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Tchaikovsky Overture 1812 - The Final - ending (V for Vendetta)
Tchaikovsky Overture 1812 - The Final - ending (V for Vendetta) Ouverture Solennelle, L'Année 1812, Op. 49 (Festival Overture, The Year 1812) (Russian: Торжественная увертюра 1812 года, Toržestvennaja uvertjura 1812 goda), better known as the 1812 Overture, is a classical opus written by Russian composer Pyotr Ilyich Tchaikovsky. The piece was written to commemorate Russia's defense of Moscow against Napoleon's advancing Grande Armée at the Battle of Borodino in 1812. The Overture debuted in the Cathedral of Christ the Saviour in Moscow on August 20, 1882 (in the Gregorian or NS calendar; the date in the Julian or OS calendar was 8 August). The overture is best known for its climactic volley of cannon fire and ringing chimes. While this piece has no historical connection with United States history, it is often a staple at Fourth of July celebrations. Remember, Remember the 5th of November
Tchaikovsky 1812 Overture Finale
Tchaikovsky 1812 Overture Finale Piotr Ilich Tchaikovsky, 1812 Overture Finale.
Felix Mendelssohn : The Hebrides (Fingal's Cave) - Overture
Felix Mendelssohn : The Hebrides (Fingal's Cave) - Overture Title : Felix Mendelssohn : The Hebrides "Die Hebriden" (Fingal's Cave) - Overture Date : 1830
Rossini - Overture from the "Barber of Seville"
Rossini - Overture from the "Barber of Seville" Gioachino Antonio Rossini (1792 - 1868) "The Barber of Seville", or "The Useless Precaution" ("Il barbiere di Siviglia, ossia L'inutile precauzione") is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Beaumarchais's comedy Le Barbier de Séville) by Cesare Sterbini. The overture, first written for "Aureliano in Palmira", is a famous example of Rossini's characteristic Italian style. The première (under the title Almaviva, or the Useless Precaution) took place on February 20, 1816, at the Teatro Argentina, Rome.
Sergey Prokofiev - "Overture on Hebrew Themes" op.34
Sergey Prokofiev - "Overture on Hebrew Themes" op.34 Prokofiev's "Overture on Hebrew Themes" For Clarinet, String Quartet and Piano . Performers : Narek Arutyunian - Clarinet Yury Revich - Violin Recorded in Moscow International Soloist Narek Arutyunian was born in Gyumri, Armenia in 1992. When Narek was 10, he took the clarinet in his hands for the first time ever. He studied at the Central Music School of the Tchaikovsky Moscow State Conservatory (2003-2009) ,at the Tchaikovsky Moscow State Conservatory in class of Evgeny Petrov (2009-2010) Since 2010 he studies at Queens College of the City University of New York in class of Charles Neidich. In Recital Narek has appeared at such prestigious venues as the Carnegie Hall in New York, the Louvre Auditorium in Paris, the Museum of Grenoble, Glenn Gould Studio in Toronto, "Palazzo del Principe" in Genova, Teatro Savio in Messina, Kaliningrad Philharmonic Hall,Glendale Presbyterian Church in Los Angeles, Chamber Hall of the Moscow Philharmonic Society Narek has performed numerous concerts major concert halls all throughout Europe and North America Theatre des Champs Elysees in Paris, Rudolfinum - Dvorak Hall in Prague, Kennedy Center in Washington DC, United Nations Hall in Geneva, Tchaikovsky Concert Hall in Moscow , George Weston Recital Hall in Toronto, Great, Small and Rachmaninov Halls of the Moscow Conservatory, St.Petersburg Philharmonic Hall , Svetlanov's, Theater and Chamber Halls of Moscow International House of Music , Kaufmann Hall in New York Narek has appeared as ...
Glen Campbell in Concert-The William Tell Overture
Glen Campbell in Concert-The William Tell Overture WICHITA LINEMAN GENTLE ON MY MIND DREAMS OF THE EVERYDAY HOUSEWIFE HIGHWAY MAN BY THE TIME I GET TO PHOENIX CLASSICAL GAS IT'S ONLY MAKE BELIEVE LITTLE GREEN APPLES SOUTHERN NIGHTS RHINESTONE COWBOY GLAVESTON SINCE I FELL FOR YOU MOON IS HARSH MISTRESS THE WILLIAM TELL OVERTURE TRUE GRIT STILL WITHIN THE SOUND OF MY VOICE AMAZING GRACE, THE END
(I) FJ Haydn - Overture〈The Creation〉/ Die Schöpfung, Oratorium
(I) FJ Haydn - Overture〈The Creation〉/ Die Schöpfung, Oratorium Franz Joseph Haydn (1732~1809) 《The Creation》oratorio, Hob. XXI:2 (1798) - English version, Vienna 1800 - (Part 1 / The First Day) 1. Overture (Introduction) - The Representation of Chaos Emma Kirkby (soprano / Gabriel) Anthony Rolfe Johnson (tenor / Uriel) Michael George (bass / Raphael) Choir of New College, Oxford The Chorus of Academy of Ancient Music The Academy of Ancient Music Christopher Hogwood (conductor) The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost. Haydn was inspired to write a large oratorio during his visits to England in 1791-1792 and 1794-1795, when he heard oratorios of Handel performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words "Praise to God" at the end of every completed composition. He later remarked, "I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work." Haydn composed much of the work while at his ...
Gioachino Rossini's complete 'William Tell Overture' played by Pe
Gioachino Rossini's complete 'William Tell Overture' played by Pe www.facebook.com/petelashleymusic www.petelashley.com This version of Rossini's 'William Tell Overture' is from Pete Lashley's 2010 album 'It All Comes Round'. The album is now available on ITUNES. It was recorded at Stonegate Studios in Bentham, North Yorkshire by Sam Parkinson (www.samesevennotes.co.uk). Four movements make up Rossini's 'William Tell Overture'. Pete Lashley plays them all on acoustic guitars,sometimes double-tracked and more occasionally triple tracked. It begins with the 'Prelude' - a slow passage originally written by Rossini for the cello. Pete detunes his guitar for the first few notes to try and capture the deeper mood created in the original composition. It's interesting to note that William Tell was a revolutionary against 14th Century Austrian oppression in states of the Swiss confederacy. This deep mood of the prelude, representing dawn over the forbidding mountains, could be seen to represent both a pastoral beauty and the oppressed atmosphere in which the Swiss were forced to live under Austrian dictatorship. The second movement is the 'Storm'. Up to four layers of acoustic guitars are used in this section by Lashley, all of which are playing their own distinct roles to capture the drama. The gentle bird call heard as the storm abates is sublime. Lashley plucks high pitch notes to emulate Rossini's original flute. The third movement, Ranz des Vaches (call to the dairy cows), originally featuring the English horn and flute, signifies daybreak ...
Die Fledermaus (Overtüre. Vorspiel).m4v
Die Fledermaus (Overtüre. Vorspiel).m4v Die Fledermaus (Overtüre. Vorspiel) El Murciélago (Obertura) The Bat - Netopýr (Ouvertüre, overture, předehra) III Festival Internacional de Música de Almansa Kammerensemble Classic der Deutschen Oper Berlin Almansa Festival Orchestra Dir: Martín Baeza de Rubio
1812 Overture - Tchaikovsky (Full)
1812 Overture - Tchaikovsky (Full) Pyotr Ilyich Tchaikovsky's famous 1812 Overture by Ljubljana Symphony Orchestra, Anton Nanut. In my opinion is the best ending I've heard. Enjoy.
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