historic musical bits: David Oistrakh plays Variations on a theme of Corelli

David Oistrakh plays Variations on a theme of Corelli

soichi1228

Uploaded on Sep 30, 2007

Vn:David Oistrakh
Pf:Frida Bauer

best classical music bits , Manuel Barrueco – Variations on a Theme of Mozart

Manuel Barrueco-Variations on a Theme of Mozart

hckaraman

Manuel Barrueco-Variations on a Theme of Mozart

Joseph Kosma (1905-1969) : Baptiste, suite d’orchestre du ballet des « Enfants du Paradis » (1943)

collectionCB

Uploaded on Mar 14, 2011

Joseph Kosma (1905-1969) (France)
Baptiste, suite d’orchestre du ballet des « Enfants du Paradis » (1943)
Dir : Michel Plasson

Elève de Bela Bartok et de Léon Weiner au Conservatoire Franz Liszt de Budapest, puis de Hanns Eisler à Berlin, le Hongrois Joseph Kosma dut fuir l’Allemagne en 1933. Il trouva asile à Paris, se fit naturaliser français en 1949 et devint un célèbre compositeur de films, notamment ceux de Marcel Carné, Jean Renoir, André Cayette et Henri Decoin. Grâce à plus de quatre-vingts chansons, souvent écrites par le poète Jacques Prévert, il devint un musicien populaire et applaudi (textes de Prévert : « Les feuilles mortes », « Barbara », « Les enfants qui s’aiment » ; de Raymond Queneau : « Si tu t’imagines »… ; de Robert Desnos : « La fourmi »). Auteur d’oratorios comme « Les Ponts de Paris », 1947 et d’opéras comiques (« Les Chansons de Bilitis », 1954) Joseph Kosma a aussi écrit des ballets pour les chorégraphes Rolant Petit (« Le Rendez-vous », 1945) et Serge Lifar (« L’Ecuyère », 1949) et la pantomime « Baptiste », un des grands moments du superbe film de Marcel Carné « Les Enfants du Paradis », réalisé en 1944 sous l’Occupation, ce qui eut pour effet de faire momentanément disparaître du générique le nom du Juif Joseph Kosma. Un critique a dit de lui : « Le plus grand musicien français de cinéma, après Maurice Joubert. Et comme ce dernier, ayant réussi à ne jamais se laisser corrompre par le “système”, à n’œuvrer — presque — que pour la postérité, jamais pour la trompeuse actualité. Et, par-dessus tout, dans le respect absolu du public ; toutes vertus capitales qui ne courent pas les rues. » (Cinéma 69, septembre, p. 13).

LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2 and COLLECTIONCB3
and
IDEAL “DISCOTHEQUE” OF MORE THAN 1,300 ORCHESTRAL WORKS OF FEELINGS :
http://www.corentinboissier.net/

Beethoven – Turkish March (arr. for 8 pianos; Larrocha, Bolet, etc.) , great compositions/performances

Beethoven – Turkish March (arr. for 8 pianos; Larrocha, Bolet, etc.)

madlovba3

2 successive performances of Ludwig van Beethoven’s Turkish March from “Die Ruinen von Athen”, arranged by Richard Blackford for 8 pianos. Played by Gina Bachauer, Jorge Bolet, Jeanne-Marie Darré, Alicia De Larrocha, John Lill, Radu Lupu, Garrick Ohlsson and Bálint Vázsonyi at a Gargantuan Pianistic Extravaganza in London, 1974.

Please note that the 2nd performance is NOT a shredding video – these great pianists were actually playing what you hear!

The audio goes out of sync after a while, sorry about that.

Ludwig van Beethoven: Piano Concerto No.2 Op.19 in B flat major

vivaldi369

 

Published on Sep 16, 2012

Álbum: Beethoven: Edition Vol. 02 – Concertos (Disc 1)
Interprete del álbum: Maurizio Pollini, Wiener Philharmoniker & Sviatoslav Richter, Wiener Symphoniker
Compositor: Ludwig van Beethoven
Año: 1997
Genero: Clásico Romántico Alemán
Movimientos: Allegro con Brio-Adagio-Rondo Molto Allegro
************************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto No. 2 in B-flat major, Op. 19, by Ludwig van Beethoven was composed primarily between 1787 and 1789, although it did not attain the form it was published as until 1795. Beethoven did write another finale for it in 1798 for performance in Prague, but that is not the finale that it was published with. It was used by the composer as a vehicle for his own performances as a young virtuoso, initially intended with the Bonn Hofkapelle. It was published in 1801, by which time he had also published the Piano Concerto No. 1 in C major, although it had been composed after this work, in 1796 and 1797.^[1]

The B-flat major Piano Concerto became an important display piece for the young Beethoven as he sought to establish himself after moving from Bonn to Vienna. He was the soloist at its premiere on 29 March 1795, at Vienna’s Burgtheater in a concert marking his public debut.^[1] (Prior to that, he had performed only in the private salons of the Viennese nobility.) While the work as a whole is very much in the concerto style of Mozart, there is a sense of drama and contrast that would be present in many of Beethoven’s later works.^[1] Beethoven himself apparently did not rate this work particularly highly, remarking to the publisher Franz Anton Hoffmeister that, along with the Piano Concerto No. 1, it was “not one of my best.”^[2] The version that he premiered in 1795 is the version that is performed and recorded today.

Movements

The work is scored for solo piano, flute, two oboes, two bassoons, two horns and strings.^[3] The concerto is in three movements:

• I. Allegro con brio
• II. Adagio
• III. Rondo. Molto allegro

The first movement begins with a triumphant orchestral opening on the tonic chord, and maintains a playfulness while using chromatic passages to show off the soloist’s dizzying technique. The second movement is characteristically serene and peaceful, while the closing Rondo brings back the youth-filled playfulness heard in the opening movement.

***I. Allegro con brio

This movement is in the concerto variant of sonata form (double-exposition sonata form). The orchestra introduces the main theme and the subordinate theme in its exposition. The second exposition is in F major. The development wanders in key and ends on a long B-flat major scale. The recapitulation is similar to the exposition and is in B-flat major.

There is a rather difficult cadenza composed by Beethoven himself, albeit much later than the concerto itself. Stylistically, the cadenza is very different from the concerto, but it makes good use of the first opening theme. Beethoven applies this melody to the cadenza in several different ways, changing its character each time and displaying the innumerable ways that a musical theme can be used and felt.

This movement was written between 1787 and 1789 in Bonn. Average performances last from thirteen to fourteen minutes.

***II. Adagio

This movement is in E-flat major, the subdominant key. Like many slow movements, it has ABA (ternary) form, where the opening section introduces the themes, and the middle section develops them. This movement was written between 1787 and 1789 in Bonn. Average performances last from eight to nine minutes.

***III. Rondo. Molto allegro

This movement takes the form of a Third Rondo (ABACABA). Beethoven’s playfulness of his early period can be heard here. There is a constant angular feel within the 6/8 melody itself that Beethoven plays on with each return of the rondo theme. The C section is also highly contrasting with the others, being that it is in a minor key and more forceful and stern in meaning. Also, prior to the last appearance of the rondo theme, Beethoven brings the piano in in the “wrong” key of G major, before the orchestra “discovers” the discrepancy and returns to the correct tonic key. This musical joke can be seen in many of Beethoven’s subsequent compositions.

This rondo is the one that Beethoven wrote in 1795 and premiered in Vienna that year. It does show Haydn’s influence. Average performances last from five to six minutes.

today’s holiday: Juturnalia (2015)

Juturnalia (2015)

According to Virgil, Juturna is the sister of Turnus, king of the Rutuli. In return for her virginity, Jupiter gave her immortality. Afterward, she was turned into a fountain of the same name near the Numicus, the river where Aeneas’ dead body was found. The waters from this fountain were used in sacrifices, particularly those in honor of the Roman goddess Vesta, and were believed to have curative powers. On January 11, a festival in honor of Juturna was observed by men working on aqueducts and wells. She was also celebrated at the Vulcanalia on August 23 as a protectress against fire. More… Discuss

read more HERE

Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy),: great compositions/performances

Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy)

  MrPalika123

00:00 – Allegro assai
10:58 – Andante
17:45 – Allegro di molto

***Vladimir Ashkenazy***
***Philharmonia Orchestra***

***1979***

• Music

  • “Piano Concerto No. 16 in D, K.451 : III. Allegro di molto – Cadenza (Mozart) – Tempo I [1988 Remastered Version]” by English Chamber Orchestra/Daniel Barenboim (Google Play • AmazonMP3 • iTunes)

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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

Purcell – Ode to St. Cecilia (Z.328): I-II: make music part of your life series

Purcell – Ode to St. Cecilia (Z.328): I-II

SimplyBaroque

Uploaded on Jan 29, 2011

I. Symphony
II. Hail, bright Cecilia! (Recitative & Chorus)

“Hail! Bright Cecilia, Hail! fill ev’ry Heart!
With Love of thee and thy Celestial Art;
That thine and Musick’s Sacred Love
May make the British Forest prove
As Famous as Dodona’s Vocal Grove.”

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed to a text by Nicholas Brady by Henry Purcell in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint’s feast day (November 22) began in 1683, organized by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.

In spite of Brady’s conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, strings and basso continuo. Purcell is one of several composers who have written music in honour of Cecilia.

Henry Purcell (10 September 1659(?) — 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music.

Taverner Consort and Players is a period instrument ensemble: baroque orchestra (Players), vocal consort (Consort) and Choir, named after the 16th century English composer John Taverner. Founded and directed by Andrew Parrott in 1973, the ensemble was led until the early 1990s by baroque violinist John Holloway, and has released many CDs.

Emil Gilels – Schumann – Symphonic Etudes, Op 13: Great compositions/performances

Emil Gilels – Schumann – Symphonic Etudes, Op 13

  Opus 13

Robert Schumann:  Symphonic Etudes, Op 13
Emil Gilels, piano
*****************************************************

From Wikipedia, the free encyclopedia

The Symphonic Etudes (French: Études Symphoniques), Op. 13, is a set of études for solo piano by Robert Schumann. It began in 1834 as a theme and sixteen variations on a theme by Baron von Fricken, plus a further variation on an entirely different theme by Heinrich Marschner.

Composition

The first edition in 1837 carried an annotation that the tune was “the composition of an amateur”: this referred to the origin of the theme, which had been sent to Schumann by Baron von Fricken, guardian of Ernestine von Fricken, the Estrella of his Carnaval Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Études symphoniques (as in that of many other works of Schumann’s).^[1]

Of the sixteen variations Schumann composed on Fricken’s theme, only eleven were published by him. (An early version, completed between 1834 and January 1835, contained twelve movements). The final, twelfth, published étude was a variation on the theme from the Romance Du stolzes England freue dich (Proud England, rejoice!), from Heinrich Marschner‘s opera Der Templer und die Jüdin, which was based on Sir Walter Scott‘s Ivanhoe (as a tribute to Schumann’s English friend, William Sterndale Bennett). The earlier Fricken theme occasionally appears briefly during this étude. The work was first published in 1837 as XII Études Symphoniques. Only nine of the twelve études were specifically designated as variations. The sequence was as follows:

• Theme – Andante
• Etude I (Variation 1) – Un poco più vivo
• Etude II (Variation 2) – Andante
• Etude III – Vivace
• Etude IV (Variation 3) – Allegro marcato
• Etude V (Variation 4) – Scherzando
• Etude VI (Variation 5) – Agitato
• Etude VII (Variation 6) – Allegro molto
• Etude VIII (Variation 7) – Sempre marcatissimo
• Etude IX – Presto possibile
• Etude X (Variation 8) – Allegro con energia
• Etude XI (Variation 9) – Andante espressivo
• Etude XII (Finale) – Allegro brillante (based on Marschner’s theme).

Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. ‘Florestan and Eusebius’ then signed the Davidsbündlertänze, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.

Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Études symphoniques became Études en forme de variations, two etudes (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.

The entire work was dedicated to Schumann’s English friend, the pianist and composer William Sterndale Bennett. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara not to play it.

Later publication history

In 1861, five years after Schumann’s death, his father-in-law Friedrich Wieck published a third edition under the editorial pseudonym “DAS” (an acronym for Der alte Schulmeister). This edition attempted to reconcile the differences between the earlier two, and bore both the previous titles XII Études Symphoniques and Études en forme de variations.

On republishing the set in 1890, Johannes Brahms restored the five variations that had been cut by Schumann. These are now often played, but in positions within the cycle that vary somewhat with each performance; there are now twelve variations and these five so-called “posthumous” variations which exist as a supplement.

The five posthumously published sections (all based on Fricken’s theme) are:

• Variation I – Andante, Tempo del tema
• Variation II – Meno mosso
• Variation III – Allegro
• Variation IV – Allegretto
• Variation V – Moderato.

Orchestrations

Two sections, including the Allegro brillante, were orchestrated by Tchaikovsky, and have been recorded.^[3]

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Béla Bartók – Rhapsody No.1 for Violin and Orchestra: make music part of your life series

Béla Bartók – Rhapsody No.1 for Violin and Orchestra

  Violetta CC

Béla Bartók Rhapsody No.1 for Violin and Orchestra, performed by Mircea Calin with Mihail Jora Philharmonic Orchestra – Bacau, Romania.

Bartok Roumanian Dances played by Rosemary Thomas (make music part of your life series)

Bartok Roumanian Dances played by Rosemary Thomas

Bartok Roumanian Dances Jocuri Poporale Romanesti by Bela Bartok
1. Jocul cu bata – Der Tanz mit dem Stabe
2. Braul
3. Pe Loc -Der Stampfe
4. Buciumeana -Tanz aus Butschum
5. Poarga ”romanesca“- Romanische “Polka”
6. Manuntelul- Schnell-Tanz

Recorded by Rosemary Thomas Welsh pianist with Roland CD 2 CD recorder and Yamaha piano on 9/01/2012 at home in Tredegar , Gwent U.K

 

David Oistrakh plays Kodaly Three Hungarian Dances 1954 (great compositions/performances)

David Oistrakh plays Kodaly Three Hungarian Dances 1954

David Oistrakh (1908-1974), Russian violinist

Zoltan Kodaly (1882-1967)
Drei Ungarische Tanze (Three Hungarian Dances)

Naum Walter, piano

Recorded in 1954

Great Compositions/Performances: Béla Bartók – Román népi táncok / Dansuri populare românești / Rumanian Folk Dances

Béla Bartók (1881-1945), Magyarország / Hongrie

– Román népi táncok, Sz. 56, BB 68
– Dansuri populare românești
– Rumanian Folk Dances

GHEORGHE ZAMFIR, nai / pán-pipe / panflute
Studio Orchestra
Tony Britten

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Great Compositions/Performances: Ottorino Respighi Ancient Airs and Dances, Suite I. Complete

Great Compositions/Performances:  
Ottorino Respighi Ancient Airs and Dances, Suite I. 
Boston Symphony Orchestra, Seiji Ozawa Conducting

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Romanian Folk Dances – Bela Bartok (orchestral version)

Tom Van den Eynde conducting the Chamber Orchestra Mechelen in the Romanian Folk Dances of Bela Bartok (Jocul Cu Bâta, Brâul, Pe Loc, Buciumeana, Poarga Româneascâ & Mâruntel). 
Live recording 2 october 2011 Culturel Center Mechelen.

The belgian born conductor Tom Van den Eynde (1980) studied classical guitar, violin, piano, harmony and counterpoint at the Conservatory of Mechelen. When he was fifteen he started taking private conducting lessons with Silveer Van den broeck. 
At the age of eighteen, he went to the Netherlands (Maastricht & Rotterdam) to continue his musical studies : orchestral conducting with Sir Jan Stulen and classical guitar with Cees Dirkx. After three years, he finished his guitar studies as a teaching and performing musician. 

In June 2000, he conducted the Dutch première of Previns « Concerto for guitar and orchestra ». In September 2000, he also assisted his present teacher Jan Stulen in « Le jongleur the Notre-Dame », a church opera of Peter Maxwell Davies which was broadcasted by the Dutch radio and television. 

Tom joined in July 2001 the Wiener Meisterkurse with Sir Salvador Mas Conde. There he was one of the few applicants to conduct the Plovdiv Philharmonic Orchestra (Bulgaria) at the final concert in Vienna. 

One year later, he conducted the Orquestra Sinfónica del Vallès in Barcelona during the International Conducting Course Igualada with maestro Antoni Ros Marba (July 2002). 

In August 2002, Tom made his debut with the Brabant Orchestra (Eindhoven, the Netherlands) conducting the Franck Symphony during the final concert of a masterclass with maestro Marc Soustrot. A year later, he conducted this orchestra for a second time in a Beethoven program. 

Tom also have been conducting the Dutch Promenade Orchestra (Amsterdam) in concert for several times. 

From 1998 till 2003, Tom was serving as assistant-conductor of the Flemish Symphony Orchestra. In November 2003, he finished his conducting studies at the Conservatory of Maastricht by conducting the University Orchestra of Louvain (Belgium) in “Harold in Italy” (Berlioz) and Symphony n°9 “From the New World” (Dvorak). 

In april 2004 he founded the Mechels Chamber Orchestra. It is a semi-professional orchestra of 35 musicians. In a short time, Tom raised this orchestra into a high level. Many international soloists as André De Groote (piano), Luc Tooten (cello), Marc Tooten (viola), Olsi Leka (cello), Jean-Luc Votano (clarinet), etc, have been working together with the orchestra and praised the orchestra for their enthousiasm and precise playing. 

In august 2007 Tom made his first CD recording in Slovak Republic. Together with guitarist Wim Brioen and recording engineer Jaroslav Stranavksi (Brilliant Classics), he made a recording of three excellent flemish guitar concerto’s. For this opportunity, Tom conducted the Slovak State Chamber Orchestra of Zilina.

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Bartók: Hungarian Sketches (Reiner / Chicago Symphony)

Bartók: Hungarian Sketches
0:00 I. An Evening in the Village
2:45 II. Bear Dance
4:27 III. Melody
6:32 IV. Slightly Tipsy
8:51 V. Swineherd’s Dance
Reiner / Chicago Symphony

 

Bela Bartok and Joseph Szigeti play Beethoven Kreutzer Sonata (1/3)

LIVE 1940