972) Waldszenen op 82: great compositions/performances (my favorite interpretation of this marvelous composition)

Schumann – Wilhelm Kempff (1972) Waldszenen op 82

Monsieurlemenestrel

 Deutsch: Robert Schumann und Clara Schumann, nach einem Relief von Ernst Rietschel (Photo credit: Wikipedia)

Waldszenen (Scènes des bois), op. 82, est un recueil de neuf petites pièces pour piano composées par Robert Schumann en 1849.

Chacune de ces neuf pièces a un titre, tout comme chacune des Scènes d’enfants op. 15 : 0:00 : Entrée (Eintritt)

*********************************************
Waldszenen (Forrest Scenes or

English: Robert Schumann Français : Robert Schumann Deutsch: Robert Schumann (Photo credit: Wikipedia)

Scenes From the Woods)

(From Wikipedia, the free encyclopedia)

 

Waldszenen (“Forest Scenes”), Opus 82, is a set of nine short solo piano pieces composed by Robert Schumann in 1848-1849, but first published in 1850-1851 in Leipzig by Bartholf Senff.^[1]

On the set, Schumann wrote: “The titles for pieces of music, since they again have come

English: House of Robert Schumann in Zwickau (Saxony). Deutsch: Robert-Schumann-Haus in Zwickau (Sachsen) (Photo credit: Wikipedia)

into favor in our day, have been censured here and there, and it has been said that ‘good music needs no sign-post.’ Certainly not, but neither does a title rob it of its value; and the composer, by adding one, at least prevents a complete misunderstanding of the character of his music. What is important is that such a verbal heading should be significant and apt. It may be considered the test of the general level of the composer’s education.”^[2]

Movements

Title	Average Duration	Signature Key
Eintritt (Entry)	2:10	B-flat major
Jäger auf der Lauer (Hunters on the lookout)	1:18	D minor
Einsame Blumen (Lonely Flowers)	2:17	B-flat major
Verrufene Stelle (Haunted Place)	3:07	D minor
Freundliche Landschaft (Friendly Landscape)	1:07	B-flat major
Herberge (Wayside Inn)	2:02	E-flat major
Vogel als Prophet (Bird as Prophet)	3:20	G minor
Jagdlied (Hunting Song)	2:29	E-flat major
Abschied (Farewell)	3:29	B-flat major

Deutsch: Robert-Schumann-Platz in Bitterfeld (Photo credit: Wikipedia)

Robert u Clara Schumann 1847 (Photo credit: Wikipedia)

Schubert Symphony No 2 B flat major, D 125 / Maazel Bavarian RSO: make music part of your life series

Schubert Symphony No. 2, D125 B flat major Maazel Bavarian RSO

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 2 in B flat major, D. 125:

I. Largo – Allegro vivace
II. Andante in E flat major 9:50
III. Menuetto: Allegro vivace in C minor – Trio in E flat major 17:40
IV. Presto 21:03

Lorin Maazel conducts Bavarian Radio Symphony Orchestra
**********************************************************************
From Wikipedia, the free encyclopedia

The Symphony No. 2 in B-flat major, D. 125,^[1] is a symphony by Franz Schubert composed between 1814 and 1815.

There are four movements:

• I. Largo – Allegro vivace
• II. Andante in E flat major
• III. Menuetto: Allegro vivace in C minor – Trio in E flat major
• IV. Presto

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.^[2]

The second movement is a theme with five variations in E-flat major, Schubert’s only set of symphonic variations. 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.^[2]

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.^[2]

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

 

Preston-Friedman-Kreger Trio Plays Beethoven Trio in B-flat Major, WoO 39: great compositions/performances

Preston-Friedman-Kreger Trio Plays Beethoven Trio in B-flat Major, WoO 39

   579passiontone

Robert Preston, piano, Erick Friedman, violin, and James Kreger, ‘cello play Trio in B-flat Major (Allegretto): WoO 39, by Ludwig van Beethoven (1770 – 1827) (live radio performance)

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

***from    KuhlauDilfeng2

Franz Schubert – Symphony 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

***Related articles

• great compositions/performances: F. Schubert – Symphony No. 4 “Tragic” in C minor, D. 417 (Harnoncourt)
• Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker: make music part of your life series
• Schubert – Symphony no. 5 in B flat major IV. Allegro vivace, Macau Youth SO & Veiga Jardim

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

 FROM:

ValentinaLisitsa

Schubert Impromptu op. 142 No.3 B flat major

 

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• Simply…Unforgettables: Valentina Lisitsa – Schubert Impromptu Op. 142, No.3 B, flat major (“The impromptu ended, but its atmosphere will linger for a while in the air”)
• Schubert – 4 Impromptus, D. 899 / Op. 90 (Maria João Pires)
• make music part of your life series: Franz Schubert： Quartettsatz in C-moll, D. 703 and Antonín Dvořák：String Quartet No.14, Op.105

great compositions/performances: Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

[youtube.com/watch?v=yp3OixIiJV0]

Schumann – Symphony No 1 in B flat major “Spring” Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

great compositions/performances:  Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

great compositions/performances:  Schumann – Symphony No 1 in B flat major “Spring”, Op. 38 – VPO, Furtwängler, 1951 (Remastered 2012)

 

Related articles

• Legendary Performances: Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)
• Fabulous Composers/Compositions: Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)
• Schumann : Symphony No. 1 in B flat major, Op. 38 “Spring”
• Schumann’s Second Symphony: Bach to the future
• Classical review: SCO: Schumann Symphony Cycle II, Edinburgh

GREAT COMPOSITIONS/PERFORMANCES:Schubert Impromptu op. 142 No.3 B flat major

[youtube.com/watch?v=8YFX-XQLToE]

Schubert Impromptu op. 142 No.3 B flat major – VALENTINA LISITSA

Related articles

• Simply…Unforgettables: Valentina Lisitsa – Schubert Impromptu Op. 142, No.3 B, flat major (“The impromptu ended, but its atmosphere will linger for a while in the air”)
• Schubert – 4 Impromptus, D. 899 / Op. 90 (Maria João Pires)
• Schubert

MAKE MUSIC PART OF YOUR LIFE SERIES: Carl Philipp Emanuel Bach: Concerto for Oboe in B flat major, (Wq.164)

[youtube.com/watch?v=jBrZ3DFrtq4]

Carl Philipp Emanuel Bach: Concerto for Oboe in B flat major, (Wq.164)

Álbum: Carl Philipp Emanuel Bach: Oboe Concertos
Interpretes del álbum: Anna Starr, Joaquim Guerra Codina, Jörn Boysen & Musica Poetica
Compositor: Carl Philipp Emanuel Bach
Año: 2012
Genero: Barroco Alemán
Movimientos: Allegretto-Largo e Mesto con Sordini-Allegro Moderato

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Sergei Rachmaninoff – Prelude Op. 23

S. Rodriguez

Sergei Rachmaninoff – Prelude Op. 23
No. 1, in F-sharp minor
No. 2, in B-flat major
No. 3, in D minor
No. 4, in D major
No. 5, in G minor
No. 6, in E-flat major
No. 7, in C minor
No. 8, in A-flat major
No. 9, in E-flat minor
No. 10, in G-flat major

 

Franz Schubert – Piano Trio No. 1 in B flat major, D 898 (Op. 99)

Israel Piano Trio, Alexander Volkov, piano. Menahem Breuer, violin. Marcel Bergman, cello.

Franz Schubert – Piano Trio No. 1 in B flat major, D 898 (Op. 99)
I. Allegro moderato
II. Andante un poco mosso
III. Scherzo
IV. Rondo, allegro vivace

Great Performances: David Oistrakh – Mozart – Violin Sonata No 32 in B flat major, K 454

Wolfgang Amadeus Mozart
Violin Sonata No 32 in B flat major, K 454

1 Largo – Allegro
2 Andante
3 Allegretto

David Oistrakh, violin
Paul Badura-Skoda, piano

 

Franz Schubert – Piano Sonata in B major, D 960 (Op. posth.) and D 575 (Op. posth. 147)

Klára Würtz, piano.
Franz Schubert – Piano Sonata in B flat major, D 960 (Op. posth.)
I. Motto moderato
II. Andante sostenuto
III. Scherzo, allegro vivace con delicatezza
IV. Allegro, ma non troppo

Franz Schubert – Piano Sonata in B major, D 575 (Op. posth. 147)
I. Allegro, ma non troppo
II. Andante
III. Scherzo, allegretto
IV. Allegro giusto