3/3 - GEORGES SZELL - MOZART SYMPHONY 40 - 1970 (LIVE)
- Classical music composed by Wolfgang Amadeus Mozart Mozart, Symphony no. 40 in G minor, K. 550. PLAYLIST www.youtube.com III: Menuetto: Allegretto - Trio. IV: Allegro assai. The Cleveland Orchestra, Georges Szell, Conductor. Recorded live, May 22 1970, Tokyo.
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A. Marcello - Oboe Concerto in D Minor - Mov. 2-3/3
ALESSANDRO MARCELLO (1684-1750) Concerto for oboe, strings and basso continuo in D minor 2. Adagio 3. Presto Performed by Concerto Italiano Directed by Rinaldo Alessandrini *Alessandro Marcello was an Italian nobleman and dilettante who dabbled in various areas, including poetry, philosophy, mathematics and, perhaps most notably, music. A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are "unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style," according to Grove, "placing them as a last outpost of the classic Venetian Baroque concerto." Alessandro's brother was Benedetto Marcello, also a composer. **This concerto is part of Marcello's "concerti a cinque" published in 1716. It is one of the most performed oboe concertos in the oboe repertory. In the past, and continuing to the present, it has been mistakenly attributed to both Benedetto Marcello and Antonio Vivaldi. JS Bach made the piece famous by writing a transcription of <b>...</b>
ALESSANDRO MARCELLO (1684-1750) Concerto for oboe, strings and basso continuo in D minor 2. Adagio 3. Presto Performed by Concerto Italiano Directed by Rinaldo Alessandrini *Alessandro Marcello was an Italian nobleman and dilettante who dabbled in various areas, including poetry, philosophy, mathematics and, perhaps most notably, music. A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are "unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style," according to Grove, "placing them as a last outpost of the classic Venetian Baroque concerto." Alessandro's brother was Benedetto Marcello, also a composer. **This concerto is part of Marcello's "concerti a cinque" published in 1716. It is one of the most performed oboe concertos in the oboe repertory. In the past, and continuing to the present, it has been mistakenly attributed to both Benedetto Marcello and Antonio Vivaldi. JS Bach made the piece famous by writing a transcription of <b>...</b>
Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (3/3)
Director : Bernard Haitink. Concertgebouworkest Amsterdam. Johannes Brahms's Piano Concerto No. 1 in D minor (Op. 15) is one of Brahms' most famous and frequently performed pieces. A concerto on nearly every major pianist's repertoire, it presents considerable technical challenges to the performer. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way", adding sadly, "all the same, the hissing was rather too much!" Brahms originally conceived the work as a sonata for two pianos. Seeking a grander and fuller sound, Brahms later orchestrated the work in an attempt to transform it into a four-movement symphony. However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral color to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were ...
Director : Bernard Haitink. Concertgebouworkest Amsterdam. Johannes Brahms's Piano Concerto No. 1 in D minor (Op. 15) is one of Brahms' most famous and frequently performed pieces. A concerto on nearly every major pianist's repertoire, it presents considerable technical challenges to the performer. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way", adding sadly, "all the same, the hissing was rather too much!" Brahms originally conceived the work as a sonata for two pianos. Seeking a grander and fuller sound, Brahms later orchestrated the work in an attempt to transform it into a four-movement symphony. However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral color to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were ...
Hummel Piano Concerto 5 in A-Flat (3/3) OP. 113
Howard Shelley London Mozart Players Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (Pozsony) (present-day Bratislava, Slovakia), but a part of Kingdom of Hungary when he was born. His music reflects the transition from the Classical to the Romantic musical era.
Howard Shelley London Mozart Players Johann Nepomuk Hummel or Jan Nepomuk Hummel (14 November 1778 17 October 1837) was a composer and virtuoso pianist of Austrian origin who was born in Pressburg (Pozsony) (present-day Bratislava, Slovakia), but a part of Kingdom of Hungary when he was born. His music reflects the transition from the Classical to the Romantic musical era.
Mozart - Sonata for two pianos in D, KV 448 (3/3)
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Sumi Jo - Verdi - La Traviata - Violetta - Sempre Libera
"Ah! Fors'e lui"
"Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
"Ah! Fors'e lui""Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
Maria Callas - La Traviata
Maria Callas (1923-1977)
Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Maria Callas (1923-1977)Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Luciano Pavarotti - La Donna è Mobile Rigoletto
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).
La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
Gracia - William Tell Overture
Rossini's classical piece performed by three talented violin player ladies from Hungary
Rossini's classical piece performed by three talented violin player ladies from Hungary
Elina Garanca Habanera (Carmen) by Georges Bizet
German Echo Klassik 2009 (Classical) awards - Elina Garanca was awarded the Female Singer of the Year Award.
German Echo Klassik 2009 (Classical) awards - Elina Garanca was awarded the Female Singer of the Year Award.
Georges Bizet - "Les Toreadors" from Carmen Suite No. 1
Georges Bizet Carmen Suite No. 1 "Les Toreadors" London Festival Orchestra Alfred Scholz
Georges Bizet Carmen Suite No. 1 "Les Toreadors" London Festival Orchestra Alfred Scholz
Root Beer Mozart
For Mozart's birthday... this is the Overture of "Die Zauberflöte" by Mozart. Played on root beer bottles.
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Portuguese subtitles by:
http://sleepneverwakeup.wordpress.com
For Mozart's birthday... this is the Overture of "Die Zauberflöte" by Mozart. Played on root beer bottles.Get my t-shirts:
http://bit.ly/MGMshirts
Like this video? Click the link to tweet about it!
http://bit.ly/RootBeerMozartTweet
Watch my other videos:
http://www.youtube.com/MysteryGuitarMan
Follow me on Twitter:
http://www.twitter.com/MysteryGuitarM
...and Facebook:
http://www.facebook.com/MysteryGuitarMan
Portuguese subtitles by:
http://sleepneverwakeup.wordpress.com
Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.
A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989
Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.
It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.
1. Allegro, in E flat major and common (C) time
2. Andantino, in C minor and 3/4 time
3. Rondo (Presto), in E flat major and 2/2 time
Dawn Chan notes:
Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."
update--
thanks to Laemmerhirt, I moved past my old sources and got some new info!
Christopher H. Gibbs wrote in 2005:
WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.
Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"
In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989
Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.
It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.
1. Allegro, in E flat major and common (C) time
2. Andantino, in C minor and 3/4 time
3. Rondo (Presto), in E flat major and 2/2 time
Dawn Chan notes:
Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."
update--
thanks to Laemmerhirt, I moved past my old sources and got some new info!
Christopher H. Gibbs wrote in 2005:
WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.
Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"
In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
Jascha Heifetz Plays Rondo by Mozart
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Mozart Requiem
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343
A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
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No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
What should I do?
No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
Dublin Philharmonic Dvorak New World Symphony - 1st Mvt
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Wolfgang Amadeus Mozart - Symphony No 25 in G minor
Composed by Wolfgang Amadeus Mozart
Performed by Academy of St. Martin-in-the-Fields
Conducted by Neville Marriner
Composed by Wolfgang Amadeus Mozart Performed by Academy of St. Martin-in-the-Fields
Conducted by Neville Marriner
Johannes Brahms -- YouTube Symphony Orchestra
www.youtube.com/symphony The YouTube Symphony Orchestra performs Johannes Brahms - Allegro giocoso from Symphony No.4 in E minor, Op. 98 on April 15, 2009 @ Carnegie Hall.
Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
www.youtube.com/symphony The YouTube Symphony Orchestra performs Johannes Brahms - Allegro giocoso from Symphony No.4 in E minor, Op. 98 on April 15, 2009 @ Carnegie Hall. Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
Canzon Septimi toni No. 2 - The YouTube Symphony Orchestra
Giovanni Gabrieli's Canzon Septimi toni No. 2, performed by the YouTube Symphony Orchestra @ Carnegie Hall on April 15, 2009.
Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
Giovanni Gabrieli's Canzon Septimi toni No. 2, performed by the YouTube Symphony Orchestra @ Carnegie Hall on April 15, 2009.Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
Chopin - Polonaise in A, Op.40 No.1, ' Military '
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Tzvi Erez plays Chopin's Military Polonaise, Opus 40 #1
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Military Polonaise on his Vintage 1912 Bosendorfer. Available on the Niv Classical Label. www.nivmusic.com
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Military Polonaise on his Vintage 1912 Bosendorfer. Available on the Niv Classical Label. www.nivmusic.com
Beethoven's Romance for Violin and Orchestra No. 1 in G Major, Op. 40
Erich Rohn and the Munchener Philharmoniker perform Beethoven's Romance in G Major on a 78 rpm record.
Erich Rohn and the Munchener Philharmoniker perform Beethoven's Romance in G Major on a 78 rpm record.
Wolfgang Amadeus Mozart - Symphony 40 in G min KV 550
Slovak Philharmonic Orchestra Conductor : Libor Pesek
Slovak Philharmonic Orchestra Conductor : Libor Pesek
Paderewski Concerto A Minor 1st.Mov. Pt 1 Wild 1970
Paderewski composed the Piano Concerto in A minor Op.17 in 1888 after he gave his first recital in Paris during March of that year. (This was really his debut as a pianist). He finished scoring it in 1889. Paderewski composed the work in the two small rooms that he had rented in Vienna when he began his studies with Leschetizky in 1884. Having played Saint Saens' C minor concerto in Paris shortly after his debut there, he found the French composer to be "perfectly enthusiastic" about his performance of that composition. That encouraged Paderewski to take the score of his recently completed concerto to Saint Saens in order to seek his opinion of the work. Paderewski was met at the door by a very busy Saint-Saens who siad that he had no time to look at the score or listen to Paderewski play it. However, he relented saying,"Well,you are here,so I suppose I must recieve you." In his memoirs Paderewski says,"He took the score and read it as i played it.He listened very attentively. At the Andante (Romanza)he stopped me saying,'What a delightful Andante! Will you please repeat that?'Finally he said,' There is nothing to be changed. You may play it when ever you like.It will please the people.It is quite ready.You needn't be afraid of it, I assure you.'" Paderewski dedicated the concerto to "My master, Leschetizky." The conductor,Hans Richter who was "among the most eminent and finest interpreters of Wagner,and not only Wagner,but all of classical music," had heard Paderewski <b>...</b>
Paderewski composed the Piano Concerto in A minor Op.17 in 1888 after he gave his first recital in Paris during March of that year. (This was really his debut as a pianist). He finished scoring it in 1889. Paderewski composed the work in the two small rooms that he had rented in Vienna when he began his studies with Leschetizky in 1884. Having played Saint Saens' C minor concerto in Paris shortly after his debut there, he found the French composer to be "perfectly enthusiastic" about his performance of that composition. That encouraged Paderewski to take the score of his recently completed concerto to Saint Saens in order to seek his opinion of the work. Paderewski was met at the door by a very busy Saint-Saens who siad that he had no time to look at the score or listen to Paderewski play it. However, he relented saying,"Well,you are here,so I suppose I must recieve you." In his memoirs Paderewski says,"He took the score and read it as i played it.He listened very attentively. At the Andante (Romanza)he stopped me saying,'What a delightful Andante! Will you please repeat that?'Finally he said,' There is nothing to be changed. You may play it when ever you like.It will please the people.It is quite ready.You needn't be afraid of it, I assure you.'" Paderewski dedicated the concerto to "My master, Leschetizky." The conductor,Hans Richter who was "among the most eminent and finest interpreters of Wagner,and not only Wagner,but all of classical music," had heard Paderewski <b>...</b>
Handel - Recorder sonata in A minor (live)
Ensemble Estro Cromatico, Milano Marco Scorticati flauto dolce Davide Pozzi clavicembalo Georg Friedrich Händel Sonata a Flauto e Cembalo in La min. (Live concert) Festival internazionale di Musica antica Settimane Barocche di Brescia 10 ottobre 2008, Nave (BS), Italy MARCO SCORTICATI Born in Milan in 1980, he begun studying recorder at a very early age. He took lessons from Giovanni Antonini (from 1990 to '97), Pedro Memelsdorff (with whom he graduated in '99 at the Civica Scuola di Musica Antica in Milan), Walter van Hauwe (from 1999 to 2001 at the "Sweelinck" Conservatorium in Amsterdam) and Kees Boeke (at the Musikhochschule of Zurich, where he graduated in 2003). He also attended the "C. Pollini" Conservatory in Padua obtaining his degree in 1999 and studied composition with Fabio Vacchi at the "G. Verdi" Conservatory in Milan. He studied baroque transverse flute with Marco Brolli in Milan. As a recorder and transverse flute player he regularly performs with his ensemble Estro Cromatico, collaborating with well-known singers such as sopranos Nuria Rial, María Espada, Mária Zádori and counter-tenor Roberto Balconi. He also collaborates ao with Accademia Bizantina (Ottavio Dantone), Europa Galante (Fabio Biondi), Il Giardino Armonico (Giovanni Antonini) and Venice Baroque Orchestra (Andrea Marcon). He has also performed with the Milan Teatro alla Scala Orchestra directed by Ottavio Dantone, Giovanni Antonini and Rinaldo Alessandrini. He appears on CD and DVD recordings <b>...</b>
Ensemble Estro Cromatico, Milano Marco Scorticati flauto dolce Davide Pozzi clavicembalo Georg Friedrich Händel Sonata a Flauto e Cembalo in La min. (Live concert) Festival internazionale di Musica antica Settimane Barocche di Brescia 10 ottobre 2008, Nave (BS), Italy MARCO SCORTICATI Born in Milan in 1980, he begun studying recorder at a very early age. He took lessons from Giovanni Antonini (from 1990 to '97), Pedro Memelsdorff (with whom he graduated in '99 at the Civica Scuola di Musica Antica in Milan), Walter van Hauwe (from 1999 to 2001 at the "Sweelinck" Conservatorium in Amsterdam) and Kees Boeke (at the Musikhochschule of Zurich, where he graduated in 2003). He also attended the "C. Pollini" Conservatory in Padua obtaining his degree in 1999 and studied composition with Fabio Vacchi at the "G. Verdi" Conservatory in Milan. He studied baroque transverse flute with Marco Brolli in Milan. As a recorder and transverse flute player he regularly performs with his ensemble Estro Cromatico, collaborating with well-known singers such as sopranos Nuria Rial, María Espada, Mária Zádori and counter-tenor Roberto Balconi. He also collaborates ao with Accademia Bizantina (Ottavio Dantone), Europa Galante (Fabio Biondi), Il Giardino Armonico (Giovanni Antonini) and Venice Baroque Orchestra (Andrea Marcon). He has also performed with the Milan Teatro alla Scala Orchestra directed by Ottavio Dantone, Giovanni Antonini and Rinaldo Alessandrini. He appears on CD and DVD recordings <b>...</b>
Carlo Bergonzi - Che gelida manina (Live)
Carlo Bergonzi (b. 1924) is an Italian operatic tenor. Although he performed and recorded various bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of his lesser-known works which he helped revive. Essentially a lirico-spinto tenor, Bergonzi is greatly admired for his pointed diction, beautiful legato and elegant phrasing. Bergonzi here sings the famous aria 'Che gelida manina' from La Boheme, in a live performance. This is one of my favorite renditions, absolutely spectacular performance by Maestro Bergonzi. Bergonzi was still singing and giving masterclasses as of 2005. When I visited China that year, a friend of mine and I attended Bergonzi's masterclasses in Beijing...Bergonzi's voice is still in good shape and sounds fantastic!
Carlo Bergonzi (b. 1924) is an Italian operatic tenor. Although he performed and recorded various bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of his lesser-known works which he helped revive. Essentially a lirico-spinto tenor, Bergonzi is greatly admired for his pointed diction, beautiful legato and elegant phrasing. Bergonzi here sings the famous aria 'Che gelida manina' from La Boheme, in a live performance. This is one of my favorite renditions, absolutely spectacular performance by Maestro Bergonzi. Bergonzi was still singing and giving masterclasses as of 2005. When I visited China that year, a friend of mine and I attended Bergonzi's masterclasses in Beijing...Bergonzi's voice is still in good shape and sounds fantastic!
Scarlatti, Domenico - Sonata K. 149 (live)
Fabricio Mattos plays Scarlatti Sonata K. 149 - live concert Curitiba, Brazil, 2005
Fabricio Mattos plays Scarlatti Sonata K. 149 - live concert Curitiba, Brazil, 2005
