make music part of your life series: , Ottorino Respighi Ancient Airs and Dances Suite III

O. Respighi Ancient Airs and Dances Suite III.

HarpsichordM

Published on Jun 14, 2012

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 • AmazonMP3 • iTunes)

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From Wikipedia, the free encyclopedia

English: Ottorino Respighi, photography by Madeline Grimoldi at 1935 Deutsch: Ottorino Respighi, Fotografie von Madeline Grimoldi um 1935 (Photo credit: Wikipedia)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2013)

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. 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)

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)

historic musical bits: Arthur Rubinstein – Chopin – Piano Concerto No 2 in F minor, Op 21/ London Symphony Orchestra André Previn, conductor Classical Vault 2 Classical Vault 2

Arthur Rubinstein – Chopin – Piano Concerto No 2 in F minor, Op 21

Classical Vault 2

Published on Jul 22, 2013

Frédéric Chopin
Piano Concerto No 2 in F minor, Op 21

1 Allegro
2 Larghetto
3 Allegro vivace

Arthur Rubinstein, piano

London Symphony Orchestra
André Previn, conductor
***************************************
From Wikipedia

The Piano Concerto No. 2 in F minor, Op. 21, is a piano concerto composed by Frédéric Chopin in 1830. Chopin wrote the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in Warsaw, Poland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as “No. 2”, even though it was written first.

Structure

The work contains the three movements typical of instrumental concertos of the period: Maestoso, Larghetto and Allegro vivace.

In the finale, the violins and violas are at one point instructed to play col legno (with the wood of the bow).

Analysis

Kevin Bazzana states “Chopin’s concertos – indeed, all of his works in classical forms – have always suffered from comparisons with those of Mozart and Beethoven. It is an old cliché that the larger classical forms he had studied at the Warsaw Conservatory were incompatible with his imagination. As early as 1852, writers such as Liszt remarked that Chopin “did violence to his genius every time he sought to fetter it by rules.” But he was not trying to re-interpret the classical concerto. He was working in a different tradition called stile brillante, made fashionable by such virtuoso pianist-composers as Weber and Hummel. Chopin borrowed from their example a conception of the concerto as a loosely organized showcase for a virtuoso soloist, as opposed to a more balanced, cohesive and densely argued musical drama in the classical vein.

There is no denying that Chopin’s concertos betray a youthful want of formal sophistication but, as one observer wrote, they “linger in the memory for the poetry of their detail rather than the strength of their structures.” Those details are so bold and colourful, so imaginative and personal, that the concertos have become the only large-scale early works of Chopin to retain a place in the repertoire.

References

• Ledbetter, Steven (1994). Pro Arte: Piano Concerto #2 in F minor.^{[dead link]}
• Bazzana, Kevin “Programme Notes“.

External links

Book: Frédéric Chopin

• Piano Concerto No. 2: Scores at the International Music Score Library Project

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

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

(Rare footage of Arthur Fiedler and the Boston Pops)

tonyb21007

Boston Pops

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

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

 

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

JULES MASSENET.- EL CID – Ballet

Carlos Garcia

JULES MASSENET.-

EL CID – Ballet

Castillane
Andalouse
Aragonaise
Aubade
Catalane
Madrilene
Navarraise

Radio Sinfonía Orquesta Czecho-Slovak

Director: Keith Clark

Le Cid, suite para orquesta.

Descripción de Robert Barefield

The ballet suite second act of Massenet‘s opera Le Cid is one of his best known and most respected orchestral works. The opera, set in Spain in the twelfth century, is a sweeping saga centers on the exploits of Don Rodrigue (Le Cid) in the battle against the Moors and fight for the woman he loves. In the same way that suggested Bizet sounds of Spain in his opera Carmen, Massenet uses colorful orchestration and dance rhythms on strike to evoke the unique flavor of the region. Composer inventive use of percussion instruments is particularly striking, and certainly reflects the fact that early in his career, Massenet was a percussionist himself. The seven picturesque movements are: Castilane, Andalouse, Aragonaise, Aubade, Catalan, Madrilène and Navarraise.

 

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Paul Dukas: L’apprenti sorcier (conductor – Cristian Orosanu) , great compositions/performances

Paul Dukas: L’apprenti sorcier (conductor – Cristian Orosanu)

Cristian Orosanu

Published on Aug 18, 2013

George Enescu Philharmonic Orchestra Bucharest
Conductor: Cristian Orosanu
http://www.cristianorosanu.ro

Considered as the best Romanian conductor of the young generation, Cristian Orosanu has made several important debuts in recent seasons and is rapidly establishing his professional reputation beyond the borders of his native country.

Tonhalle Orchestra Zürich
Orchestre de Paris
Danish Radio Orchestra
Orchestre Lamoureux
BBC Scotish Orchestra
Ensemble Orchestral de Paris
Porto National Orchestra
Israel Kibbutz Orchestra
Bucarest National Radio Orchestra
Bordeaux Aquitaine National Orchestra
Deutsches Symphonie Orchester Berlin
Bucarest Philharmonic Orchestra
Brussels Philharmonic Orchestra
Hyogo Performing Arts Center Orchestra
Strasbourg Philharmonic Orchestra

Cristian Orosanu exhibits a mixture of passionate exuberance, fiery determination, elegant clarity of expression and huge personal charm. However, what chiefly distinguishes him from his peers is his extensive repertoire, he has already conducted more than 35 operas and over 500 symphonic works. He speaks fluent French, English, Italian, German, Spanish and learning Russian.

Press reviews:

NeueZüricherZeitung: “The Tonhalle Orchestra of Zürich was in its best form, inspired by the young conductor CristianOrosanu.”

Le monde de la musique (Patrick Szersnovicz): “Orosanu’s direction was infallible with a rare accuracy of style, more elegant and concise than is customary.”

“Le Sud-Ouest” of Bordeaux(Luc Bourrousse): “Orosanu’s performance was probably the most exciting concert of the season.”

CIMEC ( Grigore Constantinescu): “We already know his artistic temperament and his ability to give spectacular performances”

Ziarul Financiar (Oltea Serban-Parau): “CristianOrosanu inspires the orchestra provocking the enthusiastic applause of the audience.”

HA’ARETZ (Israel): “Due to the conductor Cristian Orosanu, the orchestra had a very soft and fine sound.”

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Clara Schumann: Piano Concerto Op. 7 – Francesco Nicolosi

FourthMovement – The Best of Classical Music

Soloist: Francesco Nicolosi
Clara Schumann – Piano Concerto Op. 7 in A minor

 

From Wikipedia, the free encyclopedia

 

Clara Schumann
Portrait by Franz von Lenbach, 1878
Born	Clara Josephine Wieck 13 September 1819 Leipzig
Died	20 May 1896 (aged 76) Frankfurt, German Empire
Cause of death	Stroke
Nationality	German
Occupation	Pianist, composer
Spouse(s)	Robert Schumann (m. 1840; died 1856)
Children	Eight

Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. Together they encouraged Johannes Brahms. She was the first to perform publicly any work by Brahms.^[1] She later premiered some other pieces by Brahms, notably the Variations and Fugue on a Theme by Handel.^[2]

Early life

 Clara Wieck, from an 1835 lithograph

Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich Wieck and Marianne Wieck (née Tromlitz).^[3] Marianne Tromlitz was a famous singer in Leipzig at the time and was singing solos on a weekly basis at the well-known Gewandhaus in Leipzig.^[4] The differences between her parents were irreconcilable, in large part due to her father’s unyielding nature.^[4] After an affair between Clara’s mother and Adolph Bargiel, her father’s friend,^[5] the Wiecks divorced in 1824 and Marianne married Bargiel. Five-year-old Clara remained with her father.

Child prodigy

From an early age, Clara’s career and life was planned down to the smallest detail by her father. She daily received a one-hour lesson (in piano, violin, singing, theory, harmony, composition, and counterpoint), and two hours of practice, using the teaching methods he had developed on his own. In March 1828, at the age of eight, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of the mental hospital at Colditz Castle. There she met another gifted young pianist who had been invited to the musical evening, named Robert Schumann, who was nine years older. Schumann admired Clara’s playing so much that he asked permission from his mother to discontinue his law studies, which had never interested him much, and take music lessons with Clara’s father. While taking lessons, he took rooms in the Wieck household, staying about a year. He would sometimes dress up as a ghost and scare Clara, and this created a bond.

In 1830, at the age of eleven, Clara left on a concert tour to Paris via other European cities, accompanied by her father. She gave her first solo concert at the Leipzig Gewandhaus. In Weimar, she performed a bravura piece by Henri Herz for Goethe, who presented her with a medal with his portrait and a written note saying: “For the gifted artist Clara Wieck”. During that tour, Niccolò Paganini was in Paris, and he offered to appear with her.^[6] However, her Paris recital was poorly attended, as many people had fled the city due to an outbreak of cholera.^[6]

At the age of 18, Clara Wieck performed a series of recitals in Vienna from December 1837 to April 1838.^[7] Austria’s leading dramatic poet, Franz Grillparzer, wrote a poem entitled “Clara Wieck and Beethoven” after hearing Wieck perform the Appassionata sonata during one of these recitals.^[7] Wieck performed to sell-out crowds and laudatory critical reviews; Benedict Randhartinger, a friend of Franz Schubert (1797–1828), gave Wieck an autographed copy of Schubert’s Erlkönig, inscribing it “To the celebrated artist, Clara Wieck.”^[7] Frédéric Chopin described her playing to Franz Liszt, who came to hear one of Wieck’s concerts and subsequently “praised her extravagantly in a letter that was published in the Parisian Revue et Gazette Musicale and later, in translation, in the Leipzig journal Neue Zeitschrift für Musik.”^[8] On 15 March, Wieck was named a Königliche und Kaiserliche Kammervirtuosin (“Royal and Imperial Chamber Virtuoso”), Austria‘s highest musical honor.^[8]

The appearance of this artist can be regarded as epoch-making…. In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a colour, which only those with the most consummate artistry can give.

An anonymous music critic, writing of Clara Wieck’s 1837–1838 Vienna recitals[7]

Leonard Bernstein conducts Claude Debussy’s Prelude to the Afternoon of a Faun – Boston Symphony Orchestra: make music part of your life series

Debussy Prélude à l’après-midi d’un faune

   Ofir Gal

Leonard Bernstein conducts Claude Debussy‘s Prelude to the Afternoon of a Faun – extract from “The Unanswered Question“, Boston Symphony Orchestra

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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Philadelphia Sinfonia – Astor Piazzolla “Melodia en La Menor”: make music part of your life series

From:       Philadelphia Sinfonia

Philadelphia Sinfonia – Astor Piazzolla “Melodia en La Menor” 

(for bandoneón & strings)

Philadelphia Sinfonia
(Youth Orchestra)
Gary D. White, Conductor & Music Director
Astor Piazzolla – Melodia en La Menor
(live performance featuring the strings of Philadelphia Sinfonia – 2009)

Philadelphia Sinfonia Association includes 3 orchestras:
Philadelphia Sinfonia – our advanced orchestra (high school & college)
Philadelphia Sinfonia Players – our intermediate orchestra (middle school & high school)
Philadelphia Sinfonia Chamber Orchestra – our strings only chamber orchestra

Our talented and dedicated students come from all over the Delaware Valley to participate in our high-level orchestral training program.

“Educating Musicians. Creating Artists.” – Philadelphia Sinfonia Association

http://www.philadelphiasinfonia.com – website
info@philadelphiasinfonia.com – email

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Serge Prokofiev: Peter and the Wolf. Vancouver Symphony Orchestra. (make music part of your life series)

[youtube.c/watch?v=MfM7Y9Pcdzw]

http://www.cbcmusic.ca
The Vancouver Symphony Orchestra‘s music director Bramwell Tovey does double duty as conductor and narrator in this delightfully entertaining performance. It’s the final work on a program that introduces listeners young and old to the various instruments and sections of the orchestra. Also featured are popular favourites from Star Wars, the Nutcracker Suite and Pictures at an Exhibition.

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make music part of your life series: Leonard Bernstein – Maria (from West Side Story)

[youtube.com/watch?v=kpF1IZ4xLuE]

Leonard Bernstein – Maria (from West Side Story)

Leonard Bernstein (1918 – 1990) was probably best known to the public as the longtime music director of the New York Philharmonic, for conducting concerts by many of the world’s leading orchestras, and for writing the music for West Side Story, a musical based on William Shakespeare’s Romeo and Juliet.

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make music part of your life series: Antonín Dvořák -Scherzo Capriccioso, Op. 66

[youtube.com/watch?v=k8-wQZUQ99A]

Antonín Dvořák:
Scherzo Capriccioso, Op. 6

make music part of your life series – Antonin Dvorak – Scherzo Capriccioso op. 66 Royal Philharmonic Orchestra cond. Paavo Jarvi

 

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devotional music: Dvorak Psalm 149 op 79 Boston Ozawa

Dvorak Psalm 149 op 79 Boston Ozawa

• Buy “Psalm 149 for Chorus and Orchestra, Op. 79, “Zaple sejte, zaple sejte Bohn v no vem peni” (Voice)” on
  
  

  Google Play AmazonMP3 iTunes

• Artist
  Boston Symphony Orchestra;Seiji Ozawa

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Felix Mendelssohn – Six Anthems for eight voices a capella opus 79 – New Year

Maulbronn Chamber Choir
The night shines as the day
Conductor: Jürgen Budday

A concert recording from the church of the
UNESCO World Heritage Site Maulbronn Monastery.
Released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in cooperation with Jürgen Budday.
Juli 2010.

F. Mendelssohn: Sechs Sprüche zum Kirchenjahr.
In durchweg opulenten 8stimmigen Sätzen durchmisst Mendelssohn die Feste des Kirchenjahres vom Advent bis zu Himmelfahrt. Dabei reicht die klangliche Palette je nach Charakter des jeweiligen Festes vom dumpfen Adagio bis hin zum strahlenden, jubelnden Allegro. Inhaltlich repräsentiert insbesondere der Text der Passionszeit das Thema des Konzertes: Die “Übeltaten”, das Elend und die Sünde stehen für die negativen Seiten des Lebens, die durch Christus in der Herrlichkeit Gottes aufgehoben werden.

 

Great Performances: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

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

 

Bizet / Herbert von Karajan, 1958: L’Arlesienne Suite No. 2 – Intermezzo, Minuet, Farandole

Herbert von Karajan (1908-1989) leads the Philharmonia Orchestra in this 1958 recording of the Intermezzo, Minuet and Farandole from the L’Arlesienne Suite No. 2. I created this video from the LP depicted above, issued in 1958 on the Angel label, serial number S. 35618. All images in this video are taken from the LP label (3:47) and LP jacket (10:14), front and reverse. (An image of the reverse side of the jacket appears at the end of the video.)

Movement 2: Intermezzo
Movement 3: Minuet (5:17)
Movement 4: Farandole (9:23)

Movement 1: Pastorale – http://www.youtube.com/watch?v=q-fyBs…

More from this LP:

L’Arlesienne Suite No. 1 – Prelude (1): http://www.youtube.com/watch?v=xZKYXD…

L’Arlesienne Suite No. 1 – Minuet, Allegro giocoso (2):http://www.youtube.com/watch?v=dFo-A0…

L’Arlesienne Suite No. 1 – Adagietto (3):http://www.youtube.com/watch?v=8Axb5e…

L’Arlesienne Suite No. 1 – Carillon (4): http://www.youtube.com/watch?v=M3FJJu…

Carmen, Suite No. 1 – Prelude, Act : http://www.youtube.com/watch?v=-iSqEy…

 

Massenet – Seven Dances from Le Cid performed by the Victoria Symphony Orchestra

This is a live performance of Jules Massenet‘s Seven Dances from the second act of his opera “Le Cid” by the Victoria Symphony Orchestra under the direction of Music Director Darryl One. This performance took place at the Victoria Fine Arts Center on October 15, 2011.

 

Serge Prokofiev: Peter and the Wolf. Vancouver Symphony Orchestra.

http://www.cbcmusic.ca
The Vancouver Symphony Orchestra‘s music director Bramwell Tovey does double duty as conductor and narrator in this delightfully entertaining performance. It’s the final work on a program that introduces listeners young and old to the various instruments and sections of the orchestra. Also featured are popular favourites from Star Wars, the Nutcracker Suite and Pictures at an Exhibition.