Historic Musical Bits: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Édouard Lalo (Photo credit: Wikipedia)

Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Published on Oct 24, 2012

Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo

• Music

  • “Symphonie espagnole, Op. 21: III. Intermezzo. Allegretto Non Troppo” by Isaac Stern;The Philadelphia Orchestra;Eugene Ormandy (Google Play • iTunes • AmazonMP3)

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From Wikipedia, the free encyclopedia

The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.

History

The work was written in 1874 for violinist Pablo de Sarasate, and premiered in Paris in February 1875.

Although called a “Spanish Symphony” (see also Sinfonia concertante), it is considered a violin concerto by musicians today. The piece has Spanish motifs throughout, and launched a period when Spanish-themed music came into vogue. (Georges Bizet‘s opera Carmen premiered a month after the Symphonie espagnole.)

The Symphonie espagnole is one of Lalo’s two most often played works, the other being his Cello Concerto. His “official” Violin Concerto in F, and his Symphony in G minor, written thirteen years later, are neither performed nor recorded as often.^{[citation needed]}

Structure

1. Allegro non troppo
2. Scherzando: Allegro molto
3. Intermezzo: Allegro non troppo
4. Andante
5. Rondo: Allegro

A typical performance runs just over one-half hour. One of the shorter recordings, conductor Eugene Ormandy’s 1967 recording with the Philadelphia Orchestra, featuring violinist Isaac Stern, runs 32 minutes and 43 seconds.^[1]

Influence on Tchaikovsky

The Symphonie espagnole had some influence on the genesis of Tchaikovsky‘s Violin Concerto in D major. In March 1878, Tchaikovsky was staying at Nadezhda von Meck‘s estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and possibly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. These included the Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on a piano sonata and started on the concerto on 17 March.^[2] With Kotek’s technical help, the concerto was finished by 11 April.

References

 

• “Lalo: Symphonie Espagnole”. CD Universe. Retrieved 26 January 2014.
• Detroit Symphony Orchestra

 

 

Historic Musical Bits: Wilhelm Kempff plays Robert Schumann – Piano Concerto in A minor, Op. 54 (Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik)

Robert Schumann – Piano Concerto in A minor, Op. 54

Wolfgang Amadé Mozart

Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik

Movements:

Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
*****************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.

History

Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.

In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.

The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.

After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).

Instrumentation

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano.

Structure

The piece, as marked in the score, is in three movements:

1. Allegro affettuoso (A minor)

2. Intermezzo: Andantino grazioso (F major)

3. Allegro vivace (A major)

There is no break between these last two movements (attacca subito).

Schumann preferred that the movements be listed in concert programs as only two movements:^{[citation needed]}

1. Allegro affettuoso
2. Andantino and Rondo

The three movement listing is the more common form used.

Allegro affettuoso

The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.

Intermezzo

This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.

Allegro vivace

The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.

Further reading

• Donald Tovey, Essays in Musical Analysis: Concertos (London, 1936)
• Alfred Nieman, “The Concertos,” in Robert Schumann: The Man and his Music, edited by Alan Walker (London, 1972)
• Michael Steinberg, “The Concerto: A Listener’s Guide”, (Oxford, 1998)

 

Historic Musical Bits: Wieniawski – Violin Concerto No. 2 in d minor op. 22 Isaac Stern and Philadelphia Orchestra-Eugene Ormandy: conductor-1957

Isaak Stern plays Wieniawski-Violin Concerto No. 2 in d minor op. 22 

Kanaal van viool7

Isaac Stern: violin-Philadelphia Orchestra–Eugene Ormandy: conductor-1957

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From Wikipedia, the free encyclopedia

English: Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish composer and violinist. (Photo credit: Wikipedia)

Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate.

The work is in three movements:

1. Allegro moderato in D minor/F major

2. Romance: Andante non troppo in B flat major

3. Allegro con fuoco – Allegro moderato (à la Zingara) in D minor/D major

Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time. The first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.

The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.

A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement’s subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.

Wieniawski’s second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.

Instrumentation

The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.

References

• Golding, Robin (1991). Wieniawski: Violin Concertos Nos. 1 & 2, Sarasate: Zigeunerweisen. Deutsche Grammophon GmbH, Hamburg, pp. 1-2.

Fantasia and Fugue in G minor BWV 542

Anders Söderlund

Gregory Lloyd plays Johann Sebastian Bach, Fantasia and Fugue in G minor BWV 542, Church of Catherine in Stockholm.
Organ: J. L. van den Heuvel

Fantasia 00:00
Fugue 07:30

Recording: Anders Söderlund
http://www.orgelanders.se
Catherine Church: http://www.orgelanders.se/Orgelbilder…

Pepe Romero plays Fantasia para un gentilhombre by Joaquin Rodrigo, great compositions/performances

Pepe Romero plays Fantasia para un gentilhombre by Joaquin Rodrigo

Movements

1. Villano y ricercar
2. Españoleta y fanfarria de la caballería de Nápoles
3. Danza de las hachas
4. Canario

Pepe Romero

Published on Apr 23, 2013

Concierto de Gala: Pepe Romero, guitar, Orquesta Filarmonica de la UNAM, Manuel Goldof, conductor, 1.12.1996

What a beautiful composition!

Fantasía para un gentilhombre

From Wikipedia, the free encyclopedia

  

(Redirected from Fantasía para un Gentilhombre)

Fantasía para un gentilhombre (Fantasia for a Gentleman) is a concerto for guitar and orchestra by the Spanish composer Joaquín Rodrigo. The concerto is Rodrigo’s second most popular work after the famous Concierto de Aranjuez.

The four movements were based on six short dances for solo guitar by the 17th-century Spanish composer Gaspar Sanz, taken from a three-volume work (1674, 1675, 1697) now commonly known as Instrucción de música sobre la guitarra española (Musical Instruction on the Spanish Guitar) (Donis 2005:75). Most of the movements retain the names that Sanz originally gave them. Rodrigo expanded on Sanz’s themes to produce a work lasting more than 20 minutes.

Rodrigo composed the concerto in 1954 at the request of guitarist Andrés
Segovia, who was evidently the gentilhombre referenced in the title.^[1] Segovia took the solo part at the premiere performance on March 5, 1958, in San Francisco.^[2] The San Francisco Symphony was conducted by Enrique Jordá.^[3]

Movements

1. Villano y ricercar
2. Españoleta y fanfarria de la caballería de Nápoles
3. Danza de las hachas
4. Canario

The first movement opens with the melodic Villano that passes back and forth between the solo guitarist and the orchestra repeatedly. This is the form of the other movements of the work. The music also hints subtly at themes used in the subsequent movements. The second part of the first movement, called Ricercare, is a short piece contrasting with Villano and entirely based on a two-bar phrase, repeated in the form of a complex fugue or ricercare.

The second movement returns to a more lyrical theme with the Españoleta, which has a particularly haunting tune with rich accompaniment of the strings. The contrasting middle section of this movement, Fanfare de la Cabellería de Nápoles (Fanfare for the Cavalry of Naples), brings in rapid, discordant drum beats along with the accompaniment of the guitar and spectral fanfares for trumpet and flute. The Españoleta is then reprised to conclude the movement.

The third movement, Danza de las Hachas (Dance of the Axes), has an energetic dance beat, largely supported by a crescendo from the orchestra. This lively, short movement is in effect an interlude linking the more mournful part of the Fantasía with the more up-beat final movement.

Finally, the fourth movement, Canario, brings in music that Sanz wrote in the style of a folk dance originating in the Canary Islands. Rodrigo pays homage to the music’s origins by imitating a bird call toward the end of the movement even though the Canary Islands were so named because of the wild dogs prevalent there (canis) and not because of birds (canaries). The movement was covered by Emerson, Lake & Palmer for their 1978 album Love Beach.

Historic Musical Bits: David Oistrakh plays Variations on a theme of Corelli

David Oistrakh plays Variations on a theme of Corelli

soichi1228

Violin:David Oistrakh
Piano Forte:Frida Bauer

this day in the yesteryear: Beethoven’s Ninth Symphony Premieres in Vienna (1824)

Beethoven’s Ninth Symphony Premieres in Vienna (1824)

The Symphony No. 9 in D Minor is the last complete symphony composed by Ludwig van Beethoven. One of the best known works of the Western repertoire, it is considered one of Beethoven’s greatest masterpieces. Incorporating part of Johann Schiller’s “Ode to Joy,” sung by soloists and a chorus, it is the first symphony in which a major composer utilizes human voices on the same level as instruments. How many standing ovations reportedly followed its premiere performance in 1824? More… Discuss

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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

Kurt Masur: Felix Mendelssohn ／ Overture Ruy Blas, op.95 , great compositions/performances

[Kurt Masur] Felix Mendelssohn ／ Overture Ruy Blasop.95

senzokugakuen

Uploaded on Apr 19, 2010

*洗足学園音楽大学 Senzoku Gakuen College of Music
　http://www.senzoku.ac.jp/music/index….

クルト・マズア マスターコース 特別演奏会
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F.メンデルスゾーン／序曲「ルイブラス」作品95

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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…

 

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

 

Cziffra plays Liszt Hungarian Rhapsodies No.1-9

EvaYoungPianist

Published on Jul 1, 2012

Franz Liszt:
Hungarian Rhapsodies:
No.1 in E Major 00:00
No.2 in C-sharp Minor 12:49
No.3 in B-flat Major 23:04
No.4 in E-flat Major 27:28
No.5 in E Minor 32:52
No.6 in D-flat Major 41:56
No.7 in D Minor 48:58
No.8 in F-sharp Minor 54:09
No.9 in E-flat Major 1:00:54

Georges Cziffra: piano

 

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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

best classical music , Schubert Symphony No 5 B flat major Bavarian RSO Maazel

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra

Movements:
– Allegro in B♭, in cut (2/2) time.
– Andante con moto in E♭, in 6/8 time 4:50
– Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
– Allegro vivace in B♭, in 2/4 time 21:36

 

best classical music, Johann Sebastian Bach, Wachet auf, ruft uns die Stimme (Sleepers Awake, BWV 645); Rodney Gehrke, organ

Johann Sebastian Bach, Wachet auf, ruft uns die Stimme (Sleepers Awake, BWV 645); Rodney Gehrke, organ 

Voices of Music

Published on Dec 14, 2012

The organ Chorale of J.S. Bach, “Wachet auf, ruft uns die Stimme” (BWV 645), performed by Rodney Gehrke on the Flentrop organ from All Saints Episcopal Church in Palo Alto, California; HD 4K video from Voices of Music.
Bach’s chorale setting features music from his cantata BWV 140 which was performed in Leipzig on November 25th, 1731. Originally intended for the 27th Sunday after Trinity, the work is now heard most often in Advent. In 1747, Bach commissioned Johann Georg Johann Georg Schübler to engrave six organ chorales for publication—Bach loved to present his works in groups of six; Schübler engraved the books in Zella, in the forest of Thuringia.
Bach based his work on a hymn by Philipp Nicolai. When Nicolai was pastor in Westphalia, the plague killed many of his parishioners; Nicolai wrote a collection of meditations and two hymns in their memory: Wachet auf, ruft uns die Stimme, and Wie schoen leuchtet der Morgenstern. Bach’s counterpoint provides a perfect accompaniment for the chorale melody.

 

best classical music , T. G. Albinoni: Op. 9 n. 8 / Concerto for oboe, strings & b.c. in G minor / Alma Musica Amsterdam, great compositions/performances

T. G. Albinoni: Op. 9 n. 8 / Concerto for oboe, strings & b.c. in G minor / Alma Musica Amsterdam

John Portman

Uploaded on Jan 15, 2011

TOMASO GIOVANNI ALBINONI [1671-1751]

12 CONCERTI A CINQUE: Op. 9 n. 8
(Amsterdam, 1722)

Tomaso Albinoni (Photo credit: Wikipedia)

dedicated to: Frederick Augustus I, Elector of Saxony

Concerto for solo oboe, strings and basso continuo in G minor

I. Allegro – 0:05
II. Adagio – 4:30
III. Allegro – 6:53

Han de Vries (G. Crone senior, Leipzig 1735 c. oboe)
Bob van Asperen (R. Schuetze, Heidelberg, 1969 after J. D. Dulcken, Amsterdam, 1745 c. harpsichord)
Wouter Moeller (G. Celoniati, Turin 1742 violoncello)

Alma Musica Amsterdam / Bob van Asperen (conductor)
http://www.arkivmusic.com/classical/N…

2001
Virgin Classics 7243 5 61878 2 5 – DDD
http://www.virginclassics.com/

[on authentic instruments]

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Alexander Glazunov: Symphony #7 “Pastoral” in F Op 77, great compositions/performances

The image of Russian conductor Gennady Rozhdestvensky Das Foto von russisch Dirigent Gennadi Nikolajewitsch Roschdestwenski (Photo credit: Wikipedia)

Alexandr Glazunov – Symphony No. 7 in F major, Op. 77

Wolfgang Amadé Mozart

Published on Sep 8, 2012

USSR Ministry Of Culture Symphony Orchestra – Gennadi Rozhdestvensky

Symphony No. 7 (Glazunov)

From Wikipedia, the free encyclopedia

The Symphony No. 7 in F major, Pastoral, Op. 77, was completed by Alexander Glazunov on July 4, 1902.^[1] It is dedicated to Mitrofan Belyayev.^[2]

It is in four movements:

• Allegro moderato
• Andante
• Scherzo: Allegro giocoso
• Finale: Allegro maestoso

 

 

 

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Manuel de Falla. (Photo credit: Wikipedia)

Falla – The Three-Cornered Hat – Proms 2013

RupertJones

Published on Aug 4, 2013

Mezzo-soprano Clara Mouriz joins conductor Juanjo Mena and the BBC Philharmonic in Falla’s colourful Ballets Russes commission The Three-Cornered Hat, a tale of intrigue and jealousy shot through with the spirit of Spanish folk dances.

historic musical bits, Vladimir Horowitz plays Rachmaninoff Piano Concerto No.3 (live 1978), great compositions/performances

Vladimir Horowitz plays Rachmaninov Piano Concerto No.3 (live 1978)

Nebojsa Maksimovic

Vladimir Horowitz, Pianist / New York Philharmonic Orchestra / Zubin Mehta, Conductor

Live at Avery Fisher Hall, New York, 24.9.1978

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From Wikipedia, the free encyclopedia

 The Piano Concerto No. 3 in D minor, or colloquially the Rach 3, Op. 30 composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challenging piano concertos in the standard classical repertoire.

Form

Following the form of a standard concerto, the piece is in three movements:

A portion of the original cadenza (ossia)

1. Allegro ma non tanto (D minor)

   The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section where the flute, clarinet and horn restate the first theme of the exposition, accompanied by delicate arpeggios in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition’s second theme before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme.

2. Intermezzo: Adagio (F sharp minor/D flat major)

   The second movement is opened by the orchestra and it consists of a number of variations around a single lush, heavily romantic melody following one another without a rigid scheme. The melody soon moves to the tonic major which is the second theme. After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. Then the piano gets the last word with a short “cadenza-esque” passage which moves into the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff’s second piano concerto, third movement, noticeably the Russian-like, E-flat major melody.

3. Finale: Alla breve (D minor → D major)

   The third movement is quick and vigorous and contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular sonata-allegro form. There is no conventional development; that segment is replaced by a lengthy digression using the major key of the third movement’s first theme, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement’s ossia cadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer’s musical signature – as both the composer’s second concerto and second symphony.^[1]

Rachmaninoff, under pressure, and hoping to make his work more popular, authorized several cuts in the score, to be made at the performer’s discretion. These cuts, particularly in the second and third movements, were commonly taken in performance and recordings during the initial decades following the Concerto’s publication. More recently, it has become commonplace to perform the concerto without cuts. A typical performance of the complete concerto lasts about forty minutes.

History

 Proofing copies of the concerto (1910)

Rachmaninoff composed the concerto in the peaceful setting of his family’s country estate, Ivanovka,^[2] completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead.

The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it “wasn’t for” him. Gary Graffman lamented he had not learned this concerto as a student, when he was “still too young to know fear”.^[3]

Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.

The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunct New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler several weeks later, an “experience Rachmaninoff treasured.”^[4] Rachmaninoff later described the rehearsal to Riesemann:

At that time Mahler was the only conductor whom I considered worthy to be classed with Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important — an attitude too rare amongst conductors. … Though the rehearsal was scheduled to end at 12:30, we played and played, far beyond this hour, and when Mahler announced that the first movement would be rehearsed again, I expected some protest or scene from the musicians, but I did not notice a single sign of annoyance. The orchestra played the first movement with a keen or perhaps even closer appreciation than the previous time.^[5]

The manuscript was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that “I much prefer the Third, because my Second is so uncomfortable to play.” Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular.

Orchestration

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, piano and strings.    >>>>>>>>>>>>>>>> More

 

best musical bits, Robert Schumann Symphony No 3 “Rhenish” in E flat major, Op 97 Bernstein , great compositions/performances

Robert Schumann Symphony No 3 “Rhenish” in E flat major, Op 97 Bernstein

La Casa di Davide

Published on Oct 30, 2014

Robert Schumann Symphony No. 3 “Rheinische Sinfonie” (“Rhenish”) in E flat major, Op. 97
Leonard Bernstein conducts Wiener Philarmoniker
Lebhaft 0:00
Scherzo: Sehr mäßig (in C major) 9:56
Nicht schnell (in A-flat major) 16:25
Feierlich (in E-flat minor) 22:51
Lebhaft 30:00

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Gioachino Rossini – Sonata No. 3 for Strings in C major .make music part of your life series

Gioachino Rossini – Sonata No. 3 for Strings in C major

Wolfgang Amadé Mozart

Published on Nov 9, 2012

Andras Kiss, violin. Budapest Rossini Ensemble.
Gioachino Rossini – Sonata No. 3 for Strings in C major
I. Allegro 00:06:29
II. Andante 00:04:40
III. Moderato 00:02:59

• Music

  • “Sonata No. 3 for Strings in C major: III. Moderato” by Budapest Rossini Ensemble (Google Play • iTunes • eMusic • AmazonMP3)

YE EUN CHOI: Wieniawski Violin Concerto No.2 with Christoph Eschenbach (Schleswig-Holstein Musik Festival), great compositions/performances

YE EUN CHOI: Wieniawski Violin Concerto No.2 with Christoph Eschenbach

Ye-Eun Choi

Published on Apr 1, 2015

18 Jul. 2010 – Schleswig-Holstein Musik Festival,
Conductor : Christoph Eschenbach
Concert with SHMF Orchestra
Violin concerto No.2 in D minor Op.22 by H.Wieniawski

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Violin Concerto No. 2 (Wieniawski)

From Wikipedia, the free encyclopedia

 

Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate. The work is in three movements:

1. Allegro moderato in D minor/F major
2. Romance: Andante non troppo in B flat major
3. Allegro con fuoco – Allegro moderato (à la Zingara) in D minor/D major

Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time. The first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.

The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.

A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement’s subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.

Wieniawski’s second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.

Instrumentation

The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.

References

• Golding, Robin (1991). Wieniawski: Violin Concertos Nos. 1 & 2, Sarasate: Zigeunerweisen. Deutsche Grammophon GmbH, Hamburg, pp. 1-2.

Best musical bits, Oistrakh plays Wieniawski Legende op.17 , great compositions/performances

Oistrakh plays Wieniawski Legende op.17

corralsantosluis

Uploaded on Feb 1, 2011

Wienawski(1835-1880)-Légende op.17
David Oistrakh-Violin
Vladimir Yampolsky-Piano

• Music

  • “Legende in G Minor, Op. 17” by David Oistrakh, Vladimir Yampolsky (Google Play • iTunes • AmazonMP3)

Complete Murrow Speech From Good Night, and Good Luck Evmonk Evmonk: ‘Our history will by what we make it’

Complete Murrow Speech From Good Night, and Good Luck

Evmonk

Uploaded on Jul 11, 2007

The two excerpts of Ed Murrow’s brilliant 1958 speech that are included in Good Night, and Good Luck. Performed by David Strathairn. For the full text of the speech, follow this link: http://www.turnoffyourtv.com/commenta…

My commentary on this piece and the current state of TV journalism can be found here: http://web.archive.org/web/2009110923…

Best classical music, Leonard Bernstein, Brahms Tragic Overture Op.81, great compositions/performances

 

Leonard Bernstein, Brahms Tragic Overture Op.81

harpsichordVal

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From Wikipedia, the free encyclopedia

 

The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on 26 December 1880 in Vienna. Most performances last between twelve and fifteen minutes.

Brahms chose the title “Tragic” to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared “one laughs while the other cries.” Brahms quotes some material from the last movement of the Second Symphony in this overture.

The Tragic Overture comprises three main sections, all in the key of D minor.

• Allegro ma non troppo
• Molto più moderato
• Tempo primo ma tranquillo.

Theorists have disagreed in analyzing the form of the piece: Jackson finds Webster’s multifarious description rather obscurist and prefers to label the work’s form as a “reversed sonata design” in which the second group is recapitulated before the first, with Beethoven‘s Coriolan Overture as a possible formal model.^[1]

Instrumentation

The work is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

 

“Gaudeamus” , Best Classical Music, Bernstein – Academic Festival Overture (Brahms), great compositions/performances

Bernstein – Academic Festival Overture (Brahms)

Canal de rivalXXI

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From Wikipedia, the free encyclopedia

Academic Festival Overture (German: Akademische Festouvertüre),^[1] Op. 80, by Johannes Brahms, was one of a pair of contrasting concert overtures — the other being the Tragic Overture, Op. 81. Brahms composed the work during the summer of 1880 as a musical “thank you” to the University of Breslau, which had awarded him an honorary doctorate the previous year.

Background

Initially, Brahms had contented himself with sending a simple handwritten note of acknowledgment to the University, since he loathed the public fanfare of celebrity. However, the conductor Bernard Scholz, who had nominated him for the degree, convinced him that protocol required him to make a grander gesture of gratitude. The University expected nothing less than a musical offering from the composer. “Compose a fine symphony for us!” he wrote to Brahms. “But well orchestrated, old boy, not too uniformly thick!”^[2]

Structure and instrumentation

Brahms, who was known to be a curmudgeonly joker, filled his quota by creating a “very boisterous potpourri of student drinking songs à la Suppé“^[3] in an intricately designed structure made to appear loose and episodic, thus drawing on the “academic” for both his sources and their treatment.

The work sparkles with some of the finest virtues of Brahms’s orchestral technique, sometimes applied for comic effect, such as the bassoons that inflate the light subject of “Fuchslied” (Was kommt dort von der Höh?).^[4] The inventive treatment includes tunes appropriated from the student ditties “Fuchslied”, “Wir hatten gebauet ein stattliches Haus”, “Hört, ich sing das Lied der Lieder”, and most memorably, the broad, triumphant finale on “Gaudeamus igitur“, which succinctly engages Brahms’s sophisticated mastery of counterpoint, further fulfilling the “Academic” aspect of his program, cheekily applied to the well-worn melody. Brahms manages to evoke ravishing euphoria without sacrificing his commitment to classical balance.

The blend of orchestral colors is carefully planned and highlighted in the piece, which, in spite of Scholz’s request, calls for one of the largest ensembles for any of his compositions: piccolo, two flutes, two oboes, two clarinets (both doubling on B-flat and C clarinets), two bassoons, contrabassoon, four horns (two in C and two in E), three C trumpets, three trombones, one tuba, timpani, bass drum, cymbals, triangle, and strings.

The Overture consists of four continuous sections:

• Allegro (C minor)
• Maestoso (C major)
• Animato (G major)
• Maestoso (C major).

The composer himself conducted the premiere at a special convocation held by the University on January 4, 1881, to the chagrin (and mischievous delight) of many of the academics in the audience^{[citation needed]}. Due to its easily grasped structure, its lyrical warmth, as well as its excitement and humor, the work has remained a staple of today’s concert-hall repertoire. A typical performance lasts around ten minutes.

Best Classical Music, Kempff plays Schubert Piano Sonata in B Major D575, great compositions/performances

 

Kempff plays Schubert Piano Sonata in B Major D575

EvaYoungPianist

Published on Jul 4, 2012

Franz Schubert:
Piano Sonata in B Major D575:
Mvt.I: Allegro ma non troppo 00:00
Mvt.II: Andante 08:04
Mvt.III: Scherzo. Allegretto 13:49
Mvt.IV: Allegro giusto 19:25

Wilhelm Kempff: piano

• Music

  • “III. Scherzo: Allegretto” by Endres, Michael, Michael Endres (Google Play • AmazonMP3 • eMusic • iTunes)

 

Stanisław Moniuszko – Bajka. Opowieść zimowa, Conte d’hiver, fantasy overture

 

Akademia Filmu i Telewizji

Published on Jul 28, 2014

winner of Polish Nationwide Music Schools’ Symphonic Orchestras Competition 2014 http://www.oksos.pl
Jury Award
Szymon Bywalec – conductor
The Karol Szymanowski Youth Symphony Orchestra
The Karol Szymanowski Music School Concert Hall in Katowice

Ogólnopolski Konkurs Orkiestr Szkolnych Szkół Muzycznych II stopnia
Szymon Bywalec – dyrygent
Młodzieżowa Orkiestra Symfoniczna im. Karola Szymanowskiego w Katowicach
Stanisław Moniuszko – Bajka. Opowieść zimowa. Uwertura fantastyczna
Koncert zarejestrowany w sali koncertowej Państwowej Ogólnokształcącej Szkoły Muzycznej im. Karola Szymanowskiego w Katowicach

 

best classical music, OTTORINO RESPIGHI – TRILOGIA ROMANA , great compositions/performances

OTTORINO RESPIGHI – TRILOGIA ROMANA

nonsonocretino1

PINI DI ROMA – FONTANE DI ROMA (Orchestre symphonique de Montréal dir. Charles Dutoit) – FESTE ROMANE (Yhe Philadelphia Orchestra dir. Riccardo Muti)

00:00 Pines of the Villa Borghese
02:35 Pines Near a Catacomb
08:53 Pines of the Janiculum
15:47 Pines of the Appian Way

00:00 Pini di Roma
20:21 Fontane di Roma
35:25 Feste Romane

• Music

  • “Feste romane (Roman Festivals): III. L’Ottobrata” by Riccardo Muti/Philadelphia Orchestra (Google Play • iTunes • AmazonMP3)

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 20:21 Fontane di Roma

The first section, The Fountain of Valle Giulia at Dawn (La fontana di Valle Giulia all’Alba), shows this fountain at daybreak in a pastoral landscape which cattle pass through during the morning.

In the second section, The Triton Fountain in the Morning (La fontana del Tritone al mattino), depicts Naiads and Tritons dancing in the morning light, as figures of the Bernini fountain are seen nearby. Gods and goddesses using conch shells are portrayed by the French horn.

The third section, The Trevi Fountain at Noon (La fontana di Trevi al meriggio), is ushered in by a triumph giving news of a recent victory by the god Neptune.

The final section, The Villa Medici Fountain at Sunset (La fontana di Villa Medici al tramonto), portrays a much more melancholic atmosphere, as the brilliance of the sun fades.

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35:25 Feste Romane

Roman Festivals (Italian: Feste Romane) is a symphonic poem written by the Italian composer Ottorino Respighi. It is the third orchestral work in his “Roman trilogy”, preceded by Fountains of Rome (1916) and Pines of Rome (1924). Each of the four movements depict a scene of celebration from ancient or modern Rome. It is the longest and most demanding of the trilogy,^[1] and thus it is less-often programmed than its companion pieces. Its premiere was performed by the New York Philharmonic Orchestra with conductor Arturo Toscanini in 1929.

Structure

The first movement, Circuses (Circenses), depicts the ancient contest in which gladiators battled to the death, with the sound of trumpet fanfares. Strings and woodwinds suggest the plainchant of the first Christian martyrs which are heard against the snarls of the beasts against which they are pitted. The movement ends with violent orchestral chords, complete with organ pedal, as the martyrs succumb.

Next, the Jubilee (Giubileo), portrays the every-fiftieth-year festival in the Papal tradition (see Christian Jubilee). Pilgrims approaching Rome catch a breath-taking view from Mt. Mario, as church bells ring in the background.

The third movement, Harvest of October (L’Ottobrata), represents the harvest and hunt in Rome. The French horn solo celebrates the harvest as bells portray love serenades.

The final movement, Epiphany (La Befana), takes place in the Piazza Navona. Trumpets sound again and create a different clamour of Roman songs and dances, including a drunken reveler depicted by a solo tenor trombone.
 

Best Classical Music, O. Respighi Ancient Airs and Dances Suite III. Complete , great compositions/performances

O. Respighi Ancient Airs and Dances Suite III. Complete

HarpsichordM

O. Respighi Ancient Airs and Dances Suite III. Complete

• Music

  • “Respighi: Ancient Airs And Dances, Suite No.3, [P. 172] – 1. Italiana” by Boston Symphony Orchestra (Google Play • iTunes • AmazonMP3)

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 Ancient Airs and Dances

From Wikipedia, the free encyclopedia

Ancient Airs and Dances (Italian: Antiche arie e danze) is a set of three orchestral suites by Italian composer Ottorino Respighi. In addition to being a renowned composer and conductor, Respighi was also a notable musicologist. His interest in Italian music of the 16th, 17th, and 18th centuries led him to compose works inspired by the music of these periods.

Suite No. 1 was composed in 1917. It was based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of Galileo Galilei) and additional anonymous composers.

1. Balletto, “Il Conte Orlando”
2. Gagliarda
3. Villanella
4. Passo mezzo e mascherada

Suite No. 2 (1923)

Suite No. 2 was composed in 1923. It was based on pieces for lute, archlute, and viol by Fabritio Caroso, Jean-Baptiste Besard, Bernardo Gianoncelli, and an anonymous composer. It also includes an aria attributed to Marin Mersenne.

1. Laura soave
2. Danza rustica
3. Campanae parisienses & Aria
4. Bergamasca

Suite No. 3 (1932)

Suite No. 3 was composed in 1932. It differs from the previous two suites in that it is arranged for strings only and somewhat melancholy in overall mood. It is based on lute songs by Besard, a piece for baroque guitar by Ludovico Roncalli, and lute pieces by Santino Garsi da Parma and additional anonymous composers.

1. Italiana (Anonymous: Italiana (Fine sec.XVI) – Andantino)
2. Arie di corte (Jean-Baptiste Besard: Arie di corte (Sec.XVI) – Andante cantabile – Allegretto – Vivace – Slow with great expression – Allegro vivace – Vivacissimo – Andante cantabile)
3. Siciliana (Anonymous: Siciliana (Fine sec.XVI) – Andantino)
4. Passacaglia (Lodovico Roncalli: Passacaglia (1692) – Maestoso – Vivace)

 

Mendelssohn A Midsummer Night’s Dream Overture Op.21 by Masur, LGO (1997)

lyricpost

Uploaded on Jul 21, 2011

Felix Mendelssohn Bartholdy:
A Midsummer Night’s Dream Overture Op.21

Gewandhausorchester Leipzig
Kurt Masur, Conductor

Live at Gewandhaus, Leipzig

Reupload from Lyricholic’s Channel

George Frideric Handel – Music for the Royal Fireworks

TheNewCavalier

Published on Aug 23, 2013

George Frideric Handel’s “Music for the Royal Fireworks” (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.

0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II

(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)

The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of Austrian Empress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his “Music for the Royal Fireworks” after being commissioned to provide “suitable music” for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James’s.

The “Music for the Royal Fireworks” was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.

At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.

Against George II’s wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous “machine” as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of “a magnificent Doric Temple” and executed in the trompe-l’oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph “VIVAT REX” in letters of “bright fire” which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.

On the great day, the King and his entourage toured the “machine,” presenting purses to its operatives while the entire band played, commencing at 6 o’clock. The beginning of the fireworks display went well enough, as “The Gentleman’s Magazine” vol. 19 (April, 1749), describes:

“At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired…101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection.”

However, catastrophe ensued when the great “machine” misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the “Description II” of the celebration, published afterwards, the contrivance “burnt with great Fury.” Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, “32 feet in Diameter,” the literal high-light of the arrangement, survived the disaster to fulfill expectations.

Handel’s orchestration begins with an Overture suited for the royal progress across St. James’s park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled “La Paix,” which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied “Réjouissance,” and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

• Music

  • “Recepción de Invitados I I” by Estudios Talkback (Google Play • eMusic • AmazonMP3)

Russlan And Ludmilla (Overture) / Orchestra Of Mariinsky Theatre

Sinfónicas

Uploaded on Sep 9, 2010

Russlan And Ludmilla (Overture) – Milkhail Ivanovich Glinka
Orchestra Of Mariinsky Theatre – Director Valery Gergiev

romantic tunes, Ludwig van Beethoven – Romance No. 2 In F Major for Violin and Orchestra, Op. 50 , great compositions/performances

Ludwig van Beethoven – Romance No. 2 In F Major for Violin and Orchestra, Op. 50

Bulgarian National Radio Official

Published on Oct 16, 2013

Album: Pietro Locatelli – Ludwig van Beethoven: Caprice No. 23 “Labirynth” – Romance for Violin and Orchestra №2 F-dur, Op. 50
Download on: https://itunes.apple.com/bg/album/pie…
Performer: David Oistrakh & Sofia Philharmonic Orchestra
Composer: Ludwig van Beethoven
Conductor : Odyssey Dimitriadi
℗ 2011 Bulgarian National Radio
Listen more Classical music from the Playlists:
http://www.youtube.com/watch?v=W1l9Pr…
http://www.youtube.com/watch?v=15k_f9…
http://www.youtube.com/watch?v=jEJ2R7…

Romantic Tunes, Glazunov – Meditation Op. 32 – Perlman , great compositions/performances

Glazunov – Meditation Op. 32 – Perlman

RomanticTunes

Historic Music Bits, Palestrina “Adoramus te, Christe” Leopold Stokowski , great compositions/performances

Palestrina “Adoramus te, Christe” Leopold Stokowski

Addiobelpassato

Published on May 11, 2014

“Adoramus te, Christe”
by Giovanni Perluigi da Palestrina,
arranged by Leopold Stokowski
Symphony of the Air
Leopold Stokowski, conductor

• Music

  • “Adoramus Te (1994 Digital Remaster)” by Leopold Stokowski (Google Play • iTunes • AmazonMP3)

 

Best Classical Music , : The Adventures of Robin Hood performed live by the John Wilson Orchestra – BBC Proms 2013

The Adventures of Robin Hood performed live by the John Wilson Orchestra – BBC Proms 2013

Hans van den Berg

Published on Aug 31, 2013

‘Suite’ from the 1938 movie The Adventures of Robin Hood by composer Erich Wolfgang Korngold. Wonderfully performed live by the John Wilson Orchestra at the 2013 BBC Proms in the Royal Albert Hall in London. Absolutely wonderful.

The Murders in the Rue Morgue (FULL Audiobook)

FULL audio books for everyone

Published on Sep 14, 2013

The Murders in the Rue Morgue audiobook
Edgar Allan POE (1809 – 1849)
http://free-audio-books.info/detectiv…
The Murders in the Rue Morgue” is a short story written by Edgar Allan Poe in 1841. Poe referred to it as a “tale of ratiocination” featuring the brilliant deductions of C. Auguste Dupin; it is today regarded as one of the first detective stories and is almost certainly the first locked room mystery. (Summary from Wikipedia)

Genre(s): Detective Fiction
Language: English (FULL Audiobook)

20th April, 1841: First detective story (Edgar Allen Poe’s “Murders in Rue Morgue”) is published. — ✍ Bibliophilia (@Libroantiguo)

20th April, 1841: First detective story (Edgar Allen Poe’s “Murders in Rue Morgue”) is published. pic.twitter.com/OzKga6SHef

— ✍ Bibliophilia (@Libroantiguo) April 20, 2015

best classical music, ENRIQUE GRANADOS.- Danzas Españolas ENRIQUE , Piano: Alicia de Larrocha, gregaat compositions/performances

ENRIQUE GRANADOS.- Danzas Españolas,  Piano: Alicia de Larrocha

Carlos Garcia

Published on Oct 15, 2013

ENRIQUE GRANADOS.-

Danzas Españolas

Nº 1 Minueto
Nº 2 Oriental
Nº 3 Zarabanda
Nº 4 Villanesca
Nº 5 Andaluza
Nº 6 Rondalla aragonesa
Nº 7 Valenciana
Nº 8 Asturiana
Nº 9 Mazurca
Nº 10 Danza triste
Nº 11 Zambra
Nº 12 Arabesca

Piano: Alicia de Larrocha

Las Doce danzas españolas para piano son una serie de doce piezas pianísticas compuestas por el compositor Enrique Granados. Se desconocen las fechas exactas de composición de cada una de ellas, si bien se ha dicho que fueron escritas entre 1892 y 1900, si bien el propio compositor declaró que la mayoría son de 1883 (cuando contaba 16 años). Cabe la posibilidad de que, por otro lado, escritas en fechas tempranas, fuesen perfeccionadas más tarde por Granados, lo cual haría incompatible dos de sus cualidades: por una parte, su sencillez de escritura, generalmente tripartita A-B-A, alejada de las complejidades de su obra insigne Goyescas, y ello llevaría a pensar que son obras de juventud; por otra parte, la maestría, la elegancia y el dominio rítmico indicarían que estamos ante un compositor maduro. Sea como fuere, estas partituras constituyen una de las máximas aportaciones al piano español del siglo XIX.

Las Doce danzas españolas

Danza española
nº1. Denominada Minueto, es una especie de bolero en sol mayor que Granados dedicó a Amparo Gal, su futura esposa. Se inicia con una sección allegro, que modula a modo menor en una sección central más reposada, poco andante y regresa a la parte inicial.
Danza española
nº2. Denominada Oriental, es una bella danza escrita en do menor. La primera sección es un andante en el que la mano izquierda dibuja un sentido acompañamiento, mientras que la derecha entona la melancólica melodía principal. La sección central, lento assai, emana un lirimo sentimental.
Danza española
nº3. Esta danza recibe dos denominaciones, Fandango o Danza gallega. La partitura señala enérgico, y está en la tonalidad de re mayor. Es interesante por su garbo, su sentido rítmico y algún asomo de lirismo que sirve de contraste.
Danza española
nº4. Denominada Villanesca, está inspirada por Torquato Tasso. Es de carácter cortesano y, al mismo tiempo, popular. Señalada allegro alla pastorale, su aire pastoril, suave y melodioso es su mayor encanto. La canción y el estribillo de la sección central derivan del tema principal.
Danza española
nº5. Denominada Andaluza o Playera, es un andantino, quasi allegretto. Es la más conocida de todas estas danzas. Tiene cierto clima flamenco, por ello recibe la primera apelación. La mano izquierda hace una especie de punteado que recuerda el rasgueo de la guitarra.
Danza española
nº6. Se la denomina Rondalla aragonesa, siendo pues, una verdadera jota. Alegretto, poco a poco scherzando es su Tempo, con una primera sección brillante y de difícil plasmación para el pianista. La parte central es a modo de copla y posteriormente vuelve a aparecer la primera sección. Es una de las más brillantes.
Danza española
nº7. Se la conoce con el nombre de Valenciana o Calesera. Es un allegro arioso en sol mayor. Se trata de una jota valenciana con curiosos acordes sincopados y ritmo sostenido, evocación estilizada del baile popular. Granados la dedicó al compositor César Cui.
Danza española
nº8. Es una sardana, que utilizada su autor en homenaje a su tierra. Esta sardana aparece a través de su peculiar ritmo, con una dotación melódica variada y original. Está en do menor y es un assai moderato.
Danza española
nº9. Se denomina comúnmente Mazurca o Romántica. Es un molto allegro brillante en si bemol menor. Algunos estudiosos han visto en ella un zortzico vasco, pero el ritmo es distinto. Otros han hallado una proximidad al chotis. Como otros también la han considerado una página simplemente romántica.
Danza española
nº10. Denominada Danza triste o Melancólica, es un allegretto en sol mayor. Es una de las más difundidas de la serie. Desde el punto de vista formal es un tanto deslavazada, pero ahí reside su encanto.
Danza española
nº11. Denominada Zambra, es una hermosa e inspirada página que muestra reminiscencias de la música de raíces moriscas junto al virtuosismo y el rigor habituales en Granados.
Danza española
nº12. Está denominada Arabesca. Es de inspiración morisca, como la anterior danza. Se trata también de la última danza de la colección. Pieza de gran delicadeza, la melodía de la sección central tiene una gracia muy especial

 

Translation by Google Translate:

 

 Published on October 15, 2013

ENRIQUE GRANADOS.-

Spanish Dances

 No.1 Minuet

No. 2 Oriental
No. 3 Zarabanda
No. 4 Villanesca
No.5 Andaluza
No. 6 Aragonese Rondalla
No. 7 Valencia
No. 8 Asturiana
Mazurka No. 9
No. 10 Danza triste
No. 11 Zambra
No. 12 Arabesca

Piano: Alicia de Larrocha

Twelve Spanish dances for piano are a series of twelve piano pieces composed by composer Enrique Granados. The exact dates of composition of each is unknown, although it is said that they were written between 1892 and 1900, although the composer himself stated that most are 1883 (when he was 16 years). It is possible, on the other hand, written in early dates, they were perfected later by Granados, which would be incompatible two qualities: first, its ease of writing, usually tripartite ABA, away from the complexities of their Goyescas famous work, and this would suggest that youth are works; Moreover, mastery, elegance and rhythmic domain indicate that this is a mature composer. Anyway, these scores are one of the greatest contributions to Spanish piano nineteenth century.

Twelve Spanish dances

Spanish Dance
# 1. He called Minuet is a kind of bolero in G major Granados dedicated to Amparo Gal, his future wife. It begins with an allegro section, which modulates a minor mode in a more relaxed, little walking and returns to the initial part center section.
Spanish Dance
No.2. Called Oriental, is a beautiful written in C minor dance. The first section is a walking where the left hand draws a sense accompaniment, while the right tone the melancholy main melody. The central section, slow assai, exudes a sentimental lirimo.
Spanish Dance
# 3. This dance takes two denominations, Fandango or Galician Dance. The score points energetic, and is in the key of D major. It is interesting for its grace, its rhythmic sense and any trace of lyricism that serves as a contrast.
Spanish Dance
No.4. Villanesca called, is inspired by Torquato Tasso. It is courtly and at the same time, popular. Marked allegro alla pastorale, its pastoral, soft and melodious air is its greatest charm. The song and the chorus of the central section derived from the main theme.
Spanish Dance
nº5. Called Andaluza or T, is a andantino, quasi allegretto. It is the best known of all these dances. It has some Flemish climate, therefore receives first appeal. The left hand makes a kind of dotted reminiscent strumming the guitar.
Spanish Dance
nº6. Aragon is called Rondalla, being thus a true jack. Alegretto gradually scherzando is your Tempo, with a brilliant first section plasmación difficult for the pianist. The central part is like a song and then reappears the first section. It is one of the brightest.
Spanish Dance
nº7. It is known by the name of Valencia or Calesera. It is an arioso allegro in G major. This is a Valencian jack with curious syncopated chords and steady pace, stylized evocation of folk dancing. Granados was dedicated to the composer César Cui.
Spanish Dance
nº8. It is a Sardana, which used its author in homage to his land. This Sardana appears through its peculiar rhythm, with a varied and original melodic envelope. It is minor and is a moderato assai.
Spanish Dance
nº9. Is commonly referred Mazurca or Romantic. It’s a brilliant allegro molto in B flat minor. Some scholars have seen in it a Basque zortzico, but the pace is different. Others have found a proximity to chotis. As others have also considered a purely romantic page.
Spanish Dance
nº10. Called Danza triste or Melancholic, is an allegretto in G major. It is one of the most widespread of the series. From the formal point of view is somewhat disjointed, but therein lies its charm.
Spanish Dance
nº11. Called Zambra, is a beautiful and inspirational page that displays reminiscent of Moorish roots music with virtuosity and customary rigor in Granados.
Spanish Dance
nº12. It is called Arabesca. It is Moorish-inspired, like the previous dance. It is also the last dance of the collection. Piece of great delicacy, the melody of the central section has a very special grace.

Music
“Granados: Spanish Dance, Op.37, No.3” Sarabande “” by Alicia de Larrocha (Google Play • AmazonMP3 • iTunes)

 

 

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best classical music, Giacomo Puccini: “Coro a bocca chiusa” (Humming Chorus) from Madame Butterfly , great compositions/performances

Giacomo Puccini: “Coro a bocca chiusa” (Humming Chorus) from Madame Butterfly

RoLorenz

Please join me at Facebook:
https://www.facebook.com/pages/Robert…

http://www.robertolorenz.de

Madame Butterfly waits for the ship of her beloved Pinkerton to come. In fact her death comes closer.

composed by Ciacomo Puccini
performed by the Hungarian State Opera

• Music

  • “Madame Butterfly, 1. Akt: Vogliatemi bene (Mona Lisa): Act II Part I: “Humming Chorus” (Chorus)” by Veronika Kincses, Klara Takacs, Gabriella Szamado, Peter Dvorsky, Lajos Miller, Istvan Rozsos, Peter Korcsmaros, Jozsef Gregor, Gabor Vaghelyi, C. Toth Pal, Tibor Gyapjas, Erzsebet Kovacs, Magda Pulveri, Marta Kiss (Google Play • AmazonMP3)

best classical music, Hamelin plays Gershwin – Concerto in F , great compositions/performanes

Hamelin plays Gershwin – Concerto in F

madlovba3

I’ve just realized that the previously uploaded video of this stellar performance was pretty sloppy, out of sync and full of distortion, so I decided to post it in rather decent quality.

George Gershwin’s Piano Concerto in F major. The soloist is Marc-André Hamelin, the conductor is Leonard Slatkin.

1st mvt: 1:04
2nd mvt: 14:37
3rd mvt: 27:39

Palette de Frida Kahlo, Mexique, 1952 — Old Pics Archive (@oldpicsarchive)

Palette de Frida Kahlo, Mexique, 1952 pic.twitter.com/gvokTq4D95

— Old Pics Archive (@oldpicsarchive) April 19, 2015

Johann Sebastian Bach: Bist du bei mir (BWV 508) , Per-Olov Kindgren , great compositions/perfoemances

Johann Sebastian Bach: Bist du bei mir (BWV 508)

Per-Olov Kindgren, great compositions/performances

Tabs and sheet music are available at http://www.shop.per-olovkindgren.com
UPDATE April 2015: Unfortunately YouTube is not letting me to comment or reply here anymore. Please follow me with
better sound and video quality at http://vimeo.com/perolovkindgren.

“Bist du bei mir” (English: “If you are with me”) (BWV 508) is an aria from the Notebook for Anna Magdalena Bach. It was attributed to Johann Sebastian Bach, but the melody is actually by Gottfried Heinrich Stölzel and Bach later harmonized it. I made this arrangement this morning, after having sketches of it in many different keys in my drawers for several years. At last I found a good key (G-Major) and finished it and felt like recording it immediately. 🙂
I hope you like it, and as usual, it is available from my web site as TAB or score:
Guitar: Per Hallgren, Sweden (2011) http://hallgrenguitars.com

Reverb added! (the room is very small)

Rondo for Violin and String Quartet in A Major, D. 438 – Franz Schubert , make music part of your life series

Rondo for Violin and String Quartet in A Major, D. 438 – Franz Schubert

ICMParkUniversity

Published on Oct 24, 2014

Shmuel Ashkenasi, violin
ICM String Quartet
David Radzynski – violin
Laurel Gagnon – violin
Alexander Smith – viola
Sunnat Ibragimov – cello

Live performance Saturday, September 27, 2014, International Center for Music at Park University. For more information: http://www.park.edu/icm

Slot Machines (oxymoron: gamble responsibly…)

Slot Machines

Slot machines are popular casino games that constitute about 70% of the average casino’s income. The player pulls a handle to rotate a series of reels that have pictures printed on them. Winning or losing is determined by which pictures line up with the pay line, a line in the middle of a viewing window. Some believe skill is involved in the game, but the probability of a win is determined by the game’s random number generator. Who invented the slot machine? More… Discuss

Fifty Five – (‘Languor is upon your heart and the slumber is still on your eyes…’), Rabindranath Tagore, Gitanjali (from Collection of Indian Poems)

55
+++++++++++++++++++++++++++++++
Languor is upon your heart and the slumber is still on your eyes.
Has not the word come to you that the flower is reigning in splendour among thorns? Wake, oh awaken! Let not the time pass in vain!
At the end of the stony path, in the country of virgin solitude my friend is sitting all alone. Deceive him not. Wake, oh awaken!
What if the sky pants and trembles with the heat of the midday sun—what if the burning sand spreads its mantle of thirst—
Is there no joy in the deep of your heart? At every footfall of yours, will not the harp of the road break out in sweet music of pain?

***Rabindranath Tagore, Gitanjali (from Collection of Indian Poems)

Historic Musical Bits, Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82 , (recorded 1956), great compositions/performances

Sviatoslav Richter – Schumann – Waldszenen (Forest Scenes), Op 82

Classical Vault 1

Published on May 5, 2013

Robert Schumann
Waldszenen (Forest Scenes), Op 82

1 Eintritt
2 Jäger auf der Lauer
3 Einsame Blumen
4 Verrufene Stelle
5 Freundliche Landschaft
6 Herberge
7 Vogel als Prophet
8 Jagdlied
9 Abschied

Sviatoslav Richter, piano

Recorded live, 1956

• Music

  • “Waldszenen, Op. 82: III. Einsame blumen. Einfach” by Sviatoslav Richter (Google Play • eMusic • AmazonMP3 • iTunes)

• Artist

  • Sviatoslav Richter

best classical music, Schubert Symphony No 5 B flat major Bavarian RSO Maazel , make music part of your life series

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra
Allegro in B♭, in cut (2/2) time.
Andante con moto in E♭, in 6/8 time 4:50
Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
Allegro vivace in B♭, in 2/4 time 21:36
************************************************************************

From Wikipedia, the free encyclopedia

Franz Schubert‘s Symphony No. 5 in B flat major, D. 485, was written mainly in September 1816 and completed on October 3, 1816.^[1] It was finished six months after the completion of his previous symphony.

Scored for one flute, two oboes, and two bassoons, along with two horns in B♭ and E♭ and strings. Of all of Schubert’s symphonies, it is scored for the smallest orchestra. It is the only one of his symphonies which does not include clarinets, trumpets or timpani as part of the instrumentation.

In character, the writing is often said to resemble Mozart; Schubert was infatuated with the composer at the time he composed it, writing in his diary on June 13 of the year of composition, “O Mozart! immortal Mozart! what countless impressions of a brighter, better life hast thou stamped upon our souls!”^[2] This is reflected particularly in the lighter instrumentation, as noted above. Indeed, the instrumentation matches that of the first version (without clarinets) of Mozart’s 40th symphony.^[3

There are four movements:

1. Allegro in B♭, in cut (2/2) time.
2. Andante con moto in E♭, in 6/8 time.
3. Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major.
4. Allegro vivace in B♭, in 2/4 time.

First movement

This is the first Schubert symphony that does not begin with a slow introduction. What starts the movement is a four-bar structural upbeat similar to the one that begins the finale of his 4th symphony before the main theme starts on bar 5.^[3] The main is a simple rising arpeggio with a dotted rhythm that dominates all of the themes of the exposition. The first movement is a slightly unusual sonata form since the recapitulation begins, as in the first movement of Mozart’s sonata facile (and Schubert’s ‘Trout’ Quintet), in the subdominant, not in the main key of the piece as is more usual.

Second movement

The slow movement opens with a theme in two repeated stanzas. Without pause there is a modulation into C♭ that is very characteristic of Schubert, even at age 19. The return to the main theme is straight, passing through G minor on the way; there is a repetition of the distant modulation afterwards, though to G♭ this time and with a more immediate return.

Third movement

The menuetto has the chromaticism though not the polyphony of the menuetto of Mozart’s 40th symphony. The progression used mid-way through the movement to modulate is borrowed almost directly from the 40th — using the same approach (a gradual layering of instruments) to a dominant 7th chord. (It might be interesting to compare the Schubert to other minor‐mode symphonic minuets of the time, however.) The trio is quiet throughout, and only gradually accumulates instruments, beginning with only bassoon and strings, and with a subtle suggestion of a pastoral mood over held lower string notes.

Fourth movement

The finale is the shortest of the four movements.

LISZT Orchestral Hungarian Rhapsody No 4, Herbert von Karajan / Berliner Philharmoniker

LISZT Orchestral Hungarian Rhapsody No 4

MrBeethovenfan

Franz Liszt: Hungarian Rhapsody No.4 in D minor, S.359 No.4 (orchestral version)
Herbert von Karajan / Berliner Philharmoniker

Not the best known of the Hungarian Rhapsodies, this would certainly be recognizable as one on first hearing.

• Music

  • “Liszt: Hungarian Rhapsody No.4 In D Minor, S.359 No.4 (Corresponds Piano Version No. 12 In C Sharp Minor)” by Berliner Philharmoniker and Herbert von Karajan (AmazonMP3)