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Johann Strauss II - The Blue Danube Waltz
Johann Strauss II - The Blue Danube Waltz Title : Johann Strauss II , The Blue Danube Waltz Date : 1867 From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!" The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion. The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs. It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody. The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent. Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated. A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key. After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer. The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.
Americas Got Talent - Jackie Evancho 10 Opera Singer
Americas Got Talent - Jackie Evancho 10 Opera Singer The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show. Bio Jackie Evancho - 10yrs old - Singer Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy! By Jerry Shriver, USA TODAY When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real? The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio. Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff. LIFELINE LIVE:More on Jackie, plus see video During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings." The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals. Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS. "She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall. A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring." Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room." The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide. Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it." He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty. "Whatever she picks, she will do well." http://www.JackieEvancho.co http://www.JacquelineEvancho.co http://www.JacquelineMarieEvancho.com
Gustav Mahler - "Ich bin der Welt abhanden gekommen" (Rückert) -
Gustav Mahler - "Ich bin der Welt abhanden gekommen" (Rückert) - During the summers of 1901 and 1902, Gustav Mahler set to music five poems by the German Romantic poet Friedrich Rückert. The third of these, "Ich bin der Welt abhanden gekommen", portrays a world-weary artist who exists in our everyday world, but who actually lives his life in another, more ethereal plane reserved for great artists. Mahler, much maligned as composer during his lifetime, identified strongly with the poem, saying that it expressed his very self. In fact, he felt so strongly about this song that he reused much of the music in the famous Adagietto of his Fifth Symphony, which he composed during the summer of 1902. The orchestral song begins with a mournful melody played by solo English horn. This melody is then restated and extended by the singer during the first stanza, which speaks of the artists isolation in a world that already thinks him dead. The tempo increases slightly for the second stanza, during which the artist reflects that he does not really care what the world thinks. The third stanza is remarkably peaceful as the artist describes the other world in which he resides: I live alone in my heaven, in my love, in my song. The gentle consonant-dissonant alternation of the violins and English horn in the coda seems to portray the artist staring beyond the horizon into his musical paradise. Many consider "Ich bin der Welt abhanden gekommen", as Mahlers greatest song, one of his most profound and moving works and was of immense personal significance ...
Organ: "Trumpet Voluntary in D Major" by Jeremiah Clarke
Organ: "Trumpet Voluntary in D Major" by Jeremiah Clarke Originally titled "The Prince of Denmark's March," this harpsichord piece was popularized in an arrangement for trumpet, organ, and percussion by Sir Henry Wood, who renamed it "Trumpet Voluntary" and ascribed it to Henry Purcell. Many published versions of the work do still attribute it to Purcell. This excerpt is played on my church's 1958 Casavant pipe organ (which, yes, needs tuning - its Easter tuning has been scheduled!), to demonstrate the sanctuary's incredibly improved acoustics. The sanctuary is being renovated in anticipation of the church's 50th anniversary. Part of that renovation includes a major acoustical remediation by removing sound-asorbing materials such as acoustical tile, padded pews and carpeting, and by painting the brick and plaster surfaces. The difference is absolutely stunning! (PS: The organ is nowhere nearly as shrill as it sounds - it's due to the low-fi nature of the video recording - it has a very full, robust, romantic tonal character.)
Antonín Dvořák: Stabat Mater II (Talich cond.)
Antonín Dvořák: Stabat Mater II (Talich cond.) Antonín Dvořák (1841-1904) Stabat Mater, Cantata for Soloists, Choir and Orchestra op. 58 (B 71, 1876-77) II. Quartetto. Andante sostenuto (Quis est homo, qui non fleret) Václav Talich Václav Talich (28 May 1883 16 March 1961) began his career as a talented violinistfirst in a student orchestra in Klatovy, then from 1897 to 1903 at the conservatory in Prague where he studied with the celebrated Otakar Ševčík. Finally he served as concert master of the Berlin Philharmonic, where a fateful turning point occurred. That orchestras chief conductor, Arthur Nikisch, so fascinated the twenty-one-year-old Talich that he decided to become a conductor himself. Then came fifteen years of wandering and gathering experience. In 1905 he worked in Odessa for a little less than a year, before moving to Tbilisi where he conducted for the very first time. For two years he tried to establish himself as a choirmaster and conductor in Prague, but then from 1908 to 1912 he served in Ljubljana as chief conductor of the Slovenian Philharmonic. Before the First World War broke out he was able to study in Leipzig with Max Reger and Arthur Nikisch, to spend several months studying in Milan, and to lead the opera company in Plzeň starting in 1912. From 1915 to 1918 he occasionally taught violin, performed as a violist with the famous Czech Quartet, studied scores, and in his free moments educated himselffor example by reading classical literature in Greek and Latin. The door to the Czech Philharmonic ...
Piotr Ilich Tchaikovsky - Waltz of the Flowers from "The Nutcracker
Piotr Ilich Tchaikovsky - Waltz of the Flowers from "The Nutcracker A compilation of images of Tchaikovsky, the Russian composer along with some data of his life, and accompanied by Waltz of the Flowers. Peter Ilyich Tchaikovsky 1840-1893. Tchaikovsky was one of the greatest composers ever to have lived and an artist whose music conveys the very spirit of 19th century Russia. His music is colourful, passionate and moving. Sorry for bad transitions! I didn't know how to make a proper transition in my first videos.
Victor Borge (Pyotr Tchaikovsky, Frederic Chopin, Johannes Brahms, F
Victor Borge (Pyotr Tchaikovsky, Frederic Chopin, Johannes Brahms, F Victor Borge is an enigma for me. Though many would consider him to be simply a clown, albeit a clown spoofing classical music, some of his work is, to say the least, strikingly acute and tantalizingly interesting. The present piece is proof of this. The variations form is well-known and appears in virtually any classical music period. It would seem almost impossible to do anything new with the form but Borge proves us wrong by adopting a very unusual approach. He chooses a painstakingly well-known theme, here - "Happy birthday to you", and sets about to create variations to it. But it is only the top of the iceberg: each variation is, effectually, the way a certain composer would write the theme itself. All in all, there are eleven variations of very different composers: we start by passing through Bach and Mozart and finish with Irving and some modern composer whose name I do not know (and Borge's hilarious pronunciation does not help :P). Some of these variations are preceded by a snatch on the composer's original work from which Borge then proceeds to develop the variation. Moreover, some of his variations are rather charming (Brahms or Bach (in spite of a ridiculously humorous long descending line repeated two times)) or even, dare I say it, moving (Beethoven, in spite of some goofing on Borge's part, gets one of the better treatments). I've marked the movements in the video itself but you can also check the title which includes all composers presented in the order ...
"The Elixir of Love" at Virginia Opera (2008)
"The Elixir of Love" at Virginia Opera (2008) Virginia Opera invites audiences to toast the holidays and fall head-over-heels for Gaetano Donizetti's romantic comedy "The Elixir of Love", coming to the stage in nine romping performances from Nov. 14 through Dec. 6 in Norfolk, Richmond and Fairfax, Va. Last staged here in 1998, "The Elixir of Love" is the classic love potion story, with a comic twist. In the Italian countryside, the young farmer Nemorino drinks a "magical" elixir in the hope it will help him win the love of Adina, the prettiest girl in town. Little does he know the potion, sold to him by a quack doctor, is little more than ordinary red wine. Soprano Jane Redding makes a delightful return to Virginia Opera's stage as Adina, having earned high praise from critics for previous comedic roles here, including Poppea in "Agrippina" (2007) and Susanna in "The Marriage of Figaro" (2006). Making their company debuts are tenor Joshua Kohl as the love struck farmer Nemorino and baritone Stephen Hartley as the debonair Sergeant Belcore. The cast of five is topped off by returning bass-baritone Todd Robinson as the traveling cure-all salesman, Dr. Dulcamara, and soprano Allison Pohl as Gianetta. Mr. Robinson virtually stole the show with his moving aria as Prince Gremin in "Eugene Onegin" earlier this year, and Ms. Pohl is an exciting talent who last season was a member of the company's Spectrum Resident Artist program for young artists. Returning with a re-envisioned staging of "The Elixir of Love" is acclaimed ...
Asturias, Op. 232, No. 1 - Isaac Albéniz
Asturias, Op. 232, No. 1 - Isaac Albéniz Originally the prelude to Albéniz' piano suite, Cantos de España, "Asturias" owes its name to the editor Hofmeister, who added it to another Albéniz piano suite, "Suite Española", in 1912, well after Albéniz' death. Asturias has since become one of the most popular pieces in the concert repertoire for the classical guitar. With its Flamenco-infused character rooted in the rich culture of Spain, Asturias is a natural fit for the guitar. Ironically, it is perhaps better-known as a guitar piece than its original incarnation as part of a suite for the piano. Its hypnotic, yet fast-moving first section, punctuated by a few fortissimo chords, transports listeners to another world. The second section, slow and pensive, heightens the meditative feel of the piece with its serenity. The final section blends elements from the first section with slower, passionate elements, using tempo and dynamic changes to move listeners through an emotional roller coaster ride.
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
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