great compositions/performances: Richard Wagner Overture from the Flying Dutchman (The Met Orchestra James Levine conducting)

Richard Wagner Overture from the Flying Dutchman

Anthony Seta

Richard Wagner Overture to the Flying Dutchman
The Met Orchestra James Levine conducting

today’s Holiday/celebration: Boston Pops Boston Pops 1812 July 4, 1976 Bicentennial (Rare footage of Arthur Fiedler and the Boston Pops)

Boston Pops 1812,  July 4, 1976 Bicentennial at Hollywood Bowl

(Rare footage of Arthur Fiedler and the Boston Pops)

tonyb21007

Boston Pops

Henry Lee Higginson, who established the Boston Symphony Orchestra in 1881, believed that “concerts of a lighter kind of music” should be presented in the summer. People began to refer fondly to these summer concerts as “the Pops,” a name which became official in 1900. The Boston Pops tailors its programs around American music and musicians, medleys of popular songs, and familiar movements of classical works. Outside of its official concert season at Symphony Hall, where it performs through May and June, the Pops also tours the United States. More… Discuss

Schumann: Études Symphoniques Op. 13 , Emil Gilels, piano

Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]

entre88teclas

Published on Jan 17, 2013

– Schumann: Études Symphoniques Op. 13 [Emil Gilels, piano]
– http://www.entre88teclas.es/atdr/robe…

 

Historic Musical Bits: Kempff plays Schubert Piano Sonata in A Major D664, great compositions/performances

Kempff plays Schubert Piano Sonata in A Major D664

EvaYoungPianist

Published on Jul 4, 2012

Franz Schubert:
Piano Sonata in A Major D664:
Mvt.I: Allegro moderato 00:00
Mvt.II: Andante 10:41
Mvt.III: Allegro 15:14

Wilhelm Kempff: piano

From Wikipedia, the free encyclopedia

 
The Piano Sonata in A major D. 664, Op. posth. 120 is a sonata for solo piano composed by Franz Schubert in the summer of 1819.

Movements

I. Allegro moderato

A major

II. Andante

D major

III. Allegro

A major

Well regarded among pianists, the “Little” A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key.^{[citation needed]} It is the shortest among Schubert’s complete sonatas.^[1] The manuscript, completed in July 1819, was dedicated to Josephine von Koller of Steyr in Upper Austria, whom he considered to be “very pretty” and “a good pianist.” The lyrical, buoyant, in spots typically poignant nature of this sonata fits the image of a young Schubert in love, living in a summery Austrian countryside, which he also considered to be “unimaginably lovely.”^[2]

The A major sonata is straightforward, with a dulcet melodic opening. It was the first of Schubert’s piano sonatas where the sonata form as perfected by his idol, Beethoven, does not seem wrestled with; rather, it is a “joyous breakthrough,” a carefree triumph over strict rules of construction.^[3]

The original manuscript to this “little” sonata has been lost.^[4]

Wilhelm Walter Friedrich Kempff:

(25 November 1895 – 23 May 1991) was a German pianist and composer. Although his repertoire included Bach, Mozart, Chopin, Schumann, Liszt and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert. He recorded the complete collection of their piano sonatas.^[1][2] He is considered to have been one of the chief exponents of the Germanic tradition during the 20th century and one of the greatest pianists of all time.^[3

Album cover for Wilhelm Kempff’s recording of Beethoven Piano Sonatas on DG 139 935 (1965), which received the Grand Prix du Disque.

Early life

Kempff was born in Jüterbog, Brandenburg, in 1895.^[1] He grew up in nearby Potsdam where his father was a royal music director and organist at St. Nicolai Church. His grandfather was also an organist and his brother Georg became director of church music at the University of Erlangen. Kempff studied music at first at the Berlin Hochschule für Musik at the age of nine after receiving lessons from his father at a younger age. Whilst there he studied composition with Robert Kahn and piano with Karl Heinrich Barth^[1] (with whom Arthur Rubinstein also studied). In 1914 Kempff moved on to study at the Viktoria gymnasium in Potsdam before returning to Berlin to finish his training.^[1]

As a pianist

In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven’s Hammerklavier Sonata and Brahms Variations on a theme of Paganini.^[1] Kempff toured widely in Europe and much of the rest of the world. Between 1936 and 1979 he performed ten times in Japan (a small Japanese island was named Kenpu-san in his honor)^{[citation needed]}. Kempff made his first London appearance in 1951 and his first in New York in 1964. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease)^{[citation needed]}. He died in Positano, Italy at the age of 95, five years after his wife, whom he had married in 1926. They were survived by five children.^[1]

Wilhelm Kempff recorded over a period of some sixty years. His recorded legacy includes works of Schumann, Brahms, Schubert, Mozart, Bach, Liszt, Chopin and particularly, of Beethoven.^[1]

 Kempff (right) with Ernest Ansermet (left) in 1965

He was among the first to record the complete sonatas of Franz Schubert, long before these works became popular. (For Schubert sonatas which were left incomplete, Kempff recorded only the completed movements and not the fragments.) He also recorded two sets of the complete Beethoven sonatas (and one early, almost complete set on shellac 1926-1945), one in mono (1951–1956) and the other in stereo (1964–1965). He recorded the complete Beethoven piano concertos twice as well, both with the Berlin Philharmonic; the first from the early 1950s in mono with Paul van Kempen, and the later in stereo from the early 1960s with Ferdinand Leitner. Kempff also recorded chamber music with Yehudi Menuhin, Pierre Fournier, Wolfgang Schneiderhan, Paul Grummer, and Henryk Szeryng, among others.

He left recordings of most of his repertory, including the complete sonatas of Beethoven and Schubert. He performed to an advanced age, concertizing past his eightieth birthday. His association with the Berlin Philharmonic spanned over sixty years.  Read more

Historic musical bits: Martha Argerich, Ravel Jeux d’eau , great compositions/performances

Martha Argerich, Ravel Jeux d’eau

Ranan Chan

Uploaded on Jun 17, 2008

originally telecast july 31,1977

Schumann: Pianotrio in g kl.t., op.110

AVROTROS Klassiek

Inon Barnatan, piano
Julian Rachlin, viool
Torleif Thedéen, cello

Schumann: Piano Trio in g minor, op.110

27 december 2010, Internationaal Kamermuziekfestival Utrecht, Vredenburg

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..
**************************************************************************

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.

 

Claude Debussy – Iberia [Fritz Reiner, Chicago Symphony Orchestra]

KeMin88

Published on Jun 18, 2014

Legendary conductor Fritz Reiner established his legacy when he assumed his directorship of the Chicago Symphony Orchestra. Reiner raised the status of the CSO that of one of the finest in the world. Although not often associated with the works of the French Impressionist composers, these performances from 1958 are considered among the finest from the Reiner/CSO era! Recorded on March 4, April 13 and April 15, 1957 at Orchestra Hall, Chicago. Musicians: Chicago Symphony Orchestra Fritz Reiner, conductor

 

Schubert – Overture in E minor, D. 648 , Prague Sinfonia, conducted by Christian Benda

Schubert – Overture in E minor, D. 648

ncmtman

Schubert wrote his Overture in E minor in 1819. It was performed in Vienna two years later, but then disappeared from public view until the publication of Schubert’s collected works in 1886. Some Schubertians regard it as a landmark work of unusual power, breaking ground that he would build on in his last two symphonies. Schubert biographer John Reed appears to disagree when he writes that it “lacks any touch of Schubertian charm. The themes are short and symphonic, rather than lyrical.” But the two opinions are reconcilable. The Overture is, in a sense, Schubert doing Beethoven: The short motifs building into longer sequences and the mounting tension and explosive climaxes all show Beethoven’s influence on the 22-year-old Schubert. At the same time, the actual construction of those sequences, with the same motif repeated at progressively higher or lower pitches, harks back to Baroque music. Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.This performance by the Prague Sinfonia, conducted by Christian Benda

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Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff , great compositions/performances

Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff

La Casa di Davide

Published on Dec 18, 2013

Franz Schubert Piano Sonata No 5 in A flat, D 557
Andras Schiff, piano
I. Allegro moderato 0:00
II. Andante 4:15
III. Allegro 7:51

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

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

Movements:

1. Vorspiel: Allegro moderato

2. Adagio

3. Finale: Allegro energico

Roberto Mastrosimone

Uploaded on Feb 18, 2011 / 387,496 views

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

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

History

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

The fate of the score

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

 Movements

The concerto is in three movements:

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

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

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

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

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

 Other Great compositions/performances at EUZICASA:
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Respighi: Ancient Airs and Dances, Suite No. 3,: great compositions/performances

Respighi: Ancient Airs and Dances, Suite No. 3

peartree336

Published on Dec 23, 2012/20,067 views

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

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

***Sir Neville Marriner
***Los Angeles Chamber Orchestra

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.

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

Horowitz plays Schumann Blumenstück (1966 live): great compositions/performances

Horowitz plays Schumann Blumenstück (1966 live)

  pianopera

Robert Schumann (1810-1856):
Blumenstück (Flower Piece) in D flat, Op. 19
Vladimir Horowitz (1903-1989), piano

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Antonín Dvořák – Symphony No. 9 in E Minor “From the New World” By Von Karajan: great compositions/performances

Antonín Dvořák – Symphony No. 9 in E Minor “From the New World” By Von Karajan

   ClassicalMusicTVHDAntonín Leopold Dvořák The Symphony No. 9 in E Minor “From the New World”, Op. 95, B. 178 Conduct Herbert von Karajan Full HD (Czech: Symfonie č. 9 e moll „Z nového světa”), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895. It is by far his most popular symphony, and one of the most popular in the modern repertoire. In older literature and recordings this symphony is often indicated as Symphony No. 5.

Movements:

1. Adagio, 4/8 — Allegro molto, 2/4, E minor
2. Largo, common time, D-flat major, then later C-sharp minor
3. Scherzo: Molto vivace — Poco sostenuto, 3/4, E minor
4. Allegro con fuoco, common time, E minor, ends in E major
Sinfonia n.º 9 (Dvořák)
A Sinfonia Nº. 9 em Mi menor Op. 95 Sinfonia do Novo Mundo
Symfonie č. 9 (Dvořák), Symfonie č.9, e-moll, op. 95 Antonína Dvořáka

Instrumentation
This symphony is scored for an orchestra of the following:
2 flutes (one doubling piccolo)
2 oboes (one doubling on English horn)
2 clarinets in A and B♭ (B♭ in movement 2)
2 bassoons
4 horns in E, C and F
2 trumpets in E, C and E♭
2 tenor trombones
bass trombone
tuba (second movement only)
timpani
triangle (third movement only)
cymbals (fourth movement only)
strings
Symphony No. 9 (Dvořák)

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Mozart: Violin Sonata in G, K. 379 (Schneider & Kirkpatrick, 1945): great compositions/performances

Mozart: Violin Sonata in G, K. 379 (Schneider & Kirkpatrick, 1945)

shellackophile

Published on Nov 8, 2012

Mozart: Sonata in G Major, K. 379
Alexander Schneider (violin)
Ralph Kirkpatrick (harpsichord)

Recorded on November 28, 1945, in New York City, on Columbia matrices XCO 35472 through XCO 35475. Issued in 1947 on Columbia 71864-D and 71865-D in Masterworks Set M-650, and in automatic sequence on Columbia 71866-D through 71869-D in Set MM-650. The same set has two other Mozart violin sonatas (K. 296, K. 378), which I have uploaded separately.

Mozart’s Sonata in G Major, K. 379, consists of three movements:

1. Adagio
2. Allegro (at 3:43)
3. Theme and Variations: Andantino cantabile (at 7:32)

The substitution of a harpsichord for the usual piano in this work was and is somewhat controversial, but seems to have been intended as a compromise, as fortepianos (the term that has come to be used for replicas of pianos of Mozart’s time) hadn’t come into general use by the 1940s. It didn’t work for contemporary music critic Irving Kolodin, who, in his “New Guide to Recorded Music” (1950), calls the harpsichord substitution “a mere excuse to conceal the obvious fact that Schneider and Kirkpatrick like to play together and have devoted themselves mainly to Bach, in which the harpsichord is, largely speaking, acceptable.”

To download a higher-quality audio file of this recording, please visit my blog, The Shellackophile – http://shellackophile.blogspot.com – where this and many other vintage recordings may be downloaded.

Piano Trio No. 4 in e minor, Op. 90 (Dumky) – Antonin Dvorak: make music part of your life series

Piano Trio No. 4 in e minor, Op. 90 (Dumky) – Antonin Dvorak

Jephta Bernstein

Off the Hook Contemporary Music Festival
Live performance
June 21, 2013
– Margaret Soper Gutierrez, violin
– Charles Tucker, cello
– Alexandra Nguyen, piano

Debussy, Printemps: Suite Symphonique. Pierre Boulez, great compositions/performances

Debussy, Printemps: Suite Symphonique. Pierre Boulez

  Pakito Palote

Debussy,
Printemps: Suite Symphonique
1. Tres Modere
2. Modere
Pierre Boulez

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Daniil Trifonov – Glazunov Piano Concerto No 2 in B major: great compositions/performances

Daniil Trifonov – Glazunov Piano Concerto No 2 in B major

  newTheDoremika

Royal Albert Hall, August 13, 2013 at BBC Proms
London Symphony Orchestra
Valery Gergiev conductor

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

Yo-Yo Ma

World-famous American cellist Yo-Yo Ma was born in France to Chinese parents in 1955. A musical prodigy, he gave a public recital in Paris at age six and his first performance at Carnegie Hall at age nine. He later attended the prestigious Julliard School of Music and ascended rapidly to the highest rank of international soloists, winning the Avery Fisher Prize in 1978. What became of a centuries-old cello valued at $2.5 million that Ma accidentally left in a New York City taxi in 1999? More… Discuss

GREAT COMPOSITIONS/PERFORMANCES: George Gershwin – An American in Paris ( This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.)

[youtube.com/watch?v=zi0ENw-JlUI]

George Gershwin – An American in Paris ( This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.)

An American in Paris is a symphonic tone poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s. It is one of Gershwin’s best-known compositions.
Gershwin composed the piece on commission from the New York Philharmonic. He also did the orchestration (he did not orchestrate his musicals). Gershwin scored An American in Paris for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. Gershwin brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928 in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic.
Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”

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Make Music Part of Your Life Series: Prokofiev in a Club! Sonata #7 Yellow Lounge Amsterdam Lisitsa

One day in a future the ‘traditional” concert halls will go the way of ‘traditional” movie theaters = disappear from use. I told you before – the BEST place to listen to the piano is directly under it. But try that in Concergebouw or Carnegie Hall _ they will call police on you 😉 Not so in a club . Yellow Lounge Amsterdam March 19th 2014 – http://www.trouwamsterdam.nl An ultimate experience listening to Prokofiev . Never mind the tinny captured recording – it was Imperial after all and it RRRRrrrocked – just ask the willing “victims” 🙂

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Evgeny Kissin plays Rondo a capriccio,op.129 (‘Rage over the lost penny’) in Bucharest

[youtube.com/watch?v=ZHetvDqnkzE]

Evgeny Kissin plays ‘Rage over the lost penny‘ as an encore after his performance of Beethoven 5th concerto with London Symphony Orchestra and Sir Colin Davis on Festival Enescu at 21st of September 2007th in Bucharest, Romania.

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Fabulous Performers: Liszt, Hungarian Rhapsody No.6, Martha Argerich 1966

A turbulent interpretation of one of Liszt’s many rhapsodies. Interesting to note her getting carried away in the final (and maniacal!) octaves nearing the end. Looks like even Martha can get the better of Martha…

Filmed in Munich, 1966.

 

Antonín Dvořák – In Nature’s Realm Overture, Op. 91

Janácek Philharmonic Orchestra, Theodore Kuchar

 

George Gershwin – An American in Paris

This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.

An American in Paris is a symphonic tone poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s. It is one of Gershwin’s best-known compositions.
Gershwin composed the piece on commission from the New York Philharmonic. He also did the orchestration (he did not orchestrate his musicals). Gershwin scored An American in Paris for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. Gershwin brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928 in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic.
Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”

 

Barbieri Symphony Orchestra – Flashmob oficial LavapiesMusic

El arte sale a la calle.
Presentación informal de la Barbieri Symphony Orchestra en colaboración con Lisarco Danza, Okube y BeringolaTV., bajo la dirección de Óliver Díaz y José Carlos Plaza.
La obra interpretada es el Vals de la Jazz Suite nº2 de Dmitri Shostakovich.

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Barbieri Symphony Orchestra

“La música clásica como nunca la habías imaginado”

 

Going Home – Paul Robeson

Magnificent live rendition of the Anton Dvorak adaptation – Going Home. From the live concert at Carnegie Hall in New York, 1958.