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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.
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 - None But The Lonely Hearts
Tchaikovsky - None But The Lonely Hearts Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart. This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic. Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.
Jack Gibbons plays Authentic Gershwin
Jack Gibbons plays Authentic Gershwin Jack Gibbons plays Gershwin's Rhapsody in Blue, I Got Rhythm, etc and talks about his authentic Gershwin recreations, with Gershwin biographer Edward Jablonski and broadcaster Selina Scott, plus rare archive films of Gershwin himself.

For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Classical Medley by Buddy Greene on the Harmonica
Classical Medley by Buddy Greene on the Harmonica SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS: 1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach. 2ND: Mozart's Piano Sonata in C, K. 545 - Allegro 3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger') WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
Smetana - Ma Vlast - Mvt 3 - Šárka - My Fatherland - Second Queens
Smetana - Ma Vlast - Mvt 3 - Šárka - My Fatherland - Second Queens Ma Vlast, Movement 3, Šárka, My Fatherland by Bedřich Smetana. QYO2, Second Queensland Youth Orchestra conducted by Sergei V Korschmin is performing this beautiful symphonic poem while on tour in Sydney. Live footage in HD with Dolby Stereo Sound. These talented musicians, 13 to 23 years of age, are performing at a lunchtime concert in Verbrugghen Hall, Sydney Conservatorium of Music on 27 June 2010. All the players are members of the Second Queensland Youth Orchestra, a full symphony orchestra based in Brisbane, Australia. qyo.org.au Here are the links for the entire concert Mvt 1a www.youtube.com Mvt 1b www.youtube.com Mvt 2a www.youtube.com Mvt 2b www.youtube.com Mvt3 www.youtube.com Mvt 4a www.youtube.com Mvt 4b www.youtube.com Mvt 5a www.youtube.com Mvt 5b www.youtube.com Mvt 6a www.youtube.com Mvt 6b www.youtube.com Má Vlast is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. While it is often presented as a single work in six movements, the individual pieces were conceived as a set of individual works. Šárka - The third poem was finished on 20 February 1875 and is named for the Amazon warrior Šárka from the ancient Czech legend of the Maidens' War. She ties herself to a tree as bait and waits to be saved by the prince Ctirad, claiming to be an unwilling captive of the rebelling women. She gets his comrades drunk on mead, and when they are asleep she persuades Ctirad, who quickly fell in love with her, to sound a ...
Wagner - Die Walküre: "The Ride of the Valkyries" (Boulez)
Wagner - Die Walküre: "The Ride of the Valkyries" (Boulez) start of Act III, as the Valkyries gather the soldiers' bodies, and clip ends a bit after Brünnhilde's entrance. Wagner used the Valkyries of the Norse Sagas, rather than the depiction of them in the Nibelungenlied. Women of death and warfare, as Chéreau understood well. from Darraðarljóð (Njál's saga Chap. 156.): Vindum, vindum vef darraðar, þars er vé vaða vígra manna! Látum eigi líf hans farask; eigu valkyrjur vals of kosti. Wind we, wind swiftly Our warwinning woof. sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Der Ring des Nibelungen, a famous production from Bayreuth 1976, recorded 1980. Carmen Reppel as Gerhilde Gabriele Schnaut as Waltraute Gwendolyn Killebrew as Schwertleite Karen Middleton as Ortlinde Gwyneth Jones as Brünnhilde Katie Clarke as Helmwige Ilse Gramatzki as Grimgerde Jeannine Altmeyer as Sieglinde Elisabeth Glauser as Rossweisse Marga Schiml as Siegrune Conducted by Pierre Boulez Directed by Patrice Chéreau, who had very little experience with opera, and his only exposure to Wagner on stage was a performance of Die Walküre at the Paris Opéra that he slept thru. Scenic design by Richard Peduzzi, who had never designed a Wagner opera Costumes by Jacques Schmidt, who had never dressed a Wagner opera Der Walküren-Ritt La Chevauchée des Walkyries
My Choice - André Rieu: Wedding at the Opera (Medley)
My Choice - André Rieu: Wedding at the Opera (Medley) André Rieu and his Johann Strauss Orchestra plays Wedding at the Opera, a medley of classical music. Music is copyrighted by its corresponding owners. No infringement of copyright is meant and if it does infringe, please message me and I'll remove it. ----------------------------------------------------------- Our Youtube Channels are: ALL THE SONGS IN MYCHOICEGRECH CHANNEL www.youtube.com ---------------------------------------------------- CATEGORIZED PLAYLISTS: English Language Song www.youtube.com Opera and Classic Music www.youtube.com Maltese Songs www.youtube.com Italian Songs www.youtube.com Multi Language Songs www.youtube.com Christmas and New Year's music including Chinese New Year www.youtube.com
Wagner - RIDE OF THE VALKYRIES - Furtwangler
Wagner - RIDE OF THE VALKYRIES - Furtwangler The Ride of the Valkyries, by Richard Wagner, in a classic recording with Wilhelm Furtwangler and the Vienna Philharmonic. Illustrations are by Arthur Rackham. "One golden summer in adolescence...I heard the 'Ride of the Valkyries' on a gramophone and saw Arthur Rackham's illustrations to The Ring." (CSLewis) The music: probably the most famous and instantly identifiable of Wagner's works is this short orchestral prelude from Die Walkure, the second opera in the monumental Der Ring des Nibelungen. It has gone on to enter popular culture, being used in many films, most notably the helicopter attack sequence in Apocalypse Now. In terms of composition it perfectly demonstrates Wagner's epic sense of drama, and also his masterful orchestration. The conductor: Wilhelm Furtwangler is probably unrivalled as an interpreter of the core Austro-German Romantic repertoire, setting benchmarks in the performance of Beethoven, Schubert, Brahms, Wagner, Bruckner and others. His recordings include two complete Ring Cycles, both of them classics. The illustrations: Arthur Rackham was one of the greatest illustrators at the turn of the 19th century, creating classic visions for fairy tales and fantasies (Alice, Peter Pan, etc.). His work on Der Ring des Nibelungen is often considered one of the finest visual depictions of Wagner's epic. Sound: sorry the quality isn't first class - the recording is nearly sixty years old! (Imagine what Furtwangler could do with digital surround sound ...
(IV) FJ Haydn -〈The Creation〉Oratorio / Die Schöpfung, Oratoriu
(IV) FJ Haydn -〈The Creation〉Oratorio / Die Schöpfung, Oratoriu Franz Joseph Haydn (1732~1809) 《The Creation》oratorio, Hob. XXI:2 (1798) - English version, Vienna 1800 - (Part 1, Scene 3 / The Third Day) 10. Recitative - "And the heavenly host proclaimed the third day, praising God, and saying" 11. Chorus - "Awake the harp, the lyre awake!" (Part 1, Scene 4 / The Fourth Day) 12. Recitative - And God said: 'Let there be lights in the firmament of heaven" 13. Recitative - "In splendour bright is rising now the sun and darts his rays" 14. Chorus with Trio - "The heavens are telling the Glory of God" 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 ...
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