great compositions/performances: ,Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Classical Vault 2

Published on Jul 30, 2013

Wolfgang Amadeus Mozart
Violin Concerto No 4 in D major, K 218

1 Allegro
2 Andante cantabile
3 Rondeau. Andante grazioso – Allegro ma non troppo

Hilary Hahn, violin

BBC Symphony Orchestra
Andrew Davis, conductor

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 

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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.

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.

Itzhak Perlman – Beethoven Violin Concerto – Daniel Barenboim , great compositions/performances

Itzhak Perlman – Beethoven Violin Concerto – Daniel Barenboim

My Violin Channel

Ludwig van Beethoven – Violin Concerto in D major, Op. 61

I. Allegro ma non troppo (00:00)
II. Larghetto (24:37)
III. Rondo. Allegro (33:33)

Itzhak Perlman, violin
Daniel Barenboim, conductor
Berlin Philharmonic

Hilary Hahn plays Johannes Brahms Violin Concerto in D Op 77

Mentor1954_2.0

Published on May 5, 2014

Please check out my other channels too:
http://www.youtube.com/user/Mentor1954
https://www.youtube.com/channel/UCJq_…

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From Wikipedia, the free encyclopedia

The Violin Concerto in D major, Op. 77, was composed by Johannes Brahms in 1878 and dedicated to his friend, the violinist Joseph Joachim. It is Brahms’s only violin concerto, and, according to Joachim, one of the four great German violin concerti:^[1]

The Germans have four violin concertos. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.

Instrumentation

It is scored for solo violin and an orchestra consisting of flutes, oboes, clarinets, bassoons; 4 horns in D, F, and E, 2 trumpets in D, timpani, and strings.

Structure

It follows the standard concerto form, with three movements in the pattern quick-slow-quick:

1. Allegro non troppo (D major)
2. Adagio (F major)
3. Allegro giocoso, ma non troppo vivace – Poco più presto (D major)

Originally, the work was planned in four movements like the second piano concerto. The middle movements, one of which was intended to be a scherzo — a mark that Brahms intended a symphonic concerto rather than a virtuoso showpiece — were discarded and replaced with what Brahms called a “feeble Adagio.” Some of the discarded material was reworked for the second piano concerto.

Brahms, who was impatient with the minutiae of slurs marking the bowing, rather than phrasing, as his usual practice was^{[clarification needed]}, asked Joachim’s advice on the writing of the solo violin part.^[2] Joachim, who had first been alerted when Brahms informed him in August that “a few violin passages” would be coming in the mail, was eager that the concerto should be playable and idiomatic, and collaborated willingly, not that all his advice was heeded in the final score.^[3] The most familiar cadenza, which appears in the first movement, is by Joachim, though a number of people have provided alternatives, including Leopold Auer, Henri Marteau, Max Reger, Fritz Kreisler, Jascha Heifetz, George Enescu, Nigel Kennedy and Rachel Barton Pine. A recording of the concerto released by Ruggiero Ricci has been coupled with Ricci’s recordings of sixteen different cadenzas.

Premiere

The work was premiered in Leipzig on January 1, 1879, by Joachim, who insisted on opening the concert with the Beethoven Violin Concerto, written in the same key, and closing with the Brahms.^[4] Joachim’s decision could be understandable, though Brahms complained that “it was a lot of D major—and not much else on the program.”^[5] Joachim was not presenting two established works, but one established one and a new, difficult one by a composer who had a reputation for being difficult.^[6] The two works also share some striking similarities. For instance, Brahms has the violin enter with the timpani after the orchestral introduction: this is a clear homage to Beethoven, whose violin concerto also makes unusual use of the timpani.

Brahms conducted the premiere. Various modifications were made between then and the work’s publication by Fritz Simrock later in the year.

Critical reaction to the work was mixed: the canard that the work was not so much for violin as “against the violin” is attributed equally to conductor Hans von Bülow and to Joseph Hellmesberger, to whom Brahms entrusted the Vienna premiere,^[7] which was however rapturously received by the public.^[8] Henryk Wieniawski called the work “unplayable”, and the violin virtuoso Pablo de Sarasate refused to play it because he didn’t want to “stand on the rostrum, violin in hand and listen to the oboe playing the only tune in the adagio.”^[9]

Against these critics, modern listeners^[who?] often feel that Brahms was not really trying to produce a conventional vehicle for virtuoso display; he had higher musical aims. Similar criticisms have been voiced against the string concerti of other great composers, such as Beethoven‘s Violin Concerto^{[citation needed]} and Hector Berlioz‘s Harold in Italy, for making the soloist “almost part of the orchestra.”^[10]

Technical demands

The technical demands on the soloist are formidable, with generous use of multiple stopping, broken chords, rapid scale passages, and rhythmic variation. The difficulty may to some extent be attributed to the composer’s being chiefly a pianist.^{[citation needed]}

Nevertheless, Brahms chose the violin-friendly key of D major for his concerto. Since the violin is tuned G’D’A’E, the open strings, resonating sympathetically, add brilliance to the sound. For the same reason, composers of many eras (e.g. Bach, Mozart, Beethoven, Schumann, Tchaikovsky, Sibelius, Prokofiev, Korngold and Khachaturian) have written violin concertos in either D major or D minor.

In popular culture

The third movement of the concerto is the inspiration for the Andrew Lloyd Webber and Tim Rice song “Don’t Cry for Me Argentina” from the musical Evita.^[11]

The third movement is used twice in Paul Thomas Anderson‘s 2007 film There Will Be Blood, including the end credits.^[12]

In Smilla’s Sense of Snow by Peter Høeg, Smilla, the protagonist says “I cry because in the universe there is something as beautiful as Kremer playing Brahm’s violin concerto”.

Itzhak Perlman – Ludwig van Beethoven: Violin Concerto in D Op 61 – Daniel Barenboim

Itzhak Perlman – Beethoven Violin Concerto – Daniel Barenboim

My Violin Channel

 

Published on Jul 21, 2014/255,389 views

Ludwig van Beethoven – Violin Concerto in D major, Op. 61

I. Allegro ma non troppo (00:00)
II. Larghetto (24:37)
III. Rondo. Allegro (33:33)

Itzhak Perlman, violin
Daniel Barenboim, conductor
Berlin Philharmonic

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

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

Movements:

1. Vorspiel: Allegro moderato

2. Adagio

3. Finale: Allegro energico

Roberto Mastrosimone

Uploaded on Feb 18, 2011 / 387,496 views

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

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

History

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

The fate of the score

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

 Movements

The concerto is in three movements:

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

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

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

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

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

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Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476): make music part of your life series

Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476)

vivaldi369

Published on Sep 14, 2012

Álbum: Boccherini: Cello Concertos Complete
Interprete del álbum: Enrico Bronzi & Accademia I Filarmonici Di Verona
Compositor: Luigi Rodolfo Boccherini
Año: 2005
Genero: Clásico Italiano
Movimientos: Allegro-Adagio-Allegro

Mendelssohn — Violin Concerto in e minor op 64: GREAT COMPOSITIONS/PERFORMANCES

Mendelssohn — Violin Concerto in E minor op. 64

Kanaal van viool7

***Isaac Stern: violin
***Philadelphia Orchestra – Eugene Ormandy: conductor-1958
(The second recording of this concerto by Stern and Ormandy)
1. Allegro molto appassionato
2. Andante
3. Allegretto non troppo – Allegro molto vivace

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Isaac Stern – Beethoven, Thriple Concerto For Piano, Violin, Cello & Orchestra Op.56: great compositions/performances

Isaac Stern – Beethoven, Thriple Concerto For Piano, Violin, Cello & Orchestra Op.56

tkdrbs113님의 채널

Ludwig Van Beethoven [ 1770 – 1827 ],
Concerto For Piano, Violin, Cello & Orchestra
In C Major Op.56 ‘Thriple Concerto’I. Allegro
II. Largo – attacca
III. Rondo Alla Polacca Allegro tempo I.

Violin ; Isaac Stern [ 1920 – 2001 ]
Piano ; Emanuel Ax [ 1949 – ]
Cello ; Yo-Yo Ma [ 1955 – ]

Conducted By ; Michael Stern
London Symphony Orchestra
Narrated By ; Gregory Peck

From Album [ 1992, Sony Classical LD ]
Isaac Stern A Biography In Music
Live At Royal Festival Hall

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Mendelssohn-Piano Concerto No. 1 in g minor Op. 25, Rudolf Serkin/Philadelphia Orchestra- Eugene Ormandy: great compositions/perfornmances

Mendelssohn-Piano Concerto No. 1 in g minor Op. 25

  Kanaal van viool7

(Rudolf Serkin piano-Philadelphia Orchestra-Eugene Ormandy: conductor-1959)
From Wikipedia, the free encyclopedia
Mendelssohn‘s Piano Concerto No. 1 in G minor (op. 25) was written in 1830–31, around the same time as his fourth symphony (“Italian”), and premiered in Munich in October 1831. This concerto was composed during a travel in Italy after the composer met a pianist in Munich.He had already written a piano concerto in A minor with string accompaniment (1822) and two concertos with two pianos (1823–24).

Structure

The three connected movements use several relatively new formal techniques in their brief span — for example, the piano enters very soon after the opening of the first movement, with little of an orchestral tutti to contrast with.^[1] The concerto quickly obtained popularity, and contains many sections of improvisation, one of Mendelssohn’s specialities; it is scored for strings, flute, oboe, clarinet, bassoon, horn, trumpet, and timpani.

1. Molto allegro con fuoco in G minor
2. Andante in E major
3. Presto—Molto allegro e vivace in G major

Molto allegro con fuoco

The piano enters after only a few bars of orchestral introduction. It was standard procedure in the classical-era concerto to precede the solo’s entrance by a tutti, for various reasons – the length and purpose of these introductions differed, some offering a hint of what was to follow and some giving out almost all the movement’s material, but none was so brief as this: in this sense, this was one of the first concertos of the Romantic age. (The obvious exceptions – Mozart’s Jeunehomme concerto and Beethoven’s fourth and fifth piano concertos – allowed the piano to enter very briefly just at the start, but then proceeded as usual, the soloist silent.) The rest of the movement is fairly typical of concertos in its use of a modified sonata form, with a second, contrasting lyrical theme first heard from the piano over repeated accompaniment, and later on wind. As the movement closes a transition takes the movement not to a full close, but instead, with a brass fanfare and a piano continuation of the same, to the border of the Andante.

Andante

This opens with a melody in the lower strings, in E major, soon taken up by the piano. This is drawn out with breadth, and a middle section in C provides contrast. The original melody, somewhat varied, returns to close the movement.

Presto—Molto allegro e vivace

This opens with a fanfare in A minor (Presto). The piano joins in, at which point the mood lightens, and the closing rondo – Molto allegro e vivace – begins. This is regular in form, and the returns of the refrain are varied. Several themes from the first movement return towards the finale.

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• Felix Mendelssohn-Bartholdy – Violin Concerto in E minor, op. 64 ( one of the most romantic violin concertos ever! Once you hear the theme…it will stay with you forever!)
• Wieniawski-Violin Concerto No. 2 in d minor op. 22: great compositions/performances
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Wieniawski-Violin Concerto No. 2 in d minor op. 22: great compositions/performances

Wieniawski–Violin Concerto No. 2 in d minor op. 22

   Kanaal van viool7

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

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.

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Antonín Dvořák – Romantische Stücke, Op. 75: make music part ofyour life series

Antonín Dvořák – Romantische Stücke, Op. 75

  Wolfgang Amadé Mozart

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Romantische Stücke, Op. 75
1. Allegro moderato 3’24
2. Allegro maestoso 2’42
3. Allegro appassionato 2’27
4. Larghetto 6’01

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Oistrakh plays Wieniawski Legende in G minor, op.17: great compositions/performances

Oistrakh plays Wieniawski Legende in G minor, op.17

  corralsantosluis

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

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Tchaikovsky-Violin Concerto in D Major Op. 35: Great compositions/performances

Tchaikovsky-Violin Concerto in D Major Op. 35 (Complete)

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David Oistrakh: violin-Staatskapelle Dresden-Franz Konwitchny: conductor-1954-The piece is in three movements:

1. Allegro moderato (D major)
2. Canzonetta: Andante (G minor)
3. Finale: Allegro vivacissimo (D major)

There is no break or pause between the second and third movements.
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From Wikipedia, the free encyclopedia:

 

The Violin Concerto in D major, Op. 35, was written by Pyotr Ilyich Tchaikovsky in 1878. It is one of the best known violin concertos, and is considered one of the most technically difficult works for the violin.

Composition

Tchaikovsky (right) with violinist Iosif Kotek

The piece was written in Clarens, a Swiss resort on the shores of Lake Geneva, where Tchaikovsky had gone to recover from the depression brought on by his disastrous marriage to Antonina Miliukova. He was working on his Piano Sonata in G major but finding it heavy going. Presently he was joined there by his composition pupil, the violinist Iosif Kotek, who had been in Berlin for violin studies with Joseph Joachim. The two played works for violin and piano together, including a violin-and-piano arrangement of Édouard Lalo‘s Symphonie espagnole, which they may have played through the day after Kotek’s arrival. This work may have been the catalyst for the composition of the concerto.^[1] He wrote to his patroness Nadezhda von Meck, “It [the Symphonie espagnole] has a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies…. He [Lalo], in the same way as Léo Delibes and Bizet, does not strive after profundity, but he carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans.”^[2] Tchaikovsky authority Dr. David Brown writes that Tchaikovsky “might almost have been writing the prescription for the violin concerto he himself was about to compose.”^[3]

Tchaikovsky made swift, steady progress on the concerto, as by this point in his rest cure he had regained his inspiration, and the work was completed within a month despite the middle movement getting a complete rewrite (a version of the original movement was preserved as the first of the three pieces for violin and piano, Souvenir d’un lieu cher).^[4] Since Tchaikovsky was not a violinist, he sought the advice of Kotek on the completion of the solo part.^[5] “How lovingly he’s busying himself with my concerto!” Tchaikovsky wrote to his brother Anatoly on the day he completed the new slow movement. “It goes without saying that I would have been able to do nothing without him. He plays it marvelously.”^[6]

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Great compositions/performances: Ivry Gitlis: PAGANINI Violin Concerto No.2 – Stuttgart RSO, S.Skrowaczewski, live 1972

Ivry Gitlis: PAGANINI Violin Concerto No.2 – Stuttgart RSO, S.Skrowaczewski, live 1972

  Emilio Pessina

Niccolò PAGANINI: Violin Concerto No.2 in B minor Op.7 “La Campanella“
0:10 / I. Allegro maestoso (11:43 Cadenza: Ivry Gitlis) [13’27”]
13:37 / II. Adagio [6’25”]
20:03 / III. Rondo à la clochette [6’56”]
(26:54 applause)
Ivry Gitlis, violin
Stuttgart Radio Symphonieorkester
Stanislaw Skrowaczewski, conductor
(rec: live, Stuttgart, 13 June 1972)
_______________________________________
GITLIS PLAYS PAGANINI CONCERTO #2:
1966 Philips / S.Wislocki: http://youtu.be/HED1maX-Sns
1966 video / III. / S.Wislocki: http://youtu.be/UAXQk5KcfKE
1972 live / S.Skrowaczewski: http://youtu.be/MorEnNXWYsQ
_______________________________________

From Wikipedia, the free encyclopedia

 

Ivry Gitlis
Ivry Gitlis at home (Paris, 2010)
Background information
Birth name	Ivry (Yitzhak-Meir) Gitlis
Born	25 August 1922 (age 92) Haifa, Palestine Mandate, now Israel
Genres	Classical
Occupations	violinist, pedagogue, writer, actor
Instruments	Violin
Years active	1949 to present
Notable instruments
the “Giovanni Battista Rogeri“, 1699 the “Chant du Cygne” Stradivarius, 1737 the “Ysaye” Guarnerius, 1740 the “Sancy” Stradivarius, 1713

Ivry Gitlis (Hebrew: עברי גיטליס‎; born Haifa, Israel 25 August,^[1] 1922) is an Israeli violinist and UNESCO Goodwill Ambassador. He has performed with the world’s top orchestras, including the New York Philharmonic, Berlin Philharmonic, Vienna Philharmonic, Philadelphia Orchestra, and Israel Philharmonic Orchestra.

Ludwig van Beethoven: Romance for Violin No.1 in G major, Op.40: great compositions/performances

Ludwig van Beethoven: Romance for Violin No.1 in G major, Op.40

  vivaldi369

Álbum: Beethoven: Edition Vol. 02 – Concertos (Disc 4) Violin Concerto, Op. 61, Movement, WoO 5 & Violin Romances, Op. 40 & 50
Interprete del álbum: Anne-Sophie Mutter, Berliner Philharmoniker, Gidon Kremer, London Symphony Orchestra & Gil Shaham, Orpheus Chamber Orchestra
Compositor: Ludwig van Beethoven
Año: 1997
Genero: Clásico Romántico Alemán
Movimientos: Romance

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• Ludwig van Beethoven: Romance for Violin and Orchestra No. 2 in F major, op. 50

RONDO in C – IGNACE PLEYEL: make music part of your life series

RONDO  in C- IGNACE PLEYEL

  craneclassical
MVT. 2 From Duo in C major
David Dillard- violin
Adam Crane – viola
Live performance DUO CONCERT MARCH 29, 2009

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev) Erudite Music Channel: make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

   Erudite Music Channel
P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991

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P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev): make music part of your life series

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (Fedoseyev)

  Erudite Music Channel

P. I. Tchaikovsky – Serenade for Strings in C major, Op. 48 (1880):
1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
2. Valse: Moderato — Tempo di valse
3. Élégie: Larghetto elegiaco
4. Finale (Tema russo): Andante — Allegro con spirito

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991

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

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

   hezixiao

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

1. Allegro
2. Adagio molto
3. Allegro

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

From Wikipedia, the free encyclopedia

The Four Seasons (Vivaldi)

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

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

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

List of concertos and movements

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

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Soyoung Yoon plays at 14th International Wieniawski Violin Competition (Stage 3): make music part of your life series

Soyoung Yoon plays at 14th International Wieniawski Violin Competition (Stage 3)

FROM:

  Henryk Wieniawski

14th International Henryk Wieniawski Violin Competition, Poznań 2011
Stage 3 (17 October 2011)

Soyoung Yoon (South Korea) – 1st Prize Winner
Violin: J. B. Guadagnini ex Bückeburg (1773)

Program:
W. A. Mozart: Violin Concerto in G Major KV 216 (first movement)
W. A. Mozart: first movement of Sinfonia Concertante in E flat Major KV 364/320d
Lech Bałaban – viola

Polish Radio Chamber Orchestra Amadeus conducted by Agnieszka Duczmal

______________________________________
Henryk Wieniawski Musical Society
http://www.wieniawski.com

Towarzystwo Muzyczne im. Henryka Wieniawskiego
http://www.wieniawski.pl

 

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman: great compositions/performances

From:    Silvio Finotti

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman, Boston Symphony Orchestra / Seiji Ozawa

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Brahms-Violin Sonata No. 2 in A Major Op. 100: make music part of your life series

Brahms–Violin Sonata No. 2 in A Major Op. 100

FROM:
Kanaal van viool7

Isaac Stern: violin-Myra Hess: piano-Live-Edinburgh-1960

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Antonín Dvořák – Sonatina in G major, Op. 100: make music part of your life series

Antonín Dvořák – Sonatina in G major, Op. 100

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Sonatina in G major, Op. 100
1. Allegro risoluto 5’52
2. Larghetto 4’02
3. Scherzo 2’56
4. Allegro 6’20

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David Oistrakh plays Kodaly Three Hungarian Dances 1954 (great compositions/performances)

David Oistrakh plays Kodaly Three Hungarian Dances 1954

David Oistrakh (1908-1974), Russian violinist

Zoltan Kodaly (1882-1967)
Drei Ungarische Tanze (Three Hungarian Dances)

Naum Walter, piano

Recorded in 1954

Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 (make music part of your life series)

[youtube.com/watch?v=Rt9j8sypi00]

Ludwig van Beethoven – Romance for Violin & Orchestra No. 1, in G major, op. 40 

Igor Ozim, violin
Vienna Opera Orchestra
Moshe Atzmon

Beethoven’s reputation as a pianist often obscures the fact that he was a very capable violinist. Although not an accomplished master, he possessed a profound love for and understanding of the instrument, evident in his ten violin sonatas, the violin concerto, and numerous quintets, quartets, and other chamber works. The two Romances for violin stand out because they are single-movement works in concerto settings. The Romance in G major was published in 1803 by Hoffmeister & Kühnel in Leipzig; the date of its first performance is not known. Despite the lower opus number, it was composed at least five years after the Romance in F, Op. 50, which was published in 1805. He retained the early Classical orchestra he employed for his earlier Piano Concerto in B flat, Op. 19: one flute, two oboes, two bassoons, two horns, and strings. Often described as a “preparation” for the Violin Concerto, Op. 61, of 1806, the Romance in G stands as a fine work in its own right, clearly demonstrating Beethoven’s mastery of the high-Classical style of Mozart and Haydn. Furthermore, Beethoven creates subtle connections between disparate sections of a work.

Cast in a two-episode rondo format (ABACA coda), the Romance in G is not imbued with sonata-form characteristics, as are many of Beethoven’s later rondo movements. The rondo theme (A) is in two parts, each performed first by the soloist then repeated by the orchestra. Descending sixteenth notes in the solo part mark the beginning of B, in which the orchestra is relegated to a purely accompanimental role, creating unity by including figures from the rondo. Section B spends a significant amount of time on the dominant (D major); however, this does not represent a modulation but a preparation for the return of the rondo in G major. Again, the soloist performs both segments of the A section alone, this time including a running eighth note accompaniment under each of the literally repeated themes. Beethoven set the second episode, C, in E minor. The minor mode, dotted rhythms, and staccato passages give the section a “gypsy” music tinge. The foray into a new key area ends with the return of the G major rondo theme, again played by the soloist, but with accompaniment by the orchestra. Beethoven forgoes the repetition of each of the two parts of the rondo and ends the work with a brief coda featuring a lengthy trill in the solo violin. The three fortissimo chords that close the piece seem oddly, possibly comically, out of place in this generally quiet work, but they do resemble the orchestral string parts at the end of each rondo section. [allmusic.com]

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make music part of you life series: Igor Stravinsky – Symphony in C major

[youtube.com/watch?v=_590K7_Dtu0]

Igor Stravinsky – Symphony in C major

Published on Jul 5, 2014

Igor Stravinsky (1882-1971):  Symphony in C major

1. Moderato alla breve
2. Larghetto concertante
3. Allegretto
4. Largo – Tempo giusto, alla breve

L’Orchestre de la Suisse Romande Charles Dutoit, conducting

Fabulous musical moments: Kreisler plays Kreisler – Tambourin chinois

[youtube.com/watch?v=bHwqIL44MRA]

Kreisler plays Kreisler – Tambourin chinois

Fritz Kreisler playing his Tambourin Chinois, op. 3 in 1936. A virtuoso piece with a touch of Oriental ambience.
The pianist is Franz Rupp.

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Ion Voicu – Felmake music part of your life series: Mendelssohn – Concerto In E minor for Violin and Orchestra, Op. 64

[youtube.com/watch?v=Stc6zJxEf-s]

Ion Voicu – Felix Mendelssohn – Concerto In E minor for Violin and Orchestra, Op. 64

 

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make music part of your life series: Felix Bartholdy Mendelssohn – 4 pieces for String Quartet Op. 81 – III. Capriccio

[youtube.com/watch?v=p0JwIUhGtVM]

Felix Bartholdy Mendelssohn – 4 pieces for String Quartet Op. 81 – III. Capriccio  (SHARON QUARTET)

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Fabulous musical moments: Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

• Buy “Humoresque No. 7 in G-flat Major, Op. 101″ on
  
  

  Google PlayiTunesAmazonMP3

• Artist
  Yo-Yo Ma;Seiji Ozawa;Itzhak Perlman;Boston Symphony Orchestra

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make music part of your life series: Antonin Dvorak – Romance in F minor Op 11 – Violin and piano

[youtube.com/watch?v=T0Fv9jKeKX8]

Antonin Dvorak – Romance in F minor Op 11 – Violin and piano

Dvorak museum, Prague (Photo credit: Wikipedia)

Antonin Dvorak – Czech Composer, born September 8, 1841 and died 1 May 1904.

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great compositions/performances: Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

[youtube.com/watch?v=oBDmAxSFt6A]

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

• Buy “Humoresque No. 7 in G-flat Major, Op. 101” on
  
  

  Google Play iTunes Amazon MP3

• Artist
  Yo-Yo Ma; Seiji Ozawa; Itzhak Perlman; Boston Symphony Orchestra

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make music part of your life series: S.Riсhter plays P.Tchaikovsky L’espiegle, Op.72

[youtube.com/watch?v=LX-I89T-MEM]
make music part of your life series:  S.Riсhter plays P.Tchaikovsky L’espiegle, Op.72

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Make Music Part of Your Life Series: Antonin Dvorak – Piano Concerto, Op. 33 (1876)

[youtube.com/watch?v=qP-ymoLlKMY]

Antonin Dvorak – Piano Concerto, Op. 33 (1876)

Antonín Leopold Dvořák (September 8, 1841 — May 1, 1904) was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed features of the folk musics of Moravia and his native Bohemia (then parts of the Austrian Empire and now constituting the Czech Republic). Dvořák’s own style has been described as ‘the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them.’

Piano Concerto, Op. 33 (1876)

1. Allegro agitato
2. Andante sostenuto (18:09)
3. Allegro con fuoco (26:21)

Rudolf Firkušný, piano and the Saint Louis Symphony Orchestra conducted by Walter Susskind.

The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.

As the eminent music critic Harold Schonberg put it, Dvořák wrote “an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor“.

(bartje11 totally disagrees with the eminent Harold Schonberg)

Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Cech with the Czech pianist Karel Slavkovsky.

Dvořák himself realized that he had not created a piece in which the piano does battle with the orchestra, as it is not a virtuosic piece. As Dvořák wrote: “I see I am unable to write a Concerto for a virtuoso; I must think of other things.”
(bartje11: maybe not a work with obvious virtuoso fireworks, but still a very, very difficult piano part, not for the average pianist)

What Dvořák composed, instead, was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.

In an effort to mitigate awkward passages and expand the pianist’s range of sonorities, the Czech pianist and pedagogue Vilém Kurz undertook an extensive re-writing of the solo part; the Kurz revision is frequently performed today.

The concerto was championed for many years by the noted Czech pianist Rudolf Firkušný, who played it with many different conductors and orchestras around the world before his death in 1994. Once a student of Kurz, Firkušný performed the revised solo part for much of his life, turning towards the original Dvořák score later on in his concert career.

Arranger:
Robert Keller (1828-1891)

Publisher Info.:
Breslau: J. Hainauer, n.d.(ca.1883). Plates J. 2579, 2581 H.

Copyright:
Public Domain

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Great Compositions/Performances: Mendelssohn / Frank Pelleg, 1954: Quartet in B minor for Piano and Strings, Op. 3

[youtube.com/watch?v=dSP9m_FK80o]

Mendelssohn / Frank Pelleg, 1954: Quartet in B minor for Piano and Strings, Op. 3

Frank Pelleg (1910-1968) is joined by Peter Rybar (1913-2002, violin), Heinz Wigand (viola), and Antonio Tusa (cello) — all members of the Winterthur String Quartet — in this 1954 recording of the first movement of the Mendelssohn piano quartet in B minor, Op. 3. I created this video from the LP depicted above, issued on the Concert Hall Society label, serial number E4KP 1420, Concert Hall release H-5.

Movement 1: Allegro molto
Movement 2: Andante
Movement 3: Allegro molto
Movement 4: Finale – Allegro vivace

(Note: Late last year I had uploaded this performance in four separate segments.)

—————————————-­————-
More from Mendelssohn:

Arthur Grumiaux, 1974: Violin Concerto in E minor, Op. 64 – Complete – http://www.youtube.com/watch?v=LURD7h…

Mendelssohn / Igor Oistrakh: Violin Concerto in E minor, Op. 64 – Movement 1, early 1950s: http://www.youtube.com/watch?v=Igqdql…
—————————————-­————-

Details about this LP are available at the Library of Congress website here: http://lccn.loc.gov/r54000657

More information about Pelleg here: http://www.doremi.com/pelleg.html

Rybar’s obituary is available for review here:http://www.guardian.co.uk/news/2002/o…

DAVORIN DOLINŠEK and POPV perform LEROY ANDERSON: PIANO CONCERTO IN C (Slovenian premiere!)

Concert of POPV – Symphonic Wind Orchestra of Premogovnik Velenje, 8.12.2012
Conductor: Matjaž Emeršič
Soloist: Davorin Dolinšek

Leroy Anderson: Concert for Piano and Orchestra in C major
Allegro Moderato [Cadenza I: at 7’39”]
Andante-Allegretto (starts at 8’35”)
Allegro Vivo (starts at 14’16”) [Cadenza II: at 18’40”]

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Make Music Part of Your Life Series: Carl Maria von Weber – Symphony No. 1 in C major, J. 50

John Georgiadis. Queensland Orchestra
Carl Maria von Weber – Symphony No. 1 in C major, J. 50
I. Allegro con Fuoco 00:07:56
II. Andante 00:06:20
III. Scherzo and Trio 00:04:06
IV. Finale: Presto 00:06:47

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Great Compositions/Performances: Brahms, Symphony Nr 3 F Dur op 90 Leonard Bernstein, Wiener Philharmoniker

From Wikipedia:

The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Second Symphony. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and the Second Piano Concerto.

The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. The shortest of Brahms’ four symphonies, a typical performance lasts between 30 and 40 minutes.

Instrumentation

The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

Form

The symphony consists of four movements, marked as follows:

1. Allegro con brio (F major), in sonata form.
2. Andante (C major), in a modified sonata form.
3. Poco allegretto (C minor), in ternary form (A B A’).
4. Allegro (F minor/F major), in a modified sonata form.

History

Hans Richter, who conducted the premiere of the symphony, proclaimed it to be Brahms’ Eroica. The symphony was well received, more so than his Second Symphony. Although Richard Wagner had died earlier that year, the public feud between Brahms and Wagner had not yet subsided. Wagner enthusiasts tried to interfere with the symphony’s premiere, and the conflict between the two factions nearly brought about a duel.^[1]

After each performance, Brahms polished his score further, until it was published in May 1884. His friend and influential music critic Eduard Hanslick said, “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect.”^[1]

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Make Music Part of Your Life Series: Joshua Bell – Tchaikovsky – Violin Concerto in D major, Op 35

Pyotr Ilyich Tchaikovsky
Violin Concerto in D major, Op 35

1 Allegro moderato
2 Canzonetta: Andante
3 Finale. Allegro vivacissimo

Joshua Bell, violin

National Youth Orchestra of the United States of America
Valery Gergiev, conductor

Live recording. London, Proms 2013

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Make Music Part of Your Life Series: Max Bruch – Cancona für Violoncello und Orchester op. 55

Max Bruch (1838-1920) – Cancona für Violoncello und Orchester B-Dur op. 55

Julius Berger – Violoncello
Nationales Rundfunk-Sinfonieorchester Polen
Antoni Wit – Dirigent

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Make Music Part of Your Life: P. I. Tchaikovsky – Symphony No. 3 in D major, Op. 29 (Fedoseyev)

Pyotr Ilyich Tchaikovsky – Symphony No. 3 [“Polish”] in D major, Op. 29 (1875)
1. Introduzione e Allegro
2. Alla tedesca. Allegro moderato e semplice
3. Andante elegiaco
4. Scherzo. Allegro vivo
5. Finale. Allegro con fuoco

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991

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Fritz Kreisler, Make Music Part of Your Life Series: Caprice viennois, Op. 2 (arr. for piano), Caprice Viennois, Op. 2

Fritz Kreisler
Balazs Szokolay, Szokolay, Balazs
Caprice viennois, Op. 2 (arr. for piano)
Romantic Piano Favourites, Vol. 3
8.550107
http://www.classicsonline.com/catalog…
http://www.naxoslicensing.com/

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Make Music Part of Your Life Series: Ruggiero RICCI – LALO Violin Concerto Op.20 – L.de Froment, 1977

Edouard LALO: Violin Concerto in F major Op.20 (1873)
0:13 / I. Andante – Allegro [13’29”]
13:42 / II. Andantino [4’34”]
18:16 / III. Allegro con fuoco [6’06”]
Ruggiero Ricci, violin – Orchestra of Radio Luxembourg – Louis de Froment, conductor (Recorded: June, July 1977 – VOX)

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Make Music Part of your Life Series: Ruggiero RICCI at SAINT-SAËNS Havanaise Op.83 – P.Cao, 1972

Camille SAINT-SAËNS: Havanaise, in E Major Op.83 (1887)
Ruggiero RICCI – Orchestra of Radio Luxembourg – Pierre Cao, conductor (Recorded: Hamburg 1972)
________________________________________­__________
SAINT-SAENS, WORKS FOR VIOLIN AND ORCHESTRA:
http://www.youtube.com/playlist?list=…
1) Violin Concerto No.2 in C Major Op.58 (1858)
Orchestra of Radio Luxembourg – Pierre Cao, conductor
2) Violin Concerto No.1 in A Major Op.20 -Allegro (1859)
Orchestra of Radio Luxembourg – Pierre Cao, conductor
3) Introduction and Rondo capriccioso, in A Minor Op.28 (1863)
Orchestra of Radio Luxembourg – Pierre Cao, conductor
4) Romance, in C Major Op.48 (1874)
Philharmonia Hungarica – Reinhard Peters, conductor
5) Violin Concerto No.3 in B minor Op.61 (1880)
Orchestra of Radio Luxembourg – Pierre Cao, conductor
6) Violin Concerto No.4 in G major Op.62 ‘Inachevé’ (Morceau de concert) (1880)
Philharmonia Hungarica – Reinhard Peters, conductor
7) Havanaise, in E Major Op.83 (1887)
Orchestra of Radio Luxembourg – Pierre Cao, conductor
8) Caprice Andalous, in G Major Op.122 (1904)
Philharmonia Hungarica – Pierre Cao, conductor
(Ruggiero Ricci, violin / Hamburg, 1972 – (c)&(p) 1990 by VOX)
________________________________________­__________

 

Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 in G major, Op. 40

[youtube.com/watch?v=L8bcKlEP_Mo]

Emmy Verhey, Violin. Brabant Orchestra, Eduardo Marturet

 

Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)

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Great Composers/Compositions: Vivaldi Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

Antonio Lucio Vivaldi (1678 † 1741)
Concerts for the Prince of Poland
Work: Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

01. Allegro
02. Largo e cantabile
03. Allegro

Andrew Manze, violin & director
Academy of Ancient Music

From Wikipedia, the free encyclopedia  

“Vivaldi” redirects here. For other uses, see Vivaldi (disambiguation).

Antonio Vivaldi in 1725

Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, andvirtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi’s arrival and Vivaldi himself died less than a year later.

Though Vivaldi’s music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers, second only to Johann Sebastian Bach.^[1]

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Best Classical Music YouTube Collection: Classical Music Mix – Best Classical Pieces Part II (2/2)

Make this the best post of 2014: RATE, LIKE, COMMENT! Above all ENJOY!

Published on Mar 29, 2013 – 751,382 view to date

A mix with some of the best classical pieces in the world. Part II

Compositions name list:

00:00 – Amilcare Ponchielli – Dance of the Hours
05:20 – Bach – Tocata And Fugue In D Minor
12:03 – Beethoven – 5th Symphony (1st movement)
19:08 – Beethoven – 9th Symphony (Ode To Joy)
25:23 – Beethoven – Für Elise (piano version)
28:18 – Carl Orff – O Fortuna (Carmina Burana)
30:57 – Georges Bizet – Habanera
33:06 – Frederic Chopin – Funeral March
38:16 – Delibes – The Flower Duet (Lakmé)
42:49 – Edvard Grieg – In the Hall of the Mountain King
45:17 – Franz Liszt – Hungarian Rhapsody No 2 (orchestra version)
55:48 – Georges Bizet – Les Toreadors
58:07 – Händel – Messiah – Hallelujah Chorus
1:02:08 – Mozart – Serenade No 13 (Allegro)
1:07:53 – Offenbach – Can Can
1:10:05 – Rossini – William Tell Overture
1:13:29 – Aram Khachaturian – Sabre Dance
1:15:53 – Tchaikovsky – 1812 Overture
1:24:19 – Tchaikovsky – Dance of the Sugar Plum Fairy
1:26:48 – Vivaldi – Four Seasons (spring)

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