great compositions/performances: Yuja Wang plays Gershwin : Piano Concerto in F (1925)

Yuja Wang plays Gershwin : Piano Concerto in F (1925)

MrOsomatsu

Published on Apr 16, 2015

George Gershwin :
Piano Concerto in F (1925)

I. Allegro 0:39
II. Adagio – Andante con moto 14:13
III. Allegro agitato 26:40

encore
the third movement of Poulenc’s four-hand sonata 36:08

Yuja Wang, piano :
Michael Tilson Thomas, conductor :
London Symphony Orchestra :
http://lso.co.uk/michael-tilson-thoma…
http://concert.arte.tv/fr/le-london-s…

Yuja Wang: Dresses Up Chopin
http://www.redbull.tv/episodes/139869…

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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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Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905) : Great compositions/performances|Art by Jean-Léon Gérôme

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905)

    pelodelperro
******Stuttgart Chamber Music Ensemble******The Introduction and Allegro (1905) is one of the few pieces by Ravel that has remained more or less in the shadows — save in the minds of harpists — throughout the last century. While it is certainly not among the composer’s most striking works, it is nevertheless a pleasant enough showpiece that looks forward to the raw sensuality of Daphnis et Chloé while hearkening back with great affection to the music of Chabrier and, especially, Franck. The full title of the work is Introduction and Allegro for Harp, Accompanied by a Quartet of Strings, Flute, and Clarinet. Although it is often conveniently designated a septet, it is really a kind of miniature (10-minute) harp concerto, complete with virtuoso writing and an extended central cadenza for the instrument. Chamber performances of the work, in fact, are few and far between; it is far more frequently heard in the orchestra hall with a full complement of strings. The general simplicity of form and harmony have led some to conclude that the Introduction and Allegro might have originally been composed as a test piece for the Paris Conservatoire; certainly it did not stand out sufficiently in Ravel’s own memory for him to include it in his list of works.

The brief  Très lent introduction presents two themes, the first for the woodwinds in leaping parallel thirds, the second an inverted-arch-shaped gesture sung by the strings in octaves. Presently a shimmering texture of arpeggios and woodwind double-tonguing takes over, inviting the cello to explore another melody before the harp rejoins the lush musical fabric.

Twenty-six bars into the piece the Allegro commences. Now, as the harp makes an extended solo exploration of the melody presented earlier by the strings, a sonata form begins to take shape. A second, hemiola-ridden theme arrives in the woodwinds, accompanied pizzicato by the strings. The development of this material takes place in the usual fragmentary manner, building to an excited fff climax that breaks away abruptly as the harp assumes center stage with a cadenza. The recapitulation is quite straightforward, and the work ends without extensive fireworks or bombast of any kind. The Introduction and Allegro was first performed in late February 1907. [allmusic.com]

******Art by Jean-Léon Gérôme*****

Google Art Project works by Jean-Léon Gérôme

Google Art Project works by Jean-Léon Gérôme Google Art Project works by Jean-Léon Gérôme From Wikimedia Commons, the free media repository (click to access and view the Art collection, or take a virtual museums tour! All available here at euzicasa!)

From Wikimedia Commons, the free media repository

Media in category “Google Art Project works by Jean-Léon Gérôme”

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L’isle joyeuse (1904)

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Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa),: GREAT COMPOSITIONS/PERFORMANCES

Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa)

Wyndorel

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From Wikipedia, the free encyclopedia

 

This article is about the Fokine ballet to Ravel’s music. For the original story, see Daphnis and Chloe. For the operetta by Jacques Offenbach, see Daphnis et Chloé (Offenbach).

Set design by Léon Bakst for the world premiere of the ballet Daphnis et Chloé (music by Maurice Ravel), Paris 1912.

Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a “symphonie choréographique” (choreographic symphony). The scenario was adapted by Michel Fokine from an eponymous romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario.^[1] The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. The ballet is in one act and three scenes.

Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on June 8, 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloe. Léon Bakst designed the original sets.

At almost an hour long, Daphnis et Chloé is Ravel’s longest work. In spite of the ballet’s duration, four discernable leitmotifs give musical unity to the score.^[1][2] The music, some of the composer’s most passionate, is widely regarded as some of Ravel’s best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer’s lifetime, contemporary commentators described this ballet as his masterpiece for orchestra.^[3] Ravel extracted music from the ballet to make two orchestral suites, which can be performed with or without the chorus. The second of the suites, which includes much of the last part of the ballet and concludes with the “Danse générale”, is particularly popular. When the complete work is itself performed live, it is more often in concerts than in staged productions.

Structure

Part I

• Introduction et Danse religieuse
• Danse générale
• Danse grotesque de Dorcon
• Danse légère et gracieuse de Daphnis
• Danse de Lycéion
• Danse lente et mystérieuse des Nymphes

Part II

• Introduction
• Danse guerrière
• Danse suppliante de Chloé

Part III

• Lever du jour
• Pantomime (Les amours de Pan et Syrinx)
• Danse générale (Bacchanale)

In popular culture

Music

Trumpeter Harry James, in his 1942 arrangement of Eric Coates‘s By the Sleepy Lagoon, made use of the “Lever du jour” from Daphnis et Chloé for its opening theme.^[4]

The title song (“You can see forever”) from the musical On a clear day is based on the “Dawn” passage in the second Suite from Daphnis et Chloé.^{[citation needed]}

Sports

In 2002 American figure skater Sarah Hughes won an Olympic gold medal skating to selections from Daphnis et Chloé at the XIX Olympic Winter Games in Salt Lake City.

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Schubert: Entr’acte no. 3 from “Rosamunde“

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