String Quintet in E Major Op. 11 #5 (Minuet) by Boccherini

Romi M. Panlilio

The String Quintet in E major, Op. 11, No. 5 by Luigi Boccherini was written in 1771 and published in 1775. It is one of his most popular works. The quintet is famous for its minuet third movement, often referred to as “The Celebrated Minuet”, which is most-often played as a standalone piece outside of the context of the full quintet. It ia one of the most recognized composition from the Baroque Period.

 

 

 

 

 

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• Bach – Brandenburg Concerto No. 3 in G Major: Complete; Original Instruments, Voices of Music, great compositions/performances

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.

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Music appreciation series, great compositions/performances, Fritz Kreisler – Schumann Romance in A Major, Op. 94, #2

BRINGING GREAT MUSIC CLOSER TO YOUR EARS:

Musc

Fritz Kreisler – Schumann Romance in A Major, Op. 94, #2

UltimateViolin

Uploaded on Jun 28, 2008/ 31,072 VIEWS

******Fritz Kreisler plays Schumann’s Romance in A Major, Op. 94, #2.

******Michael Raucheisen, Piano
******(December 13, 1927)

HQ Audio: http://www.youtube.com/watch?v=GME9DH…

Bach – Brandenburg Concerto No. 3 in G Major: Complete; Original Instruments, Voices of Music, great compositions/performances

Bach – Brandenburg Concerto No. 3 in G Major: Complete; Original Instruments, Voices of Music 4K UHD

Voices of Music

 

Published on Sep 11, 2014/ 31,126 views

J.S. Bach: Brandenburg Concerto No. 3 in G Major (BWV 1048), complete, performed on original instruments by the Early Music ensemble Voices of Music. I. (Allegro) 0:00 II. Adagio 5:34 III. Allegro 5:45
In March of 1721, Johann Sebastian Bach carefully inked six of his best concertos into a book for the Margrave of Brandenburg, Christian Ludwig. The original title, “Six Concerts à plusieurs instruments” is now known as the “Brandenburg” Concertos in English or “Brandenburgische Konzerte” in German.
These six concertos represent the summa of chamber music in the high baroque period, and the third concerto (BWV 1048) is noted for its rich texture of three violins, three violas and three cellos, with a continuo part for the harpsichord and violone. The original title is as follows: “Concerto 3zo [terzo] a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo”. On the continuo part, Bach has written “Violone & Cembalo”, and this is how it is performed in the video, just as it is indicated in the original manuscript.
This concerto is part of the Voices of Music Great Works project. A Creative Commons edition of the score, based on the composer’s manuscript, will be published to accompany the complete recording, and the recording will be available worldwide on Blu-Ray and CD, and for free on MP3 and high-definition, 24 bit FLAC files.

Voices of Music
Hanneke van Proosdij & David Tayler, directors

A note on this video: The Brandenburg Concertos are ensemble pieces, and every musician has a finely-wrought musical line. Rather than assemble clips of small solos, the goal in presenting this work was to show the entire ensemble–in this way, the viewer can follow the counter-subjects as well as the main themes in the musical composition. A specially designed hyperfocal lens was used for the center camera to render the entire soundstage in focus, edge to edge and front to back, so that at resolutions of 1080p and higher, one can view each individual musician. Graduated depth of field was used on the supporting cameras to throw the image into relief when showing sections of instruments. Surround sound techniques were used to place the listener in the middle of the ensemble, so that each part can be clearly heard, as well as seen.
Text: For this recording, a new edition of the concerto was made based on Bach’s autograph manuscript, with careful attention to the original articulation marks.
Original instruments: the Brandenburg concertos have been performed on every imaginable combination of instruments. We believe that the greatest transparency is achieved when the work is performed on instruments from the time of Bach, using the techniques and styles of the time. In Bach’s time, music was performed without a conductor, and each musician had a voice in the interpretation.
Tempo: The first movement has no tempo indication, so a tempo of allegro was chosen based on the style of the music. In the baroque period, the tempo of allegro “assai” or presto would not have been usual for the opening movement; however, the tempo is left to the performers’ imagination: the allegro tempo allows all the parts to be clearly heard. The second movement famously consists of two simple chords, to which Hanneke has improvised a very simple decoration from the harpsichord. The third movement is marked allegro by the composer; here we have decided upon an affect of fleetness, as the themes and counter-subjects whirl around the ensemble, but stopping just shy of the faster tempo marks–allegro assai and presto– which Bach reserves for other places in his Brandenburg manuscript.
Numerology: it is no coincidence that Bach attached special significance to the the numbers two and three, and their multiple of six. Since medieval times, the number three, the symbol of the trinity, was considered the “perfect” division for time signatures, and the combination of two and three form the rhythmic underpinnings of Western music. For the third concerto, it’s all about the number three: Bach employed the unusual combination of 3+3+3: three violins, three violas, three cellos, possibly reworking an earlier composition for these resources. To continue Bach’s tradition, nine HD cameras were used to film this work.
Recorded at St. Stephen’s Church, Belvedere, California.

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)

J.S. Bach: MAGNIFICAT – D-Dur BWV 243 (1723,1730) Monteverdi Chor: great compositions/performances

J.S. Bach: MAGNIFICAT [complete version]

Monteverdi Chor

Johann Sebastian Bach (1685 – 1750):
MAGNIFICAT – D-Dur BWV 243 (1723,1730)
– historically informed performance on period instruments

Anna Nesyba – Soprano I
Monteverdichor Würzburg
Monteverdi Ensemble
Matthias Beckert (cond.)

26.10.2014, Neubaukirche, Würzburg, Germany

Monteverdi “Deus in adjutorium” (Vespers of 1610): make music part of your life series

Monteverdi “Deus in adjutorium” (Vespers of 1610)

VisitStPeters

BEST SOUND Saint Peter‘s Catholic Church
Established in 1821 in the Diocese of Charleston
City of Columbia, South Carolina USA

Claudio Monteverdi
Vespers of the Blessed Virgin Mary, 1610
Four Hundredth Anniversary Concert
Sunday 15 August 2010

Gallery Choir & Friends
Alice Hallstrom and Rebecca Lord, Violin
Brenda Lord and Amy Rivers, Flute
Ben Wyatt, ‘Cello
John W. Coker, Contrabass
Jerry Curry, Harpsichord
Christopher Jacobson, Organo Concertato [2002 III/38 Peragallo pipe organ]
Peppie Calvar, Bodhran
Mark Husey, Tenor & Conductor

Richard Strauss – Der Rosenkavalier – Waltz Sequence No. 1: make music part of your life series

Richard Strauss – Der Rosenkavalier – Waltz Sequence No. 1

Fledermaus1990

Uploaded on Jun 1, 2011/24,030 views

Der Rosenkavalier, with a libretto by Hugo von Hoffmannsthal, was completed in 1910 and staged in Dresden the following year. The drama centres on the Marschallin and her unselfish renunciation of her young lover Oktavian in a work that seems filled with bitter-sweet nostalgia, a feeling that is perceptible in the two waltz sequence from the opera that Strauss arranged in 1944, to which he added further thematic development.

Mozart – Piano Concerto No. 26 in D major, K. 537, ‘Coronation’ (Murray Perahia): make music part of your life series

Mozart – Piano Concerto No. 26 in D major, K. 537, ‘Coronation’ (Murray Perahia)

  MrPalika123

00:00 – Allegro
14:13 – Larghetto
21:29 – Allegretto

Murray Perahia
English Chamber Orchestra

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Practicing for my Salle Pleyel recital…and a fashion lesson Valentina Lisitsa

ValentinaLisitsa

Published on Nov 28, 2014

http://www.sallepleyel.fr/francais/co…

Program ( just 3 hours long? :-))))
Ludwig van Beethoven (1770-1827)

Sonate n°17 en ré mineur Op.31 n°2 (1801-1802)

« La tempête »

1 – Largo – Allegro

2 – Adagio

3 – Allegretto

Robert Schumann (1810-1856)

Etudes symphoniques Op.13/13a (1834-1835)

1- Thème : Andante

2 – Etude I (Variation 1) : Un poco più vivo

3 – Variations posthume 1

4 – Etude II (Variation 2) Espressivo

5 – Etude III : Vivace

6 – Etude IV (Variation 3)

7 – Etude V (Variation 4) : vivacissimo

8 – Variation posthume n°4

9 – Etude VI (Variation 5) : Agitato

10 – Etude VII (Variation 6) : Allegro molto

11 – Variation posthume n°2

12 – Variation posthume n°5

13 – Etude VIII (Variation 7) : Andante

14 – Etude IX : Presto possibile

15 – Variation posthume n°3

16 – Etude X (Variation 8) : Allegro

17 – Etude XI (Variation 9) : Con espressione

18 – Etude XII : Finale : Allegro brillante

Johannes Brahms (1833-1897)

Ballade op.10 n°1 en ré mineur (1845-1846)

sur la ballade écossaise «Edward» tiré du recueil «Simmen der Völker» de Johann Gottfried Herder «Edward» : Andante

Capriccio op.76 n°2 en si mineur – extrait des 8 Klavierstücke op.76 (1878)

Allegretto ma non troppo, sur un thème hongrois gracioso

Intermezzo op.76 n°7 en la mineur – extrait des 8 Klavierstücke op.76 (1878)

Moderato semplice, complainte populaire claire par son diatonisme affirmé.

Intermezzo op.116 n°2 en la mineur (1892) : Andante

Intermezzo op.116 n°4 en mi mineur (1892) : Adagio

Intermezzo op.117 n°1 en mi bémol majeur (1892) : Andante moderato

Intermezzo op.117 n°2 en si bémol mineur (1892)

Andante non troppo e con molto espressione

Intermezzo op.118 n°1 en la mineur (1893) : Allegro non assai, ma molto appasionato

Intermezzo op.118 n°2 en la majeur (1893) : Andante teneramente

Ballade op.118 n°3 en sol mineur (1893) : Allegro energico

Romance op.118 n°5 en fa majeur (1893) : Andante

Intermezzo op.118 n°6 en mi bémol mineur (1893) : Andante, largo e mesto

Intermezzo op.119 n°1 en si mineur (1893) : Adagio

Intermezzo op.119 n°2 en mi mineur (1893) : Andantino un poco agitato

Ballade op.10 n°1 en ré mineur (1845-1846)

Sergueï Rachmaninov (1873-1943)

Sonate pour piano n° 1 en ré mineur, opus 28 (1907)

Allegro moderato

Lento

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.

 

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051: make music part of your life series

Bach / I Musici, 1965: Brandenburg Concerto No. 6 in B flat major, BWV 1051- Complete

davidhertzberg

From the LP shown above, issued on the Philips label in 1965.

Allegro (0:06)
Adagio ma non tanto (7:00)
Allegro (13:06)

The Brandenburg Concertos are a group of six concerts by Johann Sebastian Bach (BWV 1046-1051). They are dedicated to the Margrave Christian Ludwig of Brandenburg-Schwedt (1677–1734), the stream had met in winter 1718/1719 in Berlin. In September 1721 he sent him the score with an extensive dedication. The title Brandenburg Concertos was coined by Philipp Spitta incurred in its 1873–1879 Bach Biography and has now been generally adopted. Bach’s original title is “Six Concerts Avec plusieurs instruments”. The six concerts have a high stylistic and structural diversity. In its mixture of different historical and forward-looking elements to form a personal, yet universal form of expression.

Georg Friedrich Händel: Feuerwerksmusik, German Handel Soloists, cond. Holger Speck: great compositions/performances

Georg Friedrich Händel: Feuerwerksmusik (Fireworks music)

Ralph Joachim

Suite für Orchester in D-Dur, HWV 351
1.) Ouverture Adagio, Allegro
2.) Bourrée
3.) La Paix Largo alla Siciliana
4.) La Réjouissance Allegro
5.) Menuett I und Menuett II
Ausführende:
Deutsche Händelsolisten, Ltg. Holger Speck

Zu Händels “Feuerwerksmusik”:
Die “Music for the Royal Fireworks” (HWV 351) ist ein 1748 von Georg Friedrich Händel komponiertes Werk. Das Werk wurde am 27. April 1749 bei einem Feuerwerk uraufgeführt. Es ist eine Gelegenheitsmusik von gigantischem Ausmaß

Wie auch die Wassermusik ist die Feuerwerksmusik durch Zufälle in der Politik entstanden. Der britische König Georg II. wollte wegen des im Oktober 1748 geschlossenen Aachener Friedens zur Beendigung des Österreichischen Erbfolgekriegs eine riesige Feier mit großem Feuerwerk und Musik. Er beauftragte Händel damit, eine „Feuer-Musik” für den festlichen Anlass zu schreiben. Das gab dem Stück den englischen Originaltitel Music for the Royal Fireworks.

Die Feier sollte im Londoner Green Park stattfinden, daher ging Händel von einem großen Freiluft-Orchester mit einer typischen Bläser-Streicher-Besetzung aus. König Georg jedoch wollte ein Orchester ausschließlich mit Bläsern und Pauken. Händel aber wollte auch Streicher dazu haben.

Aus den Briefen des Grafen von Montague vom April 1749 geht hervor, dass sich Händel erst ganz spät dem Willen des Königs gebeugt hatte.

>>>>>>Google Translate LINK

this text from original (German) to English: No enigma here! Thanks Google translate!

Suite for orchestra in D major, HWV 351

1.) Ouverture Adagio, Allegro
2.) Bourrée
3.) Largo alla Siciliana La Paix
4.) La Réjouissance Allegro
5.) Minuet I and Minuet II
***Performed by:
****German Handel Soloists, cond. Holger Speck

Handel’s “Fireworks Music“:
The “Music for the Royal Fireworks” (HWV 351) is a work composed in 1748 by George Frideric Handel works. The work was premiered at a fire station on April 27, 1749. It is an opportunity music of gigantic proportions

Like the Water Music is the fireworks music created by coincidences in politics. The British King George II. Was a huge celebration with a large fireworks and music because of the closed in October 1748 Aachen peace to end the War of the Austrian Succession. He commissioned Handel order to write a “fire music” for the festive occasion. This gave the piece the original English Title Music for the Royal Fireworks.

The celebration was to take place in London’s Green Park, therefore, Handel went from a large outdoor orchestra with a typical brass–string cast from. King George but wanted an orchestra exclusively with brass and timpani. Handel but also wanted to have strings.

From the letters of the Earl of Montague from April 1749 shows that Handel had until quite late bent to the will of the king.

 

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this pressed: Tiny Baltic States Prepare to Hit Back at Mighty Russia

A jet fighter from the Su-30 SM “Sokoly Rossii” (Falcons of Russia) aerobatic team performs during a show in Krasnoyarsk, Siberia, October 25, 2014. Ilya Naymushin/Reuters

Earlier this month, a Russian warship entered Latvia’s exclusive economic zone, some nine nautical miles from the country’s territorial waters. Considering that Russian warships have already approached Latvian waters some 50 times this year, according to figures from Latvia’s Ministry of Defence, it was not an altogether unsurprising visit. Russian military planes, meanwhile, have come close to Latvian airspace some 200 times this year. Latvia’s defence minister Raimonds Vejonis tells Newsweek at his office in Riga, that his country is prepared should its mighty neighbour to the east decide to invade: “We have special plans of action. Working with the Ministry of Interior, we conduct exercises to train our troops and policemen for different scenarios. But of course we need more co-operation with our neighbours and our Nato allies as well.”

via Tiny Baltic States Prepare to Hit Back at Mighty Russia.

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BOLERO-RAVEL: great compositions/performances

BOLERO-RAVEL

  consejomunicipal

An impressive performance of Ravel’s Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.

Just a thought: “Because the doing of the being tends to go on and on,…”

Just a thought:  Because the doing of the being tends to go on and on, the mind needs to remind the doing that it’s nothing without being…and needs to empty itself of noise, in order to hear the silence before. -George-B

word: harangue

harangue 

Definition:	(noun) A speech or piece of writing characterized by strong feeling or expression; a tirade.
Synonyms:	rant
Usage:	The coach’s angry harangue during halftime somehow managed to motivate the team. Discuss.

today’s birthday: Domenico Scarlatti (1685)

Domenico Scarlatti (1685)

Although he lived during the Baroque era, Scarlatti, an Italian composer and virtuoso harpsichordist, was extremely influential in the development of the Classical period of music. He is best known for his composition of 555 keyboard sonatas, written for the Spanish queen Maria Bárbara, whom he had tutored as a child and in whose service he remained for much of his life. Scarlatti is said to have engaged in a keyboard competition with what other composer as a young man? More… Discuss

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

FROM:

  BLOP888

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

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

From Wikipedia, the free encyclopedia

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

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

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
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

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European Union Baroque Orchestra – Händel: Te Deum Utrecht, Jubilate Utrecht – Lars Ulrik Mortensen: make music part of your life series

European Union Baroque Orchestra – Händel: Te Deum Utrecht, Jubilate Utrecht – Lars Ulrik Mortensen

FROM:

avroklassiek

Meer op: http://www.radio4.nl/oudemuziek
Bekijk ook het tweede deel van dit concert: http://youtu.be/xgtRjiywS20

European Union Baroque Orchestra & Choir of Clare College o.l.v. Lars Ulrik Mortensen
Alex Potter, contratenor

Georg Frideric Händel (1685-1759)
Te Deum ‘Utrecht’ HWV 278 (1713)
Jubilate ‘Utrecht’ HWV 279

Opgenomen tijdens het Festival Oude Muziek Utrecht in de Domkerk op 31 augustus 2013

Choir of Clare College, Cambridge: Janneke Dupre, Gabrielle Haigh, Alice Halstead, Sophie Horrocks, Helen Lilley, Caroline Meinhardt, Madeleine Seale, Rachael Ward, sopraan
Clara Betts-Dean, Abigail Gostick, Emma Simmons, Eva Smith-Leggatt, Eleanor Warner, alt
Laurence Booth-Clibborn, Nils Greenhow, Peter Harrison, Christopher Loyn, Alexander Peter, tenor
Adam Cigman-Mark, William Cole, Elliot Fitzgerald, Matthew Jorysz, Charles Littlewood, Magnus Maharg, Alexander McBride, Hugo Popplewell, James Proctor, bas
Graham Ross, koorleider

European Union Baroque Orchestra: Zefira Valova, Roldán Bernabé-Carrión, Christiane Eidsten Dahl, Antonio De Sarlo, Yotam Gaton, Saron Houben, Sarina Matt, Daphne Oltheten, Jamiang Santi, viool
Rafael Roth, Hilla Heller, Andrea Angela Ravandoni, altviool
Guillermo Turina Serrano, Nicola Paoli, cello
Lisa De Boos, contrabas
Alexis Kossenko, traverso
Clara Geuchen, Johannes Knoll, hobo
Andrew Burn, fagot
Sebastian Philpott, Gerard Serrano Garcia, trompet
Marianna Henriksson, klavecimbel

Great Compositions/Performances: Bach-Richter-Brandenburg Concerto No.3 (HD)

[youtube.com/watch?v=mB1M2HaEbI4]

Bach-Richter-Brandenburg Concerto No.3 (HD)

English: Statue of J.S. Bach close Thomaskirche in Leipzig. (Photo credit: Wikipedia)

J.S. Bach: Brandenburg Concerto No. 3 in G Major, BWV 1048
Münchener Bach Orchester–Karl Richter (HD video)

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Make Music Part of Your Life Series: Jean-Philippe Rameau – Naïs

[youtube.com/watch?v=u7_6j1SLgts]

Jean-Philippe Rameau – Naïs

Jean-Philippe Rameau (1983 – 1764), France:

– Naïs (Suite orchestrale)
I. Ouverture
II. Musette
III. Entrée majestueux des Dieux
IV. Gavotte pour Zephirs
V. Gavotte gracieuse en Rondeau
VI. Rigaudons
VII. Sarabande
VIII. Entrée des Luteurs et Chaconne
IX. Tambourins
X. Loure
XI. Sarabande
XII. Musette

Orchestre de la dix-huitième siècle
(Orchestra of the Eighteen Century)
Frans Brüggen

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J.S. Bach – Easter Oratorio, BWV 249

[youtube.com/watch?v=az7WSBW8WeY]

The Amsterdam Baroque Choir
The Amsterdam Baroque Orchestra
Ton Koopman

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“O Joyful Day,” Anonymous Slavic 17th century motet trans. Mark Bailey

American Baroque Orchestra
Mark Bailey, artistic director

From a live 2013 performance entitled, “Music across the Nations,” this Slavic part-song or kant is arranged for two instrumental groupings that trade musical lines, and then play as a united ensemble for the final time. These part songs reveal the first significant wave of western music to influence regions such as Ukraine and Russia. They were sung para-liturgically, i.e. based on sacred themes but not designed in the church service per se. Because they were strophic and tuneful, part songs were very popular for many decades. They lend themselves quite well to instrumental ensembles and likely were played that way as well.

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• Classical period music history

Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

Culture Studies: Classical Music: Bach
(A series of well-known classical music pieces one should known about.)

Bach, Johann Sebastian (1685-1750)
Style/Period: Late German Baroque (w/eclectic German, French & Italian elements); German, Leipzig-based from 1723

Bach Cantata, BWV 147, Jesu, Joy of Man’s Desiring

 

TODAY’S BIRTHDAY: IL GUERCINO (1591)

Il Guercino (1591)

Giovanni Francesco Barbieri, better known as Il Guercino(“The Squinter”), was an Italian painter whose work had a profound impact on the development of 17th-century Baroque decoration. One of the outstanding draftsmen of his age, he was known for his frescoes, altarpieces, oils, and drawings. When he was 30, he was called to Rome by Pope Gregory XV and spent a productive two years there. Later, he moved to Bologna and was its leading painter until his death. How did he get his nickname? More… Discuss

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• Life and Paintings of Francesco Solimena (1657 – 1747)

 

Great Compositions/Performances: Antonio Vivaldi – The Four Seasons Salvatore Accardo, conducting

Antonio Vivaldi – The Four Seasons

Published on Apr 23, 2012

Antonio Vivaldi The Four Seasons Full HD (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi Full Concert. Composed in 1723, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. For example, “Winter” is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas “Summer” evokes a thunderstorm in its final movement, which is why the movement is often dubbed “Storm.”
The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi’s Op. 8, entitled Il cimento dell’armonia e dell’inventione (The Contest between Harmony and Invention). The first four concertos were designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones. At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra). Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form.
Die Vier Jahreszeite, Les Quatre Saisons compléter completare all movements
English Chamber Orchestra
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-1 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-2 – Largo – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-3 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-1 – Allegro Non Molto – Allegro – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-2 – Adagio – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-3 – Presto – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-1 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-2 – Molto Adagio – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-3 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-1 – Allegro Non Molto – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-2 – Largo – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-3 – Allegro – Winter
Le quattro stagioni The Four Seasons (Vivaldi) Die Vier Jahreszeiten Las Cuatro Estaciones Classical Music compléter ganze Konzert von Vivaldi Full Concert Complete Music all movements greatest hits

• Buy “Le Quattro Stagioni, Op. 8; Concerto No 4 in Fa Minore: L’Inverno: Allegro” on
  

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• Artist
  Salvatore Accardo

 

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Great Composers/Compositions: Vivaldi Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

Antonio Lucio Vivaldi (1678 † 1741)
Concerts for the Prince of Poland
Work: Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

01. Allegro
02. Largo e cantabile
03. Allegro

Andrew Manze, violin & director
Academy of Ancient Music

From Wikipedia, the free encyclopedia  

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

Antonio Vivaldi in 1725

Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, andvirtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi’s arrival and Vivaldi himself died less than a year later.

Though Vivaldi’s music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers, second only to Johann Sebastian Bach.^[1]

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Fabulous Composesrs/Compositions: String Quintet in E Major Op. 11 #5, ‘Minuet’, by Boccherini

 

Luigi Boccherini playing the chello (Photo credit: Wikipedia)

 

The String Quintet in E major, Op. 11, No. 5 by Luigi Boccherini was written in 1771 and published in 1775. It is one of his most popular works. The quintet is famous for its minuet third movement, often referred to as “The Celebrated Minuet”, which is most-often played as a standalone piece outside of the context of the full quintet. It ia one of the most recognized composition from the Baroque Period.

Images – Versailles Gardens in France and Generalife Gardens in Spain

 

Marin Marais (1656-1728) – Sonnerie de Sainte-Geneviève du Mont de Paris (1723)

 

 

 

 

 

 

Marin Marais (1656-1728), composer (Photo credit: Wikipedia)

 

Marin Marais (1656-1728) – Sonnerie de Sainte-Geneviève du Mont de Paris [The Bells of St. Genevieve] from La Gamme et Autres Morceaux de Symphonie (1723)

New Comma Baroque – Matthew C. Cataldi, Baroque violin, Phillip W. Serna, viola da gamba & Emily J. Morlan, historical keyboards

 

Various Viols Nederlands: Diverse typen violas (Photo credit: Wikipedia)

 

Recorded March 27th-28th, 2012 at Bethany Lutheran Church, Crystal Lake, IL 

All video content © 2012 New Comma Baroque –

 

Baroque ! (Photo credit: fred_v)

 

http://www.newcommabaroque.org/

From Wikipedia, the free encyclopedia

Sonnerie de Ste-Geneviève du Mont-de-Paris, “The Bells of St. Genevieve” in English, is a work by Marin Marais written in 1723 for viol, violin and harpsichord withbasso continuo. It can be considered a passacaglia or a chaconne, with a repeating D, F, E bass line. Being a student of Monsieur de Sainte-Colombe, it is perhaps Marais’ most famous composition that explores the various techniques of the viol.

 

The work begins with 4 measures of the bass line played by the continuo and viol, then, on the 5th measure the violin takes over the melody. Throughout the piece, the violin and viol take turns with the melody.

 

The viol part is of great difficulty because of Marais’s mastery of that instrument. The centerpiece is not the melody, the violin, but the viol. His work can be thought of as something to showcase the violist’s skill, despite that it does not always have the melody.

 

The piece also exists in a version for solo double bass, having been arranged by Norman Ludwin for Ludwin Music. An electronic version on aFairlight synthesizer was used in the soundtrack of the 1982 film “Liquid Sky“.

 

 

 

 

WEB GALLERY OF ARTS – ACCESS HERE (NOW A PERMANENT FEATURE / WIDGET AT EUZICASA)

WEB GALLERY OF ARTS – ACCESS HERE

PLEASE VISIT AND LEAVE YOUR COMMENTS HERE! 

The Web Gallery of Art is a virtual museum and searchable database of Western (European) fine arts of the Medieval, Renaissance, Baroque, Neoclassicism, Romanticism, Realism, and Impressionism periods (1000-1900), currently containing over 33.300 reproductions. Artist biographies, commentaries, guided tours, period music, catalogue, free postcard and mobile services are provided.

Gerald Finzi – Eclogue for Piano and Strings Op. 10

To my surprise, I first came upon this piece only last year (2009). And I really don’t know how that happened given my love of English music, and also of Finzi‘s nods to the Baroque idiom throughout this work. I was driving home from Boston to Worcester along the (hideous) Massachusetts Turnpike when I heard “Eclogue” for the first time on the radio (NPR I think). I was so affected, I had to take the nearest off-ramp. It immediately seized my heart and mind. “If this doesn’t break your heart, you haven’t got a heart to break” as one reviewer has said of this piece. Finzi gave this work an early Opus number (perhaps misleadingly in terms of his evolution as a composer) even though he revised it towards the end of his life. His “Elegy” for violin and piano, which shares elements of “Eclogue” is here: http://www.youtube.com/watch?v=P_qKAi… My pics here are of a snowy Derbyshire Peak District at Christmas 2009. Again, these photos are centred on the village of Great Longstone, of its lovely medieval church and some of the surrounding landscape. I shall get better with the timings! For more videos and other information about the Peak District please visit Let’s Stay Peak District at http://www.peakdistrict-nationalpark.com Piano: Peter Donohoe Northern Sinfonia Conducted by Howard Griffiths A Naxos Recording

Frantisek Ignac Tuma (1704-1774) Sinfonia in b flat major

From Wikipedia, the free encyclopedia:
František Ignác Antonín Tůma (Kostelec nad Orlicí, Bohemia,
October 2, 1704 – Vienna, January 30, 1774) was an important Czech composer of the Baroque era. Born in Kostelec nad Orlici, Bohemia, he lived the greater part of his life inVienna, first as director of music for Count Franz Ferdinand Kinsky, later filling a similar office for the widow of Emperor Karl VI. He was an important late-baroque composer, organist, gambist and theorbist.

Tůma’s music belongs stylistically to the late Baroque. His sacred works, which were known to Haydn and Mozart, were noted by his contemporaries for their solidity of texture and their sensitive treatment of the text as well as for their chromaticism. His instrumental music includes trio and quartet sonatas, sinfonias and partitas, mostly for strings and continuo; some of them were clearly intended for orchestral use.

Among his sacred works we find some 65 masses, 29 psalms and 5 settings of the Stabat Mat

 

Bach – Brandenburg Concerto No. 1 In F Major, BWV 1046

The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Brandenburg Concerto No. 1 in F major, BWV 1046

Cologne Chamber Orchestra
Helmut Muller-Bruhl

Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.
Allegro
Adagio
Allegro
Menuet – Trio I – Menuet da capo – Polacca – Menuet da capo – Trio II – Menuet da capo

Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.

This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet – Trio I – Menuet – Trio II – Menuet. The first movement can also be found as the sinfonia of the cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of cantata BWV 207.

 

Vivaldi, Giustino (Anastasio) – RV.717 “Vedro con mio diletto” (extrait)

Extrait du concert “Airs d’Opéra de Vilvaldi et Haendel” donné en février 2006 à la Chapelle de la Trinité à Lyon, dans le cadre du Festival de Musique Baroque, dir° Eric Desnoues.
Vivaldi, Giustino (Anastasio) – RV.717 “Vedro con mio diletto” (extrait)
Contre-ténor : Philippe Jaroussky 
Ensemble Matheus, direction Jean-Christophe Spinosi
Réalisation : Benjamin Bleton alias Karl More
© Karl More Productions – Festival de Musique Baroque de Lyon 2006

 

J.S. Bach – Brandenburg Concerto No.4 in sol-major BWV 1049

1. Allegro   00:00 
2. Andante  07:17
3. Presto  12:42

Johann Sebastian Bach (Eisenach, Thuringia, March 21. / March 31, 1685 – Leipzig, July 28, 1750) was an organist, harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers. 
His reputation as an organist and harpsichordist was legendary, famed throughout Europe. Apart from the organ and harpsichord, also played the violin and the viola da gamba as well as being the first great improviser renowned music. 
His prolific work is considered the pinnacle of Baroque music. He was distinguished for his intellectual depth, technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension. Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg, until today.

 

J.S. Bach French Suite No.5 in G Major BWV 816 Svetlana Ponomareva piano

Extract from Svetlana Ponomareva plays Schnittke / Bach CD
Recorded in 2008 at CBC Studio One in Vancouver yet never played on CBC Radio 2

For those who do not care about musical name dropping and want to listen to a fine and informed articulation of the French Suite No.5

(Finally available for download, “Touching a Mystery” the book on rules of articulation for Baroque Clavier Music:
http://ponomarevapianist.com/news.php… )

This CD commemorates Alfred Schnittke‘s 10th passing anniversary. The selected “Five Aphorisms” written in 1990 and Sonata No. 3 written in 1992 are among his late works for piano solo, rarely performed. Svetlana’s performing of Schnittke solo piano is among the finest.

The CD also focuses on Bach’s music as the result of Svetlana’s serious work based on several in-depth researches by Alexandrov, Teregulov and Nosina from Russia on Baroque music – in particular, about articulation in Bach’s Clavier music and the symbolism of his music. Svetlana chose the Prelude and Fugue BWV 849 from the Well Tempered Clavier book 1 and the French Suite No. 5 BWV 816 to illustrate this research and demonstrate how through the rules of articulation the polyphony is serving a complex dramaturgy that is both true to the epoch -in style- and still quite personal to the performer.

http://ponomarevapianist.com/music_de…

 

J.S. Bach – Brandenburg Concerto No.5 in re-major BWV 1050

Johann Sebastian Bach ( Eisenach , Thuringia , March 21 . / March 31, 1685 – Leipzig , July 28, 1750 ) was an organist , harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers .
His reputation as an organist and harpsichordist was legendary , famed throughout Europe. Apart from the organ and harpsichord , also played the violin and the viola da gamba as well as being the first great improviser renowned music .
His prolific work is considered the pinnacle of Baroque music . He was distinguished for his intellectual depth , technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension . Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg , until today.