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)

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

Manuel Barrueco-Variations on a Theme of Mozart

hckaraman

Manuel Barrueco-Variations on a Theme of Mozart

Norske eventyrbilleder (Scenes from Norwegian Fairy Tales) , Op. 37: IV. Dance of the Little Trolls

Various Artists – Topic

Uploaded on Sep 22, 2014

Norske eventyrbilleder (Scenes from Norwegian Fairy Tales), Op. 37: IV. Dance of the Little Trolls

(Iceland Symphony Orchestra)
℗ 2012 Naxos Special Projects
Released on: 2012-08-21

Conductor: Bjarte Engeset
Orchestra: Iceland Symphony Orchestra
Composer: Johan Halvorsen

Historic Musical bits, 12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45, Serkin/Casals, great compositions/performances

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabeus for Cello and Piano, WoO 45

Various Artists – Topic

Published on September 25, 2014

12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabaeus for Cello and Piano, WoO 45

Rudolf Serkin / 魯道夫塞爾金
Pablo Casals / 卡薩爾斯

℗ Originally released 1953 SONY BMG MUSIC ENTERTAINMENT

Released on: 1993-11-08

Associated Performer, Piano: Rudolf Serkin / 魯道夫塞爾金
Associated Performer, Cello: Pablo Casals / 卡薩爾斯
Producer: Producer not documented on available sources
Composer: Ludwig Van Beethoven (1770-1827) / Ludwig Van Beethoven

Auto-generated by YouTube.

• Music

  • “12 Variations in G Major on “See, the Conquering Hero Comes” from Handel’s Judas Maccabaeus for Cello and Piano, WoO 45″ by Rudolf Serkin;Pablo Casals (AmazonMP3)

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

 

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

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Bach – Toccata and Fugue in D minor, BWV 565, great compositions/performances

Bach – Toccata and Fugue in D Minor, BWV 565

MovieMongerHZ

Uploaded on Oct 5, 2010/3,887,444

I don’t know who performed this, but it’s by far the best recording I’ve ever heard!! Enjoy!!
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From Wikipedia, the free encyclopedia

 

 Fragment of the first page of BWV 565 in Johannes Ringk‘s handwriting. Bach’s autograph does not survive, and this is the only known near-contemporary source.

The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written by Johann Sebastian Bach. First published in 1833 through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. Since the 1970s, some scholars have challenged the attribution of the piece to Bach.

History

As with most Bach organ works, no autograph manuscript of BWV 565 survives. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. Several compositions by him^{[clarification needed]} survive, and he is also notable today for his copies of numerous keyboard works by Georg Böhm, Johann Pachelbel, Johann Heinrich Buttstett, Dieterich Buxtehude, and other important masters.^[1]

The title of the piece is given in Ringk’s manuscript as Toccata Con Fuga. It is most probably a later addition, similar to the title of Toccata, Adagio and Fugue, BWV 564, because in the Baroque era such organ pieces would most commonly be called simply Prelude (Praeludium, etc.) or Prelude and Fugue.^[2] Ringk’s copy abounds in Italian tempo markings, fermatas (a characteristic feature of Ringk’s copies) and staccato dots, all very unusual features for pre–1740 German music. All later manuscript copies that are known today originate directly or indirectly with Ringk’s.^[1]

BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section. The connection to the north German organ school was noted early by Bach biographer Philipp Spitta in 1873.^[3] However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett,^[4] whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel‘s D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well.^[5] It was common practice at the time to create fugues on other composers’ themes, and a number of such pieces by Bach are known (BWV 574, 579, 950, etc.); moreover, the bass pattern of the Passacaglia and Fugue in C minor, BWV 582, is borrowed from André Raison‘s organ passacaglia, also using only the first half of Raison’s passage (just the way BWV 565 borrows from Pachelbel).

The work was first published by Breitkopf & Härtel in late 1833 as part of a collection of Bach’s organ works. The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV 565 in his repertoire already by 1830.^[6] Mendelssohn’s opinion of the piece, expressed in one of his letters, was that it was “at the same time learned and something for the [common] people.”^[7] The first major public performance was also by Mendelssohn, on 6 August 1840 in Leipzig. The concert was very well received by the critics, among them Robert Schumann.^[8] Later in the 19th century, Franz Liszt adopted the piece into his organ repertoire, and a piano transcription was made by Liszt’s pupil Carl Tausig, which gained substantial fame. Another popular transcription was completed in 1899 by Ferruccio Busoni. In the 20th century, an orchestral version of the piece, created by Leopold Stokowski, popularized the work further when it was included in Walt Disney‘s film Fantasia, released in 1940.^[9]

The work’s famous opening drew attention and praise already from Schumann, who, however, admired it as an example of Bach’s sense of humor.^[10] In the 20th century the work was generally viewed very differently, as a bold and dramatic piece. Musicologist Hermann Keller, writing in 1948, described the opening bars’ unison passages as “descending like a lightning flash, the long roll of thunder of the broken chords of the full organ, and the stormy undulation of the triplets.”^[11] A similar view has been expressed by noted Bach scholar and former director of Bach-Archiv Leipzig, Hans-Joachim Schulze:

“Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with difficulty abates sufficiently to give place to the logic and balance of the fugue. With the reprise of the initial Toccata, the dramatic idea reaches its culmination amidst flying scales and with an ending of great sonority.^[12]”

Writing in 2005, organist and Bach scholar Hans Fagius commented that while the authorship issue may remain unresolved, the enduring popularity of the work is not difficult to understand, since there is “a fantastic drive and energy to the piece that simply make it irresistible.”^[13]

In popular culture

The Toccata has been used in a variety of popular media ranging from film, video games, to rock music, and ringtones.

It is used for the opening credits of the 1931 film Dr. Jekyll and Mr. Hyde.^[40]

In 1960 Federico Fellini featured the track in his movie La Dolce Vita, being played by a character at a church organ.

The 1962 film adaptation of The Phantom of the Opera by Hammer Productions featured the piece, and since then, the movie has helped to associate the music with horror movies, Halloween, and the like in popular culture.^[41]

The jazz/R&B group Brass Fever featured an arrangement of the composition on their self-titled 1975 album as “Bach Bone”.

Jon Lord of Deep Purple fame recorded a composition called “Bach onto this”, which is based on BWV 565. It appears on his 1982 album Before I Forget.

English progressive rock band Egg covered the piece for their 1970 debut album.

Dutch progressive/symphonic rock band Ekseption covered the piece for their 1973 album Trinity.

The English classical/rock fusion band Sky (featuring the classical guitarist John Williams and classical percussionist Tristan Fry) scored a Top 10 pop hit with their 1980 arrangement of the Toccata section of BWV 565. This version crossed over to the Billboard Hot 100, charting at #83.^[42]

Vanessa-Mae recorded a cover of this piece. It reached number 24 on the Billboard charts.^[43]

The track is used for the opening credits and final freeze-frame of the 1975 film Rollerball.

In Walt Disney’s 1940 film, Fantasia, it is used as the first piece of the film, transcribed for full symphony orchestra by the conducter, Leopold Stokowski. The Disney animators were given an abstract theme to create the image to the music.^[44]

 

 

 

 

Mozart – Alla Turca – Turkish March (60 Minutes Version)

Ludwig van Beethoven

Published on Jul 17, 2014/214,439

Rondo Alla Turca by Mozart in a 60 minutes rendition from a very rare LP recording featuring piano and orchestra with a repetition of the piece for more than 10 times. This version of the Alla Turca, also known as the Turkish March is the only one accompanied by a symphony orchestra with a more soothing and deep sound of this true master piece by Wolfgang Amadeus Mozart.

The melodic lines in the orchestra are more in the style of Beethoven & Tchaikovsky than Mozart, and remind a little bit of the James Bond Theme, but the concept of the piece is originally followed. Let’s say that this is a modern version of the Turkish March enhanced with the rich orchestral sound.

Enjoy and relax while listening to this really long and calming version of Rondo alla Turca, which can be used for various occasions like music for healing, reading, homework, learning, relaxing, stress relief and even for a musical ambiance if you have some guests at home and when doing any other useful things as well.

Thanks for watching Alla turca by Mozart and if you like it, please subscribe to this channel, for more innovative & enjoyable music like this to come soon!

Tags: Mozart, Turkish March, Alla Turca, Rondo, Original, Long version, 60 minutes, Wolfgang, Amadeus, Austria, Salzburg, Piano, Orchestra, Piano Sonata No. 11, Relaxing, Stress relief, famous, classical music, concentration, learning, study, zen, music for healing, reading, Моцарт, Турецкий марш, Türkische Marsch, Marsz Turecki, Türk Marşı

Lucia Popp – Ruhe Sanft, Mein Holdes Leben (Mozart, Zaide)

anes1001

 

Uploaded on Jul 9, 2010/ 117,609 views

Wolfgang Amadeus Mozart (1756-1791)
Zaide, Act 1 : Zaide’ aria
“Ruhe Sanft, Mein Holdes Leben”

Lucia Popp, soprano

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More Romeo and Juliet: Berlioz: Queen Mab Scherzo – Toscanini – NBC – Live 1951 , great compositions/performances

Berlioz: Queen Mab Scherzo – Op 17 Toscanini – NBC – Live 1951

goodmanmusica

Uploaded on Sep 3, 2011

Berlioz Queen Mab Scherzo ( Romeo and Juliette) – Toscanini
NBC – Live 10 Nov. 1951

Johann Sebastian Bach – Aria: Bist Du bei mir (“be, thou, with me) BWV 508 , great compositions/performances

Johann Sebastian Bach – Aria: Bist Du bei mir “be, thou, with me”, BWV 508

ArcosOrchestra

Published on Feb 16, 2014

Johann Sebastian Bach (1685-1750)
Aria: Bist Du bei mir BWV 508
(Arrangement for Alto Saxophone and String Orchestra by J. Kelly)

John-Edward Kelly, alto saxophone
North Czech Symphony Orchestra, Teplice
Charles Olivieri-Munroe, conductor

Recorded live in concert, 16 October 2003

Happy Birthday Mozart: Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music

Wolfgang Amadeus Mozart /// Piano concertos ( ★★ 2 Hours ★★ Non Stop Classical Music )

Classical Tunes

Published on Mar 1, 2014/ 112,966 views

Piano Concerto No.9 K 271
1 I Allegro 0:02
2 II Andantino 10:04
3 III Rondo 21:12

Piano Concerto No.17 K 453
4 I Allegro 32:48
5 II Andante 44:42
6 III Allegretto 54:49

Piano Concerto No.20 K 466
7 I Allegro 1:02:50
8 II Romance 1:16:40
9 III Rondo 1:27:28

Piano Concerto No. 21 K 467
10 I Allegro maestoso 1:34:51
11 II Andante 1:49:20
12 III Allegro vivace 1:56:58

Wolfgang Amadeus Mozart wrote 27 concertos for piano and orchestra. These works, many of which Mozart composed for himself to play in the Vienna concert series of 1784–86, held a special place for him; indeed, Mozart’s father apparently interrupted him composing a “harpsichord concerto” at age 4.
For a long time relatively neglected, they have come to be seen as containing some of his greatest achievements. Tovey championed them in his Essay on the Classical Concerto in 1903, and later came the famous books by Cuthbert Girdlestone and Arthur Hutchings in 1940 (originally published in French) and 1948, respectively. Hans Tischler published a structural and thematic analysis of the concertos in 1966, followed by the works by Charles Rosen, and Leeson and Robert Levin.[1] In recent years, two of the concertos have also been covered in the Cambridge Music Handbook series. The first complete edition was not until that of Richault from around 1850; and since then the scores and autographs have become widely available through the publications of, among others, Norton, Eulenberg and Dover.

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today’s birthday: Wolfgang Amadeus Mozart (1756)

Wolfgang Amadeus Mozart (1756)

Mozart is considered one of the greatest composers of European classical music, having written an astonishing number of works in almost every musical genre during his short life. A child prodigy, he began composing music by the age of five and was touring and performing before royalty within a year. He later settled in Vienna, where he reached the height of his success. At the age of 35, he succumbed to an unknown illness that remains a source of speculation. What are some of the theories? More… Discuss

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

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

EssentialClassical

Published on Feb 25, 2012

Wolfgang Amadeus Mozart (1756 † 1791)

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

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

Performed:
Keith Jarrett, (Pianist)

Conductor: Dennis Russell Davies
Stuttgart Chamber Orchestra

————————

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

151,803

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

Claudio Abbado “Haydn Variations” Brahms

Ulrich Dünnebach

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

 

Antonio Vivaldi Mandolin Concerto 1st Movement Ettlingen Detlef Tewes Boris Bagger RV 425

edition49 music publishing company

Uploaded on Jul 21, 2007/756,705 views

Classical music with Detlef Tewes (mandolin, http://www.detlef-tewes.de ), sheet music / Noten http://www.edition49.de mandolin orchestra of Ettlingen / Germany http://www.mandolinenorchester-ettlin… ,
conductor Boris Björn Bagger (http://www.borisbagger.de ), Prof. Boris Bagger is teacher for guitar at the University of Music, Karlsruhe / Germany, http://www.hfm-karlsruhe.de , Hochschule für Musik, Musikhochschule

This piece is used as sountrack to the movie Kramer vs. Kramer / dieses Stück ist als Filmmusik Kramer gegen Kramer mit Dustin Hoffman und Meryl Streep in den Hauptrollen benutzt worden

****sheet music available:  http://www.edition49.de

New CD available with Detlef Tewes & Boris Björn Bagger

Mozart – World premiere recordings
sold more than 10 000 times
new arrangements for mandolin and guitar
Detlef Tewes & Boris Björn Bagger – a fantastic CD – 5 stars are not enough!

order here:
****http://www.edition49.de/shop
****More infos and informations about this CD
****http://www.borisbagger.de/mozart-cd-m…

 

Carl Maria Von Weber: Clarinet Quintet in B flat, op. 34 , great compositions/performances

Weber: Clarinet Quintet in B flat, op. 34

Indian Summer in Levoca

Ludmila Peterková gives a ravishing performance of this magnificent work with the Zemlinsky Quartet at the 2011 Levocske babie leto (Indian Summer in Levoca) Festival.
The four movments are:
I. Allegro
II. Fantasia: Adagio ma non troppo

III. Menuetto: Capriccio presto

IV. Rondo : Allegro Giocoso.

Wolfgang Amadeus Mozart – 11. Alleluja, KV 553 make music part of your life series

Wolfgang Amadeus Mozart – 11. Alleluja, KV 553

Wolfgang Amadé Mozart

• “Alleluja in C Major, K. 553″ by Chamber Choir of Europe & Nicol Matt (Google Play • AmazonMP3 • iTunes)

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

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

  MrPalika123

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

Murray Perahia
English Chamber Orchestra

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12 Variations – L.V.Beethoven – ‘Le nozze di Figaro: se vuol ballare’ W.A. Mozart (Violin & Piano): great compositions/performances

12 Variations – L.V.Beethoven – ‘Le nozze di Figaro‘ W.A. Mozart (Violin & Piano)

   Odeio en organis

***W.A.Mozart: 12 Variations – L.V.Beethoven –“Se vuol ballare” -Le nozze di Figaro”
***Violine – Yehudi Menuhin
***Piano – Wilhelm Kempff
***(Recording 1970)

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Related euzicasa post:  HERE  HERE  HERE 

You can access more classical music (a lot more) here at euizcasa, by using the site’s search engine, by composer, composition and instrumentist… Good luck and have fun!

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J. S. Bach, Sonata No. 1 in G minor, BWV 1001 – Ana Vidovich (“ANA VIDOVIC – GUITAR VIRTUOSO”, 2006): great compositions/performances

J. S. Bach, Sonata No. 1 in G minor, BWV 1001 – Ana Vidovich

   Konstantin Donin

“ANA VIDOVIC – GUITAR VIRTUOSO”, 2006

Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & London Symphony Orchestra: great compositions/performances

Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & LSO

  Czarmuzyki Ewa Chamiec

Carl Maria von Weber Konzertstück f-moll für Klavier und Orchester, Op. 79 – Alfred Brendel, London Symphony Orchestra, Claudio Abbado — https://www.youtube.com/playlist?list…

Beethoven Symphony No. 7 in A Major, Op.92, Karajan | Berliner Philharmoniker, : great compositions/performances

Beethoven Symphony n. 7| Karajan | Berliner Philharmoniker

  TheMaiden666beast

I. Poco sostenuto – vivace
II. Allegretto 11:46
III. Presto 20:02
IV. Allegro con brio 27:45

Enjoy!!!!
By kind permission of : http://musicaclasicaimagenes.blogspot…
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From Wikipedia, the free encyclopedia

Portrait of Beethoven in 1815, by Joseph Willibrord Mähler, two years after the premiere of his 7th Symphony

The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries.

At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.^[1]

Form

The Seventh Symphony is in four movements:

1. Poco sostenuto – Vivace
2. Allegretto
3. Presto – Assai meno presto (trio)
4. Allegro con brio

Performance time lasts approximately 40 minutes. The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. It is also tonally subtle, making use of the tensions between the key centres of A, C and F. For instance, the first movement is in A major but has repeated episodes in C major and F major. In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major.

First movement

The first movement starts with a long, expanded introduction marked Poco sostenuto (metronome mark: quarter=69) that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace (dotted quartet=104) is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a four octave deep Pedal point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven “fit for a madhouse” after hearing this passage.

Second movement

The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of a quarter note, two eighth notes and two quarter notes is heard repeatedly. This movement is structured in a double variation form. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important melody, a melody described by George Grove as “a string of beauties hand-in-hand”.^[4] Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

Third movement

The third movement is a scherzo in F major and trio in D major. Here, the trio (based on an Austrian pilgrims’ hymn^[5]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.

Fourth movement

The last movement is in sonata form, the coda of which contains an example, rare in Beethoven’s music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo). Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement’s “Bacchic fury” and many other writers have commented on its whirling dance-energy: the main theme vaguely resembles Beethoven’s arrangement of the Irish folk-song “Save me from the grave and wise”, No. 8 of his Twelve Irish Folk Songs, WoO 154.

 

 

Beethoven – Symphony No.7 in A: The 10 best recordings 200 years ago on 8 December 1813, Beethoven’s Symphony No.7 was premiered. Both dramatic and dance-like, the Symphony was put to stirring use in The King’s Speech. Here are 10 very different recordings of this great work. Beethoven – Symphony No.7 in A: The 10 best recordings 200 years ago on 8 December 1813, Beethoven’s Symphony No.7 was premiered. Both dramatic and dance-like, the Symphony was put to stirring use in The King’s Speech. Here are 10 very different recordings of this great work. Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99 Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99  (Access by clicking on the pic!)

Carlos Kleiber conducting the Vienna Philharmonic Orchestra

German-born Austrian conductor Klieber made fewer than 20 recordings. His version of Beethoven’s Seventh is often cited as the outstanding recording of the work – dramatic and urgent.

Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99

 

 

 

 

Bach Harpsichord Concerto D minor BWV 1052 Pierre Hantaï, Le Concert des Nations Jordi Savall: great compositions/performances

Bach Harpsichord Concerto D minor BWV 1052 Pierre Hantaï, Le Concert des Nations Jordi Savall

La Casa di Davide

Johann Sebastian Bach Keyboard Concerto BWV 1052 in D minor
Pierre Hantaï, harpsichord
Le Concert des Nations conducted by Jordi Savall
Allegro 0:00
Adagio 7:40
Allegro 13:30

Serenade from The Fair Maid of Perth (Bizet) Richard Lewis: make music part of your life series

Serenade from The Fair Maid of Perth (Bizet) Richard Lewis

Beulah21

This extract comes from a live 1949 performance released on BEULAH (12PD23) compact disc.Available in all good record stores or direct from Beulah at
http://www.eavb.co.uk/lp/12pd23.html
You can also download tracks from iTunes. Use the link above and select iTunes.

The strong cast reflects the best of British singers of the day. It includes: * Gwen Catley * Lorely Dyer * Richard Lewis * Trefor Jones * Norman Walker * Owen Brannigan
John Quinn writes for Classical Music on the Web: There is some surface noise from the acetates but overall the sound quality is good. The notes include a comment made by Philip Hope-Wallace when the broadcast was repeated in 1979 to mark the centenary of Beecham‘s birth. He wrote: “the beguiling melodies are exactly the sort of light music which Beecham could give a delicacy and vitality all its own. It is a lovely recording which does not sound its age of nearly 30 years ago.” Twenty-two years further on those comments remain entirely apt. …
…admirers of Bizet should snap up this issue while they can. The same applies to devotees of Beecham, the more so since this is a ‘live’ performance caught on the wing and a splendid example of his art in music to which he was so well suited.
Two disc set 134 minutes.

Richard Wagner – Ride of the Valkyries + Magic Fire Music: great compositions/performances

Richard Wagner – Ride of the Valkyries + Magic Fire Music (orchestral versions)

   ce15645’s Kingdom of the Ephemeral

From “50 Erotic Classics – Sensual Classical Music from the Red Room”, Philharmonia Slavonica conducted by Alfred Scholz. From “Classic Operas – Wagner: The Ring of the Nibelungen (Highlights)”, Budapest Symphony Orchestra conducted by Gyorgy Lehel.I do not own any of the material in the video.

 

STRAVINSKY – Suite Italienne: make music part of your life series

STRAVINSKY – Suite Italienne

  trebron32156

Francesco Mastromatteo, violoncello
Cecilia Lo-Chien Kao, piano

IGOR STRAVINSKY
Suite Italienne

Introduzione
Serenata
Aria
Tarantella
Minuetto e Finale

August 21, 2011

St. Andrews Concert Series
Spring of Harmony
Dallas, Texas

Eliot Fisk and Chiara Morandi play “Sonata concertata” for guitar and violin by Paganin

Eliot Fisk and Chiara Morandi play “Sonata concertata” for guitar and violin by Paganini

  Chiara Morandi

Niccolò Paganini:
“Sonata concertata” per chitarra e violino, op.61

Chitarra: Eliot Fisk (guitar)
Violino: Chiara Morandi (violin)

1°mov: Allegro spiritoso – [1:00]
2°mov: Adagio assai espressivo – [8:25]
3°mov: Rondeau – (Allegretto con brio. Scherzando) – [11:55]

Brano del concerto d’inaugurazione
del 2° Concorso Internazionale di Chitarra Classica
“Stefano Strata – Città di Pisa“, tenuto dal grande chitarrista
Eliot Fisk il 1 Novembre 2011.

Part of the opening concert
of the 2nd International Competition for Classical Guitar
“Stefano Strata – Città di Pisa”, performed by the great guitarist
Eliot Fisk in November 1, 2011.

Mozart – The Marriage of Figaro Overture (K.492) – Wiener Symphoniker – Fabio Luisi : make music part of your life series

Mozart – The Marriage of Figaro Overture (K.492) – Wiener Symphoniker – Fabio Luisi (HD)

  kocaonur

Mozart – The Marriage of Figaro Ouverture
“Le nozze di Figaro” (K.492)
Wiener Symphoniker Japan Tour 2006
Conductor : Fabio Luisi

Claude Debussy : Clair de Lune, for Piano (Suite Bergamasque No. 3), L. 75/3: make music part of your life series

Claude Debussy : Clair de Lune, for Piano (Suite Bergamasque No. 3), L. 75/3 Performed by Kun Woo Paik

  junghoonchung’s channel

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C. Stamitz – Clarinet Concerto Nº3 Bb Major (2. Romanze) – Orquestra de Cambra de Tortosa: MAKE MUSIC PART OF YOUR LIFE SERIES

C. Stamitz – Clarinet Concerto Nº3 Bb Major (2. Romanze) – Orquestra de Cambra de Tortosa

  Jordi Bonilla

C. Stamitz – Clarinet Concerto Nº3 Bb Major
1. Allegro Moderato
2. Romanze
3. Rondo

OCTO (Orquestra de Cambra de Tortosa)
octortosa@gmail.com

David Matheu – president
J. Ricardo Forner – clarinet
Ivan Launes – concertino
Jordi Bonilla – director

Auditori Felip Pedrell de Tortosa – 16/11/2013

 

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Claude Debussy Estampes Pianista Andrea Bambace live Trento SocietàFilarmonica 1984 : make music part of your life series

Claude Debussy Estampes Pianista Andrea Bambace live Trento SocietàFilarmonica 1984

  Andrea Bambace

Claude Debussy Estampes Pianista Andrea Bambace da un Recital a Trento, Società Filarmonica 7 dicembre 1984

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Prokofiev – Piano Concerto No. 1, Op. 10: make music part of your life series

Prokofiev – Piano Concerto No. 1, Op. 10

   Pratik Gandhi

Piano Concerto No. 1 in D-flat major, Op. 10, by Sergei Prokofiev. Performed by Kathleen Chang with the Greater Toronto Philharmonic Orchestra, conducted by Pratik Gandhi.

Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi: make music part of your life series

3. Vivaldi – The Four Seasons / Autumn Op.8/3, RV 293 / Fabio Biondi

   hezixiao

Antonio Vivaldi The Four Seasons Autumn (concerto for violin in F major) Op.8/3. Concucted and violin solo by Fabio Biondi.
Movements:

1. Allegro
2. Adagio molto
3. Allegro

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

From Wikipedia, the free encyclopedia

The Four Seasons (Vivaldi)

The fact that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. by Groves dictionary). (Photo credit: Wikipedia)

The Four Seasons (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi. Composed in 1725, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces in the classical music repertoire. The texture of each concerto is varied, each resembling its respective season. For example, “Winter” is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas “Summer” evokes a thunderstorm in its final movement, which is why the movement is often called “Storm” (as noted in the list of derivative works).

The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi’s Op. 8, entitled Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention). Vivaldi dedicated their publication to a Bohemian patron, Count Václav Morzin (of Vrchlabí 1676–1737), and in so mentioned the count’s longstanding regard for these four, in particular (which had apparently been performed with the nobleman’s orchestra, in Prague’s Morzin Palace)—although his dedication may have been closely related to the completion of an Augustinian monastery that year,^[1] where Vivaldi, a priest himself, refers to Morzin, the church’s dedicator, as “Chamberlain and Counsellor to His Majesty, the Catholic Emperor”—while (as Maestro di Musica in Italy) Vivaldi presents them anew, with sonnets or enhancements for clear interpretation.^[2] The first four concertos are designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones (and these movements likewise vary in tempo amid the seasons as a whole). At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra)^{[citation needed]}. Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form of the concerto^{[citation needed]}.

List of concertos and movements

• Concerto No. 1 in E major, Op. 8, RV 269, “La primavera” (Spring)
  1. Allegro
  2. Largo e pianissimo sempre
  3. Allegro pastorale
• Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer)
  1. Allegro non molto
  2. Adagio e piano – Presto e forte
  3. Presto
• Concerto No. 3 in F major, Op. 8, RV 293, “L’autunno” (Autumn)
  1. Allegro
  2. Adagio molto
  3. Allegro
• Concerto No. 4 in F minor, Op. 8, RV 297, “L’inverno” (Winter)
  1. Allegro non molto
  2. Largo
  3. Allegro

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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

Subscribe to our newsletter:
http://www.digitalconcerthall.com/new…

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

Bedřich Smetana – Ma Vlast – Vltava “Moldau” – EMH Classical Music: make music part of your lifr series

from

EMHClassicalMusic

Bedřich Smetana – Ma Vlast – Vltava “Moldau” – EMH Classical Music

http://www.EMHClassicalMusic.com
http://www.Facebook.com/EMHClassicalMusic
http://www.Twitter.com/EMHClassical

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Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier: great compositions/performances

From     glemoine14

Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier

Wolfgang Amadeus Mozart (1756-1791):Trio for Clarinet, Viola and Piano in E-flat major, “Kegelstatt”, K. 498 (1786)
Trio pour clarinette, alto et piano en Mi bémol majeur
I      Andante;
II    Menuetto;
III  Rondo: Allegretto

Portal: clarinet / clarinette
Pasquier: viola / alto
Pennetier: piano

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A. Dvořák – Carnival, Overture, Op. 92: make music part ofyour life series

from:

  thiagoblanco

Antonin Dvořák – Carnival, Overture, Op. 92

Orchestra: Konzerthaus Orchester Berlin
Conductor: Lothar Zagrosek
Composer: Antonín Leopold Dvořák (1841 – 1904)

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Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a: great compositions/performances

Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a

FROM:

Maxime Brisole

From Wikipedia

Johannes Brahms

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »¹. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »¹. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

 

Chopin Etude Op 25 No.11 HQ – Valentina Lisitsa: great performances

Chopin Etude Op 25 No.11 HQ

 FROM:

ValentinaLisitsa

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Giovanni Palestrina: Tu es Petrus: dedicated to Christians everywhere, free, persecuted and caught in the crossfire of wars they don’t have anything to do with!—My prayers go to you!

Giovanni Pierluigi da Palestrina (1525 – 1594)
Missa Tu es Petrus

[00,01~]1. Palestrina, Motete Tu es Petrus
Palestrina, Missa Tu es Petrus
[03,55~] 2. Kyrie
[08,34~] 3. Gloria
[13,40~] 4. Credo
[22,17~] 5. Sanctus
[24,56~] 6. Benedictus
[28,06~] 7. Agnus Dei I
[30,44~] 8. Agnus Dei II

****Buy “Palestrina: Missa “Tu es Petrus” – 2. Gloria” on

 

Google Play, AmazonMP3, iTunes

• Artist
  The Choir of King’s College, Cambridge

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Schumann – Overture, Scherzo and Finale, Op. 52 (make music part of your life series)

Schumann – Overture, Scherzo and Finale, Op. 52

Overture, Scherzo and Finale, Op. 52.

The Hanover Band, on period instruments. Conducted by Roy Goodman. Composed by R. Schumann (1810-56).

I. Overture (0:00)
II. Scherzo (6:20)
III. Finale (10:48)

make music part of your life series: George Gershwin – Cuban Overture

[youtube.com/watch?v=RBd1bmYB4t4]

George Gershwin – Cuban Overture

Uploaded on Aug 9, 2010

Born the son of Russian-Jewish immigrants into the vibrant life of Manhattan, George Gershwin created much of the twentieth century’s musical highlights, with an endless stream of hit shows. His fascination with classical music, and his fusion of many varied musical forms like jazz, blues and ragtime, brought us the likes of Porgy and Bess and Rhapsody in Blue.

Cuban Overture (running time : 11:16)
Courtesy goes to Richard Hayman and his Symphony Orchestra.

Gershwin’s Cuban Overture, described aptly as a “Rhumba” , was written in 1932. It is a lively evocation of the spirit of Cuba, bringing together the two sides of composer’s abilities, a synthesis of art, jazz and Latin America.

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fabulous musical moments: Schubert / A. Brendel, 1961: Fantasy in C Major, D. 760 (Op. 15) – The Wanderer –

[youtube.com/watch?v=GvHA5HPEhx8]

Schubert / A. Brendel, 1961: Fantasy in C Major, D. 760 (Op. 15) – The Wanderer – 

Wanderer-Fantasie (German translation would Fantasy Traveller) is the popular name of the Opus 15 (D 760) in C major by Franz Schubert written in November 1822. This is a Fantasy for piano in the classical form of the sonata. There is strong correlation between movements, so this part is interpreted as a process of sonata with significant variations from the classical form.

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great compsitions/performances: Sviatoslav Richter – Beethoven – Piano Sonata No 9 in E major, Op 14

[youtube.com/watch?v=bgSOrXR0cfs]

Sviatoslav Richter – Beethoven – Piano Sonata No 9 in E major, Op 14

00:00 Allegro
06:39 Allegretto. Maggiore
12:53 Rondo. Allegro comodo

Sviatoslav Richter, piano

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make music part of your life: Alfred Brendel, Plays Ludwig van Beethoven’s – Rondo in G major Op. 51 No. 2

[youtube.com/watch?v=CXDf1dzNmDc]

Ludwig van Beethoven – Rondo in G major Op. 51 No. 2

Alfred Brendel, Piano

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make music part of your life series: Arvey-Francis Duo – “Oriental” Dance No.2 by Enrique Granados

[youtube.com/watch?v=4Cy-hxoI21M]

Arvey-Francis Duo – “Oriental” Dance No.2 by Enrique Granados

The Arvey-Francis Duo
Spanish Dance No. 2 “Oriental”
Music by Enrique Granados.
Performed by Evelyn Arvey and Mark Francis
Recorded November 10, 2010
Produced and Engineered by Kevin Callahan
Quaver Studios, Seattle WA
http://www.arveyfrancis.com

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Make Music Part of Your Life Series: Pachelbel Canon in D Major

[youtube.com/watch?v=lcJuZIUeBME]

Pachelbel Canon in D Major

• Buy “Canon in D” on
  
  

  Google Play, AmazonMP3

• Artist
  Rudolf Baumgartner

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Make Music Part of Your Life Series: Tomaso Albinoni (1671-1751) Adagio in G minor for Strings and Organ p.1

[youtube.com/watch?v=ldYUH2i0cf8]

Tomaso Albinoni (Photo credit: Wikipedia)

Tomaso Albinoni (1671-1751) Adagio in G minor for Strings and Organ p.1

Berliner Philharmoniker Herbert von Karajan
David Bell, Orgel – Leon Spierer, Violine

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Make Music Part of Your Life Series: Sergei Rachmaninoff – Suite No. 2 for two pianos, Op. 17

[youtube.com/watch?v=rLRNsj22c2U]

Sergei Rachmaninoff – Suite No. 2 for two pianos, Op. 17

Pianos:  J. Thorson, J. Thurber

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