Kozeluh: Concerto For Oboe And Orchestra In F Major

Kozeluh: Concerto For Oboe And Orchestra In F Major – 1. Vivace

#AlbrechtMayer

Published on Jul 2, 2015

Movements:

1. Vivace

2. Adagio

3. Rondo Allegretto

Provided to YouTube by Universal Music Group International

Kozeluh: Concerto For Oboe And Orchestra In F Major – 1. Vivace · Albrecht Mayer · Kammerakademie Potsdam

Lost And Found – Oboenkonzerte des 18. Jahrhunderts von Hoffmeister, Lebrun, Fiala und Koželuh

℗ 2014 Deutschlandradio / Deutsche Grammophon GmbH, Berlin

Released on: 2014-01-01

Composer: Jan Antonín Kozeluh

Historic musical bits: Bedřich Smetana : “Die Moldau” / Karajan / Vienna Philharmonic

 Bedřich Smetana : “Die Moldau” / Karajan / Vienna Philharmonic

Michel R.

Uploaded on Sep 19, 2010

Bedřich Smetana “Die Moldau” conducted by Herbert von Karajan (with the Vienna Philharmonic) (1985)

• Music

  • “Smetana: The Moldau (From Má Vlast)” by Herbert von Karajan (AmazonMP3)

quotation: George Eliot

 

Failure after long perseverance is much grander than never to have a striving good enough to be called a failure.

George Eliot (1819-1880) Discuss

quotation: George Eliot

Perhaps the most delightful friendships are those in which there is much agreement, much disputation, and yet more personal liking.

George Eliot (1819-1880) Discuss

great compositions/performances: Claudio Abbado “Overture “The Fair Melusina” Mendelssohn

Claudio Abbado “Overture “The Fair Melusina” Mendelssohn

Addiobelpassato

Published on Jan 26, 2014

Overture “Zum Märchen von der schönen Melusine“,
op 32 by Felix Mendelssohn
London Symphony Orchestra
Claudio Abbado, conductor

• Music

  • “”Mendelssohn: Overture “”The Fair Melusine””, MWV P12, Op.32 – Allegro con moto”” by Claudio Abbado and London Symphony Orchestra (AmazonMP3)

Tale of Tsar Saltan Suite, Op. 57: III. The three wonders

 

Tale of Tsar Saltan Suite, Op. 57: III. The three wonders

Various Artists – Topic

Published on Apr 11, 2014

Tale of Tsar Saltan Suite, Op. 57: III. The three wonders

Berlin Radio Symphony Orchestra

℗ 1997 Capriccio

Released on: 1997-01-01

Conductor: Michail Jurowski
Orchestra: Berlin Radio Symphony Orchestra
Composer: Nikolay Andreyevich Rimsky-Korsakov

 

 

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

fritz51268

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

Uploaded on Jan 5, 2009

Andre Rieu – The Emperor Waltz (Kaiserwalzer) 2008

Johann Strauss, Kaiser Walzer, op.437

Kaiser-Walzer op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The famous waltz was originally titled ‘Hand in Hand’ and was intended as a toast made in August of that year by Austrian emperor Franz Josef on the occasion of his visit to the German Kaiser Wilhelm II where it was symbolic as a ‘toast of friendship’ extended by Austria to Germany.

this day in the yesteryear: Hitler Commits Suicide (1945)

Hitler Commits Suicide (1945)

In the final days of World War II, as the Red Army of the Soviet Union was closing in on his underground bunker in Berlin, Nazi leader Adolf Hitler committed suicide by shooting himself while simultaneously biting into a cyanide capsule. Hitler’s body and that of Eva Braun—his mistress whom he had wed the day before—were then placed in a bomb crater, doused with gasoline, and set on fire by German officials. How did Soviet soldiers identify Hitler’s remains? More… Discuss

Related articles

• Adolf Hitler suicide 70 years on: what became of Nazi leader’s bunker
• Diary April 30, 1945

this day in the yesteryear: The Elektromote Is Tested (1882) Ernst Werner von Siemens

 

 

The Elektromote Is Tested (1882)

Ernst Werner von Siemens demonstrated his Elektromote, the world’s first trolleybus, on a

Werner von Siemens Español: Werner von Siemens Français : Werner von Siemens Magyar: Werner von Siemens Italiano: Werner von Siemens ‪Norsk (bokmål)‬: Werner von Siemens Português: Ernst Werner von Siemens (Photo credit: Wikipedia)

591-yard (540-m) test track in a suburb of Berlin, Germany. The trolleybus was a converted four-wheel coach equipped with two electric motors. Electric power was transmitted to the coach via a flexible cable from a small, eight-wheeled “contact car” running on the power lines above. How long was the Elektromote in operation? More… Discuss

 

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• April 29 in history
• This Day In History – April 29 (Rodney King Riots, Willie Nelson, Mick Ronson, David Icke, Cheney, Bush “testify” 9/11 Commission, US Leaves Vietnam, ‘Yellow journalism’…..)

Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim, great compositions/performances

© Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim (whole concert)

mugge62

Published on Mar 16, 2012

Beethoven’s 5th Piano concert (Emperor) – Daniel Barenboim
Det kongelige kapel – Michael Schønvandt i Danmarks Radio Koncerthuset 2009 ved prisoverrækkelsen af Sonningprisen 2009 på 600,000 DKK ~ 125.000 US$ ~ The Sonning Prize Award! The copyright © owner to all content in this video with The Royal Orchestra & Daniel Barenboim conducted by Michael Schønwandt, is entirely Danmarks Radio!
Also listen to Barenboims version of Noctune op. 27 no 2 by Chopin: http://www.youtube.com//watch?v=7EcER..
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Piano Concerto No. 5 (Beethoven)

From Wikipedia, the free encyclopedia
The Piano Concerto No. 5 in E-flat major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven’s patron and pupil. The first performance took place on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider.^[1][2] On 12 February 1812, Carl Czerny, another student of Beethoven’s, gave the Vienna debut of this work.

The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer, the English publisher of the concerto.^[3] Its duration is approximately forty minutes.

Instrumentation

The concerto is scored for a solo piano, two flutes, two oboes, two clarinets in B-flat (clarinet I playing clarinet in A in movement 2; flute II, oboe II, clarinet II, both trumpets, and timpani are tacet during this movement), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings.

Movements

The concerto is divided into three movements:

1. Allegro in E-flat major
2. Adagio un poco mosso in B major
3. Rondo: Allegro ma non troppo in E-flat major

As with Beethoven’s other concertos from this time period, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements of about twenty minutes.)

Recordings

• In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood but this recording no longer exists.
• Also in the 1920s, Wilhelm Backhaus recorded the 4th and 5th concertos very successfully. He would later record all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in stereo.
• In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra.
• Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
• Josef Hoffmann recorded it with the Chicago Symphony Orchestra, conducted by Hans Lange on May 12, 1940.
• Arthur Rubinstein recorded it three times, with Josef Krips, Erich Leinsdorf, and Daniel Barenboim.
• Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944, apparently the earliest surviving such recording, for German radio.
• Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra.
• Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
• Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic; in 1953 with Eugene Ormandy and the Philadelphia Orchestra; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa.
• Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic. The performance was filmed and released on DVD.
• Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
• Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis, first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden.
• Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations.
• Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon. First with Karl Böhm and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic.
• Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
• Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek.
• Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink, 1988.

 

Beethoven piano sonata no. 18, op. 31, in E flat major, Piano: Wilhelm Kempff , great compositions/performances

Beethoven piano sonata no. 18 op. 31 in E flat major

BLOP888

Piano: Wilhelm Kempff
The Piano Sonata No. 18 in E-flat major, Op. 31, No. 3, is a sonata for solo piano by Ludwig van Beethoven, the third and last of his Op. 31 piano sonatas. The work dates from 1802. A playful jocularity is maintained throughout the piece, earning it the occasional nickname of The Hunt, although like many of Beethoven’s early works, the ‘jocular’ style can be heard as a facade, concealing profound ideas and depths of emotion.
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• Music

  • “Piano sonata No. 18 in E Flat Major Op. 31 No. 1: III. Menuetto – moderato e grazioso” by Wilhelm Kempff (Google Play • AmazonMP3 • iTunes • eMusic)
    

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From Wikipedia, the free encyclopedia

The Piano Sonata No. 18 in E-flat major, Op. 31, No. 3, is a sonata for solo piano by Ludwig van Beethoven, the third and last of his Op. 31 piano sonatas. The work dates from 1802. A playful jocularity is maintained throughout the piece, earning it the occasional nickname of The Hunt, although like many of Beethoven’s early works, the ‘jocular’ style can be heard as a facade, concealing profound ideas and depths of emotion.

Roger Kamien has performed a Schenkerian analysis of facets of chords of the sonata.^[1]

The sonata consists of four movements:

1. Allegro: Beethoven’s progressive harmonic language is apparent from the very first chord of the piece (3rd inversion of the 11th on dominant B♭^[2]), the stability of a tonic chord in root position delayed until bar 8. The expressive harmonic colour, coupled with the changes of tempi in the introduction (1-18), creates an evocative opening, reminiscent of the improvisatory style of C. P. E. Bach‘s piano sonatas. This opening cell is repeated extensively throughout the movement – at the start of the development (89), in the recapitulation (137), and also during the coda (transposed into the subdominant (220), and then at its original pitch (237)). The codetta (33-45) explores this opening chord in a minor variation (with a C flat, implying ii7 of E♭ minor), even appearing in bar 36 in the exact spacing (albeit with different spelling) of the ‘Tristan chord‘, written by Richard Wagner some 55 years later.
2. Scherzo. Allegretto vivace: This scherzo is different from regular scherzos, as it is written in 2/4 time as opposed to 3/4, and because it is in sonata form. However, its still contains many characteristics of a scherzo, including unexpected pauses and a playful nature. The theme is in the right hand while the left-hand contains staccato accompaniment. This wasn’t the first time Beethoven wrote a scherzo that wasn’t in ternary form; the scherzo in the Op. 14, No. 2 sonata has a scherzo as its third movement, which is in rondo form.
3. Menuetto. Moderato e grazioso: It is surprisingly the most serious of the movements, with a sweet and tender nature presented in the piece, with both the minuet and the trio presented in E flat major.
4. Presto con fuoco: A very vigorous and rolling piece, suspended by continuous, rollicking eighth notes in the bass.

The form of the sonata is unusual because it does not have a slow movement, which is instead replaced with a scherzo and followed by a minuet, before launching into the spirited finale.

Adaptations

• Camille Saint-Saëns used the Trio section of the Menuetto as the theme for his 1874 Variations sur un thème de Beethoven, Op. 35, for two pianos.

References

• Kamien, Roger (Summer 1998). “Non-Tonic Settings of the Primary Tone in Beethoven Piano Sonatas”. The Journal of Musicology 16 (3): 379–393. doi:10.1525/jm.1998.16.3.03a00060. JSTOR 199822

2. Harding, Henry Alfred (1901). Analysis of form in Beethoven’s sonatas. Novello. p. 37.

External links

• A lecture by András Schiff on Beethoven’s piano sonata op. 31 no. 3
• For a public domain recording of this sonata visit Musopen
• Piano Sonata No. 18: Free scores at the International Music Score Library Project

Beethoven: String Quartet No. 2 in G Major, Live in The Greene Space , great compositions/performances

Beethoven: String Quartet No. 2 in G Major, Live in The Greene Space

The Greene Space at WNYC & WQXR

Published on Dec 4, 2012

http://www.thegreenespace.org

The Attacca Quartet performs the Quartet No. 2 in G Major, Op. 18, No 2

WQXR presented the Beethoven String Quartet Marathon on November 18th, 2012. Part of the Beethoven awareness month, all of Beethoven’s string quartets performed in a special marathon at The Jerome L. Greene Performance Space.

The Orion Quartet, the Afiara Quartet, the Amphion Quartet, the Attacca Quartet, the Jasper Quartet and other notable Beethoven interpreters performed.

The String Quartet No. 14 in C-sharp minor, opus 131, by Ludwig van Beethoven was completed in 1826. (The number traditionally assigned to it is based on the order of its publication; it is actually his fifteenth quartet by order of composition.) About 40 minutes in length, it consists of seven movements to be played without a break, as follows: 1. Adagio ma non troppo e molto espressivo
2. Allegro molto vivace
3. Allegro moderato
4. Andante ma non troppo e molto cantabile — Più mosso — Andante moderato e lusinghiero — Adagio — Allegretto — Adagio, ma non troppo e semplice — Allegretto
5. Presto
6. Adagio quasi un poco andante
7. Allegro

This work, which is dedicated to Baron Joseph von Stutterheim, was Beethoven’s favourite from the late quartets. He is quoted as remarking to a friend: “thank God there is less lack of imagination than ever before”[citation needed]. Together with the quartets op. 130 and 132, it goes beyond anything Beethoven had previously written. (Op. 131 is the conclusion of that trio of great works, written in the order 132, 130 with the Grosse Fugue ending, 131; they may be profitably listened to and studied in that sequence.) It is said that upon listening to a performance of this quartet, Schubert remarked, “After this, what is left for us to write?”

W. A. Mozart – Missa Solemnis C major KV 337 ,great compositions/performances

W. A. Mozart – Missa Solemnis in 

C major,  KV 337

Przemysław Zalewski

Jerzy Salwarowski – Dyrygent

Orkiestra Symfoniczna UMFC Wydziału Instrumentalno-Pedagogicznego w Białymstoku
Chór kierunku Edukacji artystycznej w zakresie sztuki muzycznej

Hanna Różankiewicz – sopran
Paulina Malinowska – mezzosopran
Paweł Cichoński – tenor
Maciej Falkiewicz – baryton

26 lutego 2013
Sala koncertowa OiFP, ul. Podlesna 2

http://www.chopin.man.bialystok.pl
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From Wikipedia, the free encyclopedia

The Missa solemnis in C major by Wolfgang Amadeus Mozart, K. 337, was written in 1780 for Salzburg.^[1] It was Mozart’s last complete mass.^[2] The mass is scored for soloists, choir, 2 oboes,^[3] 2 bassoons, 2 trumpets, 3 trombones,^[4] strings (without violas^[5]) and organ, the latter supplying figured bass for most of the duration.

The Sanctus recalls features of the Kyrie, and also has a violin figure Mozart used again in Idomeneo.^[6] The Benedictus is peculiar for Mozart’s mass settings in that it is an austere fugue in an archaic style.

Fragmentary first Credo setting and its completion

The autograph of the mass features an alternative setting of the Credo. This setting has a length of 136 measures and abruptly ends after the words “cuius regni non erit finis”.^[8] It is not clear why Mozart stopped work on this setting and instead began work on the second – and complete – setting of the Credo on the next page of the autograph, but this may be due to the fact that Mozart had forgotten to set the words “sub Pontio Pilato” to music in the first draft. In the years 1989 and 2003 Dr Murl Sickbert completed the fragment; in 2006 it was performed at Hardin–Simmons University, Texas.^[9]

See also

• Missa solemnis by Ludwig van Beethoven
• Missa solemnis by Anton Bruckner

Related articles

• today’s birthday: Wolfgang Amadeus Mozart (1756)

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.

today’s birthday: Hugo Junkers (1859)

Hugo Junkers (1859)

Junkers was a pioneering German engineer who held many patents for his original developments in the fields of gas engine and aircraft design. He had innovative ideas about metal airplanes and flying wings, and he put them to the test—somewhat ironically, as he was purportedly a pacifist—developing warplanes for World War I. In the lead-up to World War II, the Nazis stripped Junkers of control of his company and sentenced him to house arrest. He died soon after. What was the “Sheetmetal Donkey”? More… Discuss

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
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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.

“VEGHEAȚI SĂ NU MI SE PIARDĂ CÂNTECELE”: Ion Voicu – Balada de Ciprian Porumbescu (Ballad for violin and orchestra), great compositions/performances

Ion Voicu – Balada de Ciprian Porumbescu (Ballad for violin and orchestra)

LiaVoinea

 

Uploaded on May 3, 2011/221,361 views

“VEGHEAȚI SĂ NU MI SE PIARDĂ CÂNTECELE”

Ciprian Porumbescu (Photo credit: Wikipedia)

O amintire relatată de, Mărioara Porumbescu, sora poetului, compozitorului și teologului român Ciprian Porumbescu:
“Cu vreo două zile înaintea morții, a venit fratele Ștefan. Sărmanul Ciprian s-a bucurat mult văzându-ne pe toți în juru-i. Luni seara am cinat împreună, iar Ciprian a glumit cu Ștefan, apoi a adormit. Eu stăteam, ca întotdeauna, lângă el. Pe la 12 noaptea se trezește și zice: «Măriorică, mi-e foarte rău. Să vină toți la mine. Să știți că la două ceasuri sunt mort». Apoi și-a luat rămas bun de la toți, cu vocea limpede și cu privirea clară și frumoasă. Ultimele sale cuvinte au fost: «Tătuță, Măriorică, vegheați să nu mi se piardă cântecele. Ele trebuie să trăiască căci eu, iată, mă sting. Le las în dar neamului meu». Picioarele i se răciseră, dar el era încă conștient. Însă, încet a adormit ca un sfânt.”
Și astfel, pe 6 iunie 1883, se stingea din viață, la doar 29 de ani, Ciprian Porumbescu…
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Ion Voicu (October 8, 1923–February 24, 1997) was a Romanian violinist and orchestral conductor.

Hundreds of excellent concerts all over the world have brought out in bold relief Ion Voicu’s brilliancy as a Romanian violinist of international reputation, one of the greatest masters of our time.

He was born in Bucharest where he started his musical training when only six years old, with 200 years of musical tradition in his background.
A child prodigy, he was admitted at the Bucharest Royal Academy of music and completed its seven years course in only two years as a pupil of the renowned Romanian professor George Enacovitch. Later on Ion Voicu polished his art under the guidance of such celebrated violin masters namely George Enesco and David Oistrakh.Ph.D. at the Tchaikovski Conservatory.

Ion Voicu have given in a fifty five years period of his career, thousands of concerts all over the world: Paris, New York, London, Rome, Vienna, Tokyo, Berlin, Stockholm, a.s.o. His annual tours have gained him enthusiastic acclaims everywhere, as respected critics attest … “Ion Voicu has magic in his fingers and his bow”, “He has poet’s mind and skill of a hand that makes one think of a conjurer”, “Zauberer auf Saiten”, “Beifallstürme für Ion Voicu”, “Ein Teufelsgeiger”, “Sa technique est éblouissante et sa sonorité charmeuse”, “Il est parmi les élus”, “Ion Voicu se situe sur le plan des plus grands maîtres du violon”, “He is one of the greatest violinists”, “A lesson of violinistic art”, “Un grand soir avec Ion Voicu”, “Voicu kann man zweifellos zu den besten Geigern zählen”, “A star of international musical life”, “Ion Voicu gehört neben Zino Francescatti zu den grössten”, “Il se place aux premiers rangs des violonistes du monde entier”, “Le concert inoubliable de Ion Voicou”, “Voicu ist in der Reihe der hervorragendsten Künstler”, “He was triumphal!”.

More than 100 records LP and CD he has produced, including those by DECCA House and Deutsche Gramophone, have aided in his world fame. His repertoire rang from forgotten masterpieces of the past to new works written for him by Romanian and foreign contemporary composers.

Ion Voicu has played with such prestigious orchestras as BERLINER PHILHARMONIKER, LONDON SYMPHONY ORCHESTRA, he played under the baton of great conductors such as Sir Barbirolli, Paul Kleski, Antal Dorati, André Cluytens, Sir John Pritchard, van Oterloo … concerts broadcasted and telecasted by BBC-London, ABS-New York, NHK-Tokyo, RTV-Belge, Moscow, Ankara, Stockholm, a.s.o. He played concerts with Yehudi Menuhin, David Oistrakh, Henryk Szeryng, Leonid Kogan, Igor Oistrakh and others, played sonatas with Cristoph Eschenbach, Hepzibach Menuhin, Monique Haas, a.s.o.

His teaching activities goes from private instructor to “Master Classes” taught at the “International Mozarteum Academy” in Salzburg, Conservatoires de Paris, Nice, Genéve, Lausanne, Vienna, International Menuhin Academy, to name some of them. Quite often prof.dr.Ion Voicu is appointed for Vice-President at the Tchaikovsky International Competition and a jury member of Bach International Contest, Carl Flesch Competition in London, Sibelius International Competition, Folkstone Menuhin Competition, to name a few.

Ion Voicu has contributed to the musical world in many ways. His contribution to raise the prestige and quality of “George Enescu Philharmony” in Bucharest, where he has been General Director for ten years, is attested. He created the “Bucharest Chamber Orchestra” since 1969, which is well known in all Europe and was present at important international festivals. Now his son Madalin Voicu conducts it.

http://www.elady.ro/articole/Personal…

from Life Noggin: A BRIEF YEAR IN REVIEW OF 2014 (you wanna make time to watch this video!)

A BRIEF YEAR IN REVIEW OF 2014

Life Noggin

Published on Dec 30, 2014/6036 views

Help us grow! Share this video with one click to Facebook (http://m301.me/1JZU68V) and Twitter (http://ctt.ec/a4sQM).

Can you believe it’s the end of the year already?! So many things have happened this year and this video is just scratching the surface. Here is 2014 in review.

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Liszt Chasse-neige Transcedental Etude #12, Valentina Lisitsa:, great compositions/performances

Liszt Chasse-neige Transcedental Etude #12 Valentina Lisitsa

   ValentinaLisitsa

Liszt has chosen a fitting title- “Chasse-neige” – for his brooding “finale” of 12 Transcendental Etudes. While today this word in French means totally different things ( I had quite amusing conversations with native French speakers about it and i am sure there will be heated arguments here too:)) – it is associated with skiing and actually can mean “a snowplower”, Liszt had other things in mind.
Loosely translated as “Snowstorm”, “Blizzard”, “метель” in Russian – this is a truthful depiction of one of the most fearsome expressions of Mother Nature powers. If anyone could paint with notes, Liszt certainly did. We can literally see and hear the ominous lead-black clouds, snow being driven horizontally by fierce howling winds, everything disappearing under a thick shroud of white snow, muffled cries of help from faceless victims… Even today, with all our modern technology, we are helpless in a face of nature’s fury. Our roads close, our planes unable to fly, our phones do not work, our lights and heat go off…
Thus, an average human being, living a pampered life with indoor plumbing in New York City of 21st century turns out to be just as helpless and vulnerable as our ancestors on villages of middle ages. And the whole “civilization” facade melts away under few dozen inches of rising water or couple of feet of snow. A sobering thought.

more from Valentina Lisitsa HERE , HERE

Sviatoslav Richter – Strauss – Burleske in D minor (1961),: great compositions/performances

Sviatoslav Richter – Strauss – Burleske in D minor

  Classical Vault 1

Richard Strauss
Burleske in D minorSviatoslav Richter, piano*** USSR State Symphony Orchestra
*** Gennady Rozhdestvensky, conductor

Recorded live, December 1961

A spike in my stats (#euzicasa): Multumesc de vizita: mumai bine va doresc la toti…

Multumesc de vizita: mumai bine va doresc la toti…Daca ni vreti sa faceti nici o resolutie de Anul Nou…mai bine sa pivim problema mancarii prin ochii unui personaj care are nevoie de garderoba noua…2 numere mai mari! 🙂

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

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

doramas67

J.S. Bach – Concierto de Brandenburgo Nº 6 en Si bemol mayor BWV 1051

Note: translated by Google Translator: you should try it when you don’t know the original language, or you can learn the language but…it sure will take much more time!

****************************************************************

Members of Los Angeles Philarmonic Orchestra
Pinchas Zukerman

00:00 I.Moderato

Ma non tanto 6:48 II.Adagio (in E flat major)

12:00 III.Allegro

The sixth and final concert claims instrumentation that might seem archaic: 2 violas, 2 violas da gamba, cello and continuo. No violins, Bach explores here sounds serious, confident solo violas and cello part, and leaving the accompaniment of violas da gamba, an instrument whose warmth of timbre (the closest to the human voice) Bach felt great predilection.

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Today’s holiday: St. Barbara’s Day

St. Barbara’s Day

Scholars doubt that St. Barbara existed as more than a legend that emerged during the 2nd century. In parts of France, Germany, and Syria, St. Barbara’s Day is considered the beginning of the Christmas season. In southern France, it is customary to set out dishes holding grains of wheat soaked in water on sunny window sills. If the “St. Barbara’s grain” grows quickly, it means a good year for crops. There is a similar custom in Germany and the Czech and Slovak republics with cherry branches. In Syria, St. Barbara’s Day is for feasting and bringing food to the poor. More… Discuss

Beethoven – Trio for Piano, Flute and Bassoon in G, WoO 37: great compositions/performances

Beethoven – Trio for Piano, Flute and Bassoon in G, WoO 37

Classical Music11

Published on Nov 23, 2014

Trio for Piano, Flute and Bassoon in G, WoO 37. Composed by Beethoven in 1786.

Daniel Barenboim: Piano
Michel Debost: Flute
André Sennedat: Bassoon
Year of recording:1980

The Trio is in three movements:
0:00 Allegro
11:07 Adagio
17:07 Tema andante con variazioni

Visit the following link for more music by Beethoven:

http://www.lvbeethoven.com/Cedes/TheCds_ChamberMusic_Flute.html

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A Thanksgiving Present for all my friends #euzicasa: Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philharmonic

Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philarmonic

  Canal de Josep489

Uploaded on Sep 21, 2011

Great presentation of the Great Wiener Philharmoniker conducted by Herbert von Karajan, playing the 9th Symphony of Antonin Dvorak “From the new world”.

Gran presentación de la Filarmónica de Viena conducida por Herbert von Karajan, interpretando la novena sinfonía de Antonin Dvorak “Sinfonía del Nuevo Mundo”.

(C) Telemonde 1992, UMG and all their respective owners. No commercial use of this material.

(0:37) 1st mvt (Adagio, Allegro Molto)
(10:42) 2nd mvt (Largo)
(23:30) 3rd mvt (Scherzo, Molto Vivace)
(32:07) 4rth mvt (Allegro con fuoco)

Antonín Dvořák Symphony No 8 [No 4] G major Karajan Wiener Philarmoniker: great compositions/performances

Antonín Dvořák Symphony No 8 [No 4] G major Karajan Wiener Philarmoniker

   La Casa di Davide

Published on Feb 21, 2014

Antonín Dvořák Symphony No 8 (ex No 4) in G major
Herbert von Karajan conducts Wiener Philarmoniker

Movements:

1.  Allegro con brio (G major)
2. Adagio (C minor) 9:50
3. Allegretto grazioso — Molto vivace (G minor) 21:20
4. Allegro ma non troppo (G major) 27:06

Eric Kleiber – Dvořák: The Wild Dove (Holoubek), Op 110, Wedding Dance: great compositions/performances

Eric Kleiber – Dvořák: The Wild Dove (Holoubek), Op 110, Wedding Dance

2ndviolinist

Recorded in 1931. Berlin Philharmonic Orchestra

Thanks to Neal for allowing me to use his excellent transfers. You can find this and many other wonderful selections and information at his website: http://nealshistorical.wordpress.com/

The Wild Dove (also known as The Wood Dove; Czech: Holoubek), Op. 110, B. 198 (1896), is the fourth orchestral poem composed by the Czech composer, Antonín Dvořák. Composed in October and November 1896, with a revision in January 1897, the premiere was given on 20 March 1898 in Brno under the baton of Leoš Janáček. The story is taken from the poem of the same name from Kytice, a collection of ballads by Karel Jaromír Erben. The four musical scenes describe the story of a woman who poisoned her husband and married another man shortly afterwards. A wild dove then sits on the grave of her dead husband and sings a sad song day after day. The wife feels guilty and commits suicide at the end by jumping and drowning in a river.

Erich Kleiber, 1890 — 1956.
The eminent Austrian conductor, Erich Kleiber (father of Carlos Kleiber), studied at the Prague Conservarory and the University of Prague.

Erich Kleiber made his debut at the Prague National Theater in 1911; Then he conducted opera in Darmstadt (1912-1919), Barmen-Elberfeld (1919-1921), Düsseldorf (1921-1922), and Mannheim (1922-1923). In 1923 he was appointed Generalmusikdirektor of the Berlin State Opera.

Erich Kleiber’s tenure was outstanding, both for the brilliant performances of the standard repertoire and for the exciting programming of contemporary works. In December 1925 he conducted the world premiere of Alban Berg‘s Wozzeck. In 1934, in protest against the Nazi government, he resigned his post and emigrated to South America. He conducted regularly at the Teatro Colon in Buenos Aires from 1936 to 1949. Having first conducted at London’s Covent Garden in 1937, he returned there from 1950 to 1953. He then was appointed Generalmusikdirektor once more of the Berlin State Opera in 1954, but resigned in March 1955, before the opening of the season, because of difficulties with the Communist regime.

Erich Kleiber was renowned for his performances of the music of Mozart and L.v. Beethoven. He also composed; among his works are a Violin Concerto, Piano Concerto, orchestral variations, Capriccio for Orchestra, numerous chamber music works, piano pieces, and songs.

Amazing seven year old sings Gloomy Sunday/Billy Holiday (Angelina Jordan) Eng sub

MovieClips

Published on Mar 7, 2014

This was asked in an interview :
  You sing sometimes quite serious and sad lyrics. Are you thinking about it?

– Yes. I understand English quite well, because I have attended English schools since I was very small. The text of “Gloomy Sunday” is sad. When I sing it so I think it reminds others that have it sad. About kids who are hurting. Mum has also explained to me the text says Angelina.

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http://www.angelinajordanofficial.com/

Angelina Jordan (7) Norway´s got talent, Angelina singing Gloomy Sunday- Billy Holiday. Amazing voice! this video has subtittles

Norske Talenter Angelina Jordan synger Gloomy Sunday

Amazing Little Girl

Increíble siete años canta Gloomy sub Domingo / Billy Holiday (Angelina Jordania)

Erstaunlich sieben Jahre alten singt Gloomy Sunday / Billy Holiday (Angelina Jordanien) Eng Unter

驚人七歲唱憂鬱的星期天/比利假日（安吉麗娜約旦）英子

Amazing επτά χρονών τραγουδά ζοφερή Κυριακής / Billy Holiday (Angelina Jordan) υποβρύχιο Eng

Incrível sete anos canta Gloomy sub Domingo / Billy Holiday (Angelina Jordânia) Eng

アメージング7年の古いのグルーミー日曜日/ビリー·ホリデー（アンジェリーナ·ジョ­ーダン）フーを歌う

Mirum sit amet, euismod canit tetrica Dominica / Nullam Billy (Jordanis Angelina) sub Eng

Incroyable de sept ans chante Gloomy Sunday / Billie Holiday (Angelina Jordanie) Eng sous

Дивовижні семирічний співає Похмуре неділю / Біллі Холідей (Анджеліна Йорданія) англійська підводний човен

Angelina Jordan (8) Norske talenter Norway’s Got Talent 2014 HD

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this day in the yesteryear: The Berlin Wall Falls 1989 NBC Coverage Pt1

The Berlin Wall Falls 1989 NBC Coverage Pt1

TooleMan87

NBC News coverage of the fall of the Berlin Wall hosted by Tom Brokaw at the Brandenburg Gate, November 1989. Part 1 of 2. The exact date of this report is most likely November 10, 1989.

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Why Some Get SAD

Seasonal affective disorder, or SAD, is a form of depression most often experienced in winter, when exposure to sunlight is limited. Although the mechanism of the disorder is not entirely understood, researchers are closing in on its causes. Data show that people with SAD have higher evening and nighttime levels of serotonin transporter (SERT) protein during the winter months than do healthy volunteers. SERT carries serotonin, a neurotransmitter that helps regulate mood, back into nerve cells where it is not active, so these higher SERT levels could conceivably account for the “winter blues.” More… Discuss

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Antonín Dvořák – String Quartet in E flat major, Op. 51 ‘Slawisches’ |great compositions/performances

Antonín Dvořák – String Quartet in E flat major, Op. 51 ‘Slawisches’

  Wolfgang Amadé Mozart

STAMITZ QUARTET:
– Bohuslav Matousek, violin I.
– Josef Kekula, violin II.
– Jan Peruska, viola.
– Vladimir Leixner, cello.Antonín Dvořák:  String Quartet in E flat major Op. 51, ‘Slawisches’
1. Allegro ma non troppo 11’06
2. Dumka (Elegia) 8’32
3. Romanza, andante con moto 7’31
4. Finale, allegro assai 7’24

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Richard Strauss – Metamorphosen, für 23 Streicher, Staatskapelle Dresden, Rudolf Kempe (1973): make music part of your life series

Richard Strauss – Metamorphosen, für 23 Streicher, Staatskapelle Dresden, Rudolf Kempe (1973)

Leo Marillier

In Memoriam!

Story: Brandenburg Gate

Brandenburg Gate

The Brandenburg Gate is the last surviving town gate of Berlin, Germany. When completed in 1791, the lavish gate greeted visitors to the boulevard that led directly to the Prussian palace. Architect Carl G. Langhans modeled the gate after the Propylea, the gateway to the Acropolis in Athens. On top was the “Quadriga of Victory,” a statue of a chariot drawn by four horses. Heavily damaged in World War II, the gate was restored in 1957. Why was it closed in 1961, and when did it reopen? More… Discuss

Tchaikovsky-Violin Concerto in D Major Op. 35: Great compositions/performances

Tchaikovsky-Violin Concerto in D Major Op. 35 (Complete)

   Kanaal van viool7

David Oistrakh: violin-Staatskapelle Dresden-Franz Konwitchny: conductor-1954-The piece is in three movements:

1. Allegro moderato (D major)
2. Canzonetta: Andante (G minor)
3. Finale: Allegro vivacissimo (D major)

There is no break or pause between the second and third movements.
***************************************************************

From Wikipedia, the free encyclopedia:

 

The Violin Concerto in D major, Op. 35, was written by Pyotr Ilyich Tchaikovsky in 1878. It is one of the best known violin concertos, and is considered one of the most technically difficult works for the violin.

Composition

Tchaikovsky (right) with violinist Iosif Kotek

The piece was written in Clarens, a Swiss resort on the shores of Lake Geneva, where Tchaikovsky had gone to recover from the depression brought on by his disastrous marriage to Antonina Miliukova. He was working on his Piano Sonata in G major but finding it heavy going. Presently he was joined there by his composition pupil, the violinist Iosif Kotek, who had been in Berlin for violin studies with Joseph Joachim. The two played works for violin and piano together, including a violin-and-piano arrangement of Édouard Lalo‘s Symphonie espagnole, which they may have played through the day after Kotek’s arrival. This work may have been the catalyst for the composition of the concerto.^[1] He wrote to his patroness Nadezhda von Meck, “It [the Symphonie espagnole] has a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies…. He [Lalo], in the same way as Léo Delibes and Bizet, does not strive after profundity, but he carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans.”^[2] Tchaikovsky authority Dr. David Brown writes that Tchaikovsky “might almost have been writing the prescription for the violin concerto he himself was about to compose.”^[3]

Tchaikovsky made swift, steady progress on the concerto, as by this point in his rest cure he had regained his inspiration, and the work was completed within a month despite the middle movement getting a complete rewrite (a version of the original movement was preserved as the first of the three pieces for violin and piano, Souvenir d’un lieu cher).^[4] Since Tchaikovsky was not a violinist, he sought the advice of Kotek on the completion of the solo part.^[5] “How lovingly he’s busying himself with my concerto!” Tchaikovsky wrote to his brother Anatoly on the day he completed the new slow movement. “It goes without saying that I would have been able to do nothing without him. He plays it marvelously.”^[6]

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Stravinsky: Petrushka / Rattle · Berliner Philharmoniker: great compositions/performances

[embes]https://www.youtube.com/watch?v=7KOZzoSXrts[/embed]

Stravinsky: Petrushka / Rattle · Berliner Philharmoniker

   Berliner Philharmoniker

Full-length concert at http://www.digitalconcerthall.com/con…

Stravinsky: Russian Dance from Petrushka / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 10 June 2010

The Berliner Philharmoniker’s Digital Concert Hall:
http://www.digital-concert-hall.com

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Website of the Berliner Philharmoniker:
http://www.berliner-philharmoniker.de

make music part of your life series: Bach / I Musici, 1965: Brandenburg Concerto No. 4 in G Major, BWV 1049

[youtube.com/watch?v=i5EOSjV0Vkw]

Bach / I Musici, 1965: Brandenburg Concerto No. 4 in G Major, BWV 1049 

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

I. Allegro (0:01)
II. Andante (7:22)
III. Presto (11:51)

Die Brandenburgischen Konzerte sind eine Gruppe von sechs Konzerten von Johann Sebastian Bach (BWV 1046–1051). Sie sind dem Markgrafen Christian Ludwig von Brandenburg-Schwedt (1677–1734) gewidmet, den Bach im Winter 1718/1719 in Berlin kennengelernt hatte. Im September 1721 schickte er ihm die Partitur mit einer umfangreichen Widmung. Der Titel Brandenburgische Konzerte wurde von Philipp Spitta in seiner 1873–1879 entstandenen Bach-Biografie geprägt und hat sich heute allgemein durchgesetzt. Bachs Originaltitel lautet „Six Concerts Avec plusieurs Instruments”. Die sechs Konzerte weisen eine hohe stilistische und strukturelle Vielfalt auf. In ihrer Mischung der verschiedensten historischen und zukunftsweisenden Elemente bilden sie eine ganz persönliche und trotzdem allgemeingültige Ausdrucksform.

Les concertos brandebourgeois sont un ensemble de six concertos de Johann Sebastian Bach (BWV 1046 à 1051), qui comptent parmi les plus renommés qu’il ait composés. Le qualificatif de brandebourgeois est dû à Philipp Spitta qui, suivant l’usage germanique, fait référence au dédicataire, le margrave Christian Ludwig de Brandebourg.

“Los Grandes Compositores” CASSETTE #76: Albéniz – Granados – Falla : make music part of your life series

[youtube.com/watch?v=HJCLyVNZBhs]

“Los Grandes Compositores”  CASSETTE #76: Albéniz – Granados – Falla

This video is a scan of the cassette #76 of the encyclopedic collection “The Great Composers”, published in 1982 by the “Encyclopedia Salvat” in collaboration with the “Record Label Philips”.

All rights reserved copyright both Salvat and Philips.

This video has a didactic purpose only, to see if the process is correct fingering and listening acceptably. The user interaction will be helpful to learn more in the digitization process; most cassette will come in the future, I hope your feedback about it. Thank you.

Narciso Yepez en la guitarra, interpreta: [Narciso Yepez on guitar, plays:]

Isaac Albéniz:

Pista 1(track 1) – Suite española, Op. 47 #5 “Asturias” (Leyenda) [Spanish Suite, Op 47 # 5 “Asturias” (Leyenda)]

Pista 2(track 2) – Recuerdos de viaje, Op. 71 #6 “Rumores de la caleta” (Malagueña) [Souvenirs, Op 71 # 6 “Rumors of the creek” (Malagueña)]

Pista 3(track 3) – Piezas características, Op. 92 #12 “Torre Bermeja” (Serenata) [Characteristic Pieces, Op 92 # 12 “Torre Bermeja” (Serenade)]

Pista 4(track 4) – España, Op. 165 #3 “Malagueña” [Spain, Op 165 # 3 “Malagueña”]

Enrique Granados:

Pista 5(track 5) – Danza española #4 “Villanesca” [Spanish Dance # 4 “Villanesca”]

Manuel de Falla: El sombrero de tres picos, danzas: Interpretado por la Orquesta de la Radio de Berlin, dirigidos por el Sr. Lorin Maszel [The three-cornered hat, dance: Performed by the Orchestra of Radio Berlin, conducted by Mr. Lorin Maazel]

Pista 6(track 6) – Fandango

Pista 7(track 7) – Seguidillas

Pista 8(track 8) – Farruca

Pista 9(track 9) – Jota

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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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Great Compositions/Performances: Emil Gilels plays Ludwig van Beethoven’s – Piano Sonata #31 in A-Flat, Op. 110

[youtube.com/watch?v=MGUsaSZazEw]

Ludwig van Beethoven – Piano Sonata #31 in A-Flat, Op. 110

Composed in 1821.

I. Moderato cantabile molto espressivo (@ 0:00)
II. Allegro molto (@ 7:29)
III. Adagio — Fuga (@ 9:49)

Performed by Emil Gilels.
Paintings by William Blake.

From Wikipedia, the free encyclopedia

 

The Piano Sonata No. 31 in A-flat major, Op. 110, by Ludwig van Beethoven was composed in 1821. It is the central piano sonata in the group of three opp. 109–111 which he wrote between 1820 and 1822, and the thirty-first of his published piano sonatas.

The sonata is in three movements. The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.

Composition

In the summer of 1819 Moritz Schlesinger, from the Schlesinger firm of music publishers based in Berlin, met Beethoven and asked to purchase some compositions. After some negotiation by letter, and despite the publisher’s qualms about Beethoven’s retaining the rights for publication in England and Scotland, Schlesinger agreed to purchase 25 songs for 60 ducats and three piano sonatas at 90 ducats (Beethoven had originally asked 120 ducats for the sonatas). In May 1820 Beethoven agreed, the songs (op. 108) already being available, and he undertook to deliver the sonatas within three months. These three sonatas are the ones now known as opp. 109–111.

Beethoven was prevented from completing all three of the promised sonatas on schedule by factors including an attack of jaundice; Op. 109 was completed and delivered in 1820, but correspondence shows that Op. 110 was still not ready by the middle of December 1821, and the completed autograph score bears the date December 25, 1821. Presumably the sonata was delivered shortly thereafter, since Beethoven was paid the 30 ducats for this sonata in January 1822.

Form

Alfred Brendel characterizes the main themes of the sonata as all derived from the hexachord – the first six notes of the diatonic scale – and the intervals of the third and fourth that divide it. He also points out that contrary motion is a feature of much of the work, particularly prominent in the scherzo second movement.

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Legendary Performances: Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)

[youtube.com/watch?v=vk8AtH0t2BU]

 

Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)

 

Wilhelm Furtwängler conducts the Symphonies of Robert Schumann
Legendary Recordings LR002
Download this CD here- http://www.abbajustlikethat.comyr.com…
Robert Schumann – Symphony No. 4 in D minor Op. 120 (Revised 1851 version)
1. First Movement – Ziemlich langsam – Lebhaft 11:51
2. Second Movement – Romanze: Ziemlich langsam 05:20
3. Third Movement – Scherzo: Lebhaft 05:55
4. Fourth Movement – Langsam; Lebhaft 8:01
Berlin Philharmonic Orchestra conducted by Wilhelm Furtwängler
Studio Recording, Berlin, May 14, 1953

Restoration notes –

Portrait of Wilhelm Furtwängler by Emil Orlik (Photo credit: Wikipedia)

Widely considered to be the greatest recording of Schumann’s 4th symphony ever made, it is quite fortunate then that the original audio was quite good to begin with. I focused on reducing the harsh edge on the violins, trying to make them sound more natural, and giving a more rounded sound to the orchestra. The result is fantastic.

Audio Restored and Remastered by Rudolf Ondrich, 12-13 October 2012.

 

 

 

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• Great Performances: Schumann: Violin Concerto / Frank Peter Zimmermann
• Great Compositions/Performances: Schumann – Alexis Weissenberg (1967) Davidsbündlertänze, Op 6
• Furtwängler’s Beethoven on EMI
• Classical music: The Request Line is Open! Here is beautiful love music by Schumann and Schubert for my Valentine. What music would you dedicate to your Someone Special for Valentine’s Day?

Great Compositions/Performances: Franz Liszt: Liebeslied S 566 (Schumann: Widmung)

[youtube.com/watch?v=9GJfWGvQsxs]

Franz Liszt: Liebeslied S 566 (Schumann: Widmung)

Lang Lang

Berlin, April 28, 2011
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Make Music Part of Your Life Series: The Berlin Celebration Concert – Beethoven, Symphony No 9 Bernstein 1989

Published on Mar 30, 2013

Conducted by Leonard Bernstein, THE BERLIN CELEBRATION CONCERT is an historic performance marking the fall of the Berlin Wall. Performed on Christmas Day 1989 in the former East Berlin, the concert unites an international cast of celebrated musicians and vocalists for a moving performance of Beethoven’s Ninth Symphony.

Symphonieorchester des Bayerisches Rundfunks and members of Staatskapelle Dresden, Orchestra of the Leningrad Kirov Theatre, London Symphony Orchestra, New York Philharmonic and Orchestre de Paris.

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• Classical music: A new movie traces the many political and cultural uses around the world of Beethoven’s iconic Ninth Symphony.
• Bernstein, Beethoven and Berlin

 

Beethoven “12 Contredances”

12 Contredances for small Orchestra WoO 14 
by Ludwig van Beethoven
Chamber Orchestra Berlin
Helmut Koch, conductor
1970

 

Great Performances: Schumann Kinderszenen Op 15 – Valentina Lisitsa

Schumann Kinderszenen Op 15 – Valentina Lisitsa 

 

Fabulous Composers/Compositions: Schumann – Symphony No. 4 in D minor Op. 120 – Furtwängler, BPO, 1953 (Remastered 2012)

Wilhelm Furtwängler conducts the Symphonies of Robert Schumann
Legendary Recordings LR002
Download this CD here – http://www.abbajustlikethat.comyr.com…
Robert Schumann – Symphony No. 4 in D minor Op. 120 (Revised 1851 version)
1. First Movement – Ziemlich langsam – Lebhaft 11:51
2. Second Movement – Romanze: Ziemlich langsam 05:20
3. Third Movement – Scherzo: Lebhaft 05:55
4. Fourth Movement – Langsam; Lebhaft 8:01
Berlin Philharmonic Orchestra conducted by Wilhelm Furtwängler
Studio Recording, Berlin, May 14, 1953

Restoration notes –

Wilhelm Furtwängler (timbre Berlin-Ouest / Briefmarke Westberlin) (Photo credit: Wikipedia)

“Widely considered to be the greatest recording of Schumann’s 4th symphony ever made, it is quite fortunate then that the original audio was quite good to begin with. I focused on reducing the harsh edge on the violins, trying to make them sound more natural, and giving a more rounded sound to the orchestra. The result is fantastic.

Audio Restored and Remastered by Rudolf Ondrich, 12-13 October 2012.”

NEWS: COCAINE SMUGGLERS GO BANANAS

Cocaine Smugglers Go Bananas

Drug traffickers in Germany are having a very, very bad week. They managed to lose about 8.2 million dollars (6 million euros) worth of cocaine as a result of what appears to have been a “logistical error.” The drugs were smuggled into the country from Colombia in a shipment of bananas, but somehow the smugglers failed to retrieve their stash before the fruit was delivered to supermarkets. When employees at five Berlin shops went to unpack the banana cartons, they got an unexpected surprise in the form of 309 lb (140 kg) of cocaine. The drugs are now in the hands of the authorities.More… Discuss

 

Unforgettable Compositions: Claude Debussy : Claude Debussy: Children’s Corner Suite L 113 with André Caplet 1911

Claude Debussy : Children’s Corner Suite – orch. André Caplet 1911
Orchestre National de l’O.R.T.F., Jean Martinon, 1974
oboe: Jules Goetgheluk

1. Doctor Gradus ad Parnassum
2. Jimbo’s Lullaby
3. Serenade for the Doll
4. The Snow is Dancing
5. The Little Shepherd
6. Golliwogg’s Cakewalk

Achille-Claude Debussy (aʃil klod dəbysi) (22 August 1862- 25 March 1918)

Children’s Corner (L.113) is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on December 18 of that year. In 1911, an orchestration of the work by Debussy’s friend André Caplet received its première and was subsequently published.

more info: http://en.wikipedia.org/wiki/Children…
http://youtu.be/OTuZMQt6w5c

Max Bruch

Max Bruch

Max Christian Friedrich Bruch (6 January 1838 – 2 October 1920), also known as Max Karl August Bruch,^[1] was a German Romanticcomposer and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertory.

Life

Bruch was born in Cologne, Rhine Province, where he received his early musical training under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto in A minor. Bohemian composer and piano virtuoso Ignaz Moscheles recognized his aptitude.

At the age of nine he wrote his first composition, a song for his mother’s birthday. From then on music was his passion, his studies enthusiastically supported by his parents. Many small early creative works included motets, psalm settings, piano pieces, violin sonatas, a string quartet and even orchestral works like the prelude to a planned opera “Joan of Arc”. Few of these early works have survived, however.

The first music theory lesson was in 1849 in Bonn by Professor Heinrich Carl Breidenstein, a friend of his father. At this time he stayed at estate in Bergisch Gladbach, where he wrote much of his music. The farm belonged to the lawyer and notary Neissen, who lived in it with his unmarried sister. Later the estate was bought by the Zanders family who owned a large paper mill. The young Bruch was taught by his father in French and English conversation. In later years, Mary Zanders became a friend and patron.

Bruch had a long career as a teacher, conductor and composer, moving among musical posts in Germany:Mannheim (1862–1864), Koblenz (1865–1867), Sondershausen, (1867–1870), Berlin (1870–1872), and Bonn, where he spent 1873–78 working privately. At the height of his career he spent three seasons as conductor of the Liverpool Philharmonic Society (1880–83). There he met his wife, Clara Tuczek. He taught composition at the Berlin Hochschule für Musik from 1890 until his retirement in 1910. Bruch died in his house in Berlin-Friedenau in 1920.

L’ÉTOILE – Oper von Emmanuel Chabrier | Staatsoper Berlin

Premiere: 16. Mai 2010 | Staatsoper Unter den Linden | Berlin

Wiederaufnahme: 04. Dezember 2011 | Staatsoper im Schiller Theater | Berlin

http://www.staatsoper-berlin.de

 

Schubert Liszt Des Mädchens Klage “The Maiden’s Lament ” Valentina Lisitsa

One of the saddest Schubert‘s songs ever. Download on iTunes here :http://smarturl.it/LisitsaLiszt_iTu

Friedrich Schiller (1759-1805)
Der Eichwald braust, die Wolken ziehn,
Das Mägdlein sitzt an Ufers Grün,
Es bricht sich die Welle mit Macht, mit Macht,
Und sie seufzt hinaus in die finstre Nacht,
Das Auge von Weinen getrübet.
“Das Herz ist gestorben, die Welt ist leer,
Und weiter gibt sie dem Wunsche nichts mehr,
Du Heilige, rufe dein Kind zurück,
Ich habe gelebt und geliebet!”
Es rinnet der Tränen vergeblicher Lauf,
Die Klage, sie wecket die Toten nicht auf;
Doch nenne, was tröstet und heilet die rust
Nach der süßen Liebe verschwund’ner Lust,
Ich, die Himmlische, will’s nicht versagen.
“Laß rinnen der Tränen vergeblichen Lauf,
Es wecke die Klage den Toten nicht auf!
Das süßeste Glück für die trauernde Brust,
Nach der schönen Liebe verschwund’ner Lust,
Sind der Liebe Schmerzen und Klagen.”

Music score is here: http://imslp.org/wiki/Des_M%C3%A4dche…)

 

ANOTHER DAY, ANOTHER WWII-ERA BOMB IN BERLIN

The discovery of unexploded munitions from World War II remains relatively commonplace in Germany, but this does not mean such incidents are taken lightly. Old bombs can still be deadly, so great care is taken to safely and properly defuse and dispose of them. Commuters in Berlin were reminded of this fact earlier this week, after a 220-lb (100-kg) Soviet bomb was found near a set of train tracks leading to the city’s main rail station. Hundreds of people were evacuated from the area, rail and air traffic was diverted, and abomb disposal team was brought in to defuse the device—which it managed to do without incident. More… Discuss