Gioachino Rossini - La scala di seta - Ouverture
- Classical music composed by Gioachino Rossini Two full comic operas notwithstanding, the beginning of Rossini's career is best represented by a continuous succession of five one act operas or farsas, as Rossini himself described them: "La cambiale di matrimonio", "L'inganno felice", "La scala di seta", "L'occasione fa il ladro" (only this piece is designated by the composer as a "burletta" but the nature of the work gives us an opportunity to consider it an important part of this quintet of operas) and "Il signor Bruschino". All these works are also closely connected by the fact that they follow the same basic form with just a few variations. Structurally, all the first five operas share several obligatory elements: a lively overture; an introduction, usually limited to just three singers; arias for the main quartet of bass, baritone (or another bass), soprano and tenor (though one of these can be skipped); a central ensemble which feels almost as a first act finale, if the opera was just an hour longer (a terzet (in three operas), quartet or sextet); duets for two basses, tenor and soprano or soprano and bass; a long finale during which the plot reaches its' climax but all things invariably end happily. Usually the pieces are composed of just eight numbers, amounting to about an hour of music, only in "L'occasione" do we get eleven (mainly, because of two arias for the soprano). Moreover, all operas, in spite of being designated as "farsas" which, arguably, they are to a great extent, feature a very strong ...
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Gioachino Rossini : The Barber Of Seville - Overture
Title : Gioachino Antonio Rossini , The Barber Of Seville (El Barbero de Sevilla ) - Overture You may heard this overture in bugs bunny Date : 1821
Title : Gioachino Antonio Rossini , The Barber Of Seville (El Barbero de Sevilla ) - Overture You may heard this overture in bugs bunny Date : 1821
Gioachino Rossini - Mose in Egitto - "Involto in fiamma" (June And
Well, it seems we have progressively moved from cavatinas to terzets, so I decided to post a quartet from "Mose in Egitto" as the next piece. "Mose in Egitto" is one of Rossini's most exciting scores. It basically belongs to the genre of staged oratorio cultivated in Italy in the eighteenth and early nineteenth centuries for performance during Lent (Donizetti's "Il diluvio universale" follows the tradition). Essentially a three-act opera seria on a biblical subject, it tells the story of the Exodus of the Israelites from Egypt under the leadership of Moses and includes three of the ten plagues suffered by the Egyptians because of Pharaoh's refusal to liberate the Israelites. But the center of the story is occupied by a love affair between the Pharaoh's son (Osiride) and an Israelite girl (Elcia); Osiride, not wishing to lose Elcia (who has become his wife), incites Pharaoh's obstinacy, which leads to Osiride's death (as part of the final plague, the slaying of the first-born). Much like "La donna del lago", the opera opens without an overture: three octave C's in the orchestra are followed by the plague of darkness. Each act centers on a long ensemble: the reaction to the return of light; the reaction to the discovery of the love between Elcia and Osiride (the presented piece), and the hymn of praise by the Israelites just before they cross through the Red Sea (the rightly famous "Dal tuo stellato soglio"). But the opera also features other superb pieces: a duet for Elcia <b>...</b>
Well, it seems we have progressively moved from cavatinas to terzets, so I decided to post a quartet from "Mose in Egitto" as the next piece. "Mose in Egitto" is one of Rossini's most exciting scores. It basically belongs to the genre of staged oratorio cultivated in Italy in the eighteenth and early nineteenth centuries for performance during Lent (Donizetti's "Il diluvio universale" follows the tradition). Essentially a three-act opera seria on a biblical subject, it tells the story of the Exodus of the Israelites from Egypt under the leadership of Moses and includes three of the ten plagues suffered by the Egyptians because of Pharaoh's refusal to liberate the Israelites. But the center of the story is occupied by a love affair between the Pharaoh's son (Osiride) and an Israelite girl (Elcia); Osiride, not wishing to lose Elcia (who has become his wife), incites Pharaoh's obstinacy, which leads to Osiride's death (as part of the final plague, the slaying of the first-born). Much like "La donna del lago", the opera opens without an overture: three octave C's in the orchestra are followed by the plague of darkness. Each act centers on a long ensemble: the reaction to the return of light; the reaction to the discovery of the love between Elcia and Osiride (the presented piece), and the hymn of praise by the Israelites just before they cross through the Red Sea (the rightly famous "Dal tuo stellato soglio"). But the opera also features other superb pieces: a duet for Elcia <b>...</b>
Gioachino Rossini - The Italian Woman in Algiers - Overture
Title : Gioachino Rossini - The Italian Woman in Algiers (L'italiana in Algeri) - Overture
Title : Gioachino Rossini - The Italian Woman in Algiers (L'italiana in Algeri) - Overture
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 <b>...</b>
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 <b>...</b>
Rossini - The Barber of Seville - Figaros Aria
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 Pierre Beaumarchais's comedy Le Barbier de Seville) by Cesare Sterbini. The overture, first written for Aureliano in Palmira, is a famous instance of Rossini's characteristic Italian style.
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 Pierre Beaumarchais's comedy Le Barbier de Seville) by Cesare Sterbini. The overture, first written for Aureliano in Palmira, is a famous instance of Rossini's characteristic Italian style.
William Tell Overture Rossini with MysteryGuitarMan
for those who haven't figured it out yet, I'm a biiiiig fan of MysteryGuitarman,
check his channel : http://www.youtube.com/user/mysteryguitarman
for those who haven't figured it out yet, I'm a biiiiig fan of MysteryGuitarman,check his channel : http://www.youtube.com/user/mysteryguitarman
Rossini - il Barbiere di Siviglia - La calunnia
Noe Colin, Basso Cantante, Il Barbiere di Siviglia (Rossini) Aria : La calunnia, Don Basilio Palacio de Bellas Artes Director : Enrique Patrón de Rueda MEXICO CITY "Il Barbiere di Siviglia" (Rossini) Basilio:Bartolo's accomplice, a music teacher BASILIO: maestro di musica di rosina Act I Basilio and Bartolo enter. Bartolo suspects the Count, and Basilio advises that he be put out of the way. (Aria: "La calunnia e un venticello" "Calumny is a little breeze") - - - - The Barber of Seville Le Barbier de Seville El Barbero de Sevilla Barbeiro de Siviglia O Barbeiro de Sevilha La calumnia Mexiquense Lirica Musica Clasica Classical Noe Colin Arvizu Bajo mexicano Cantantes Mexicanos Cantantes mejicanos Севильский цирюльник Россини
Noe Colin, Basso Cantante, Il Barbiere di Siviglia (Rossini) Aria : La calunnia, Don Basilio Palacio de Bellas Artes Director : Enrique Patrón de Rueda MEXICO CITY "Il Barbiere di Siviglia" (Rossini) Basilio:Bartolo's accomplice, a music teacher BASILIO: maestro di musica di rosina Act I Basilio and Bartolo enter. Bartolo suspects the Count, and Basilio advises that he be put out of the way. (Aria: "La calunnia e un venticello" "Calumny is a little breeze") - - - - The Barber of Seville Le Barbier de Seville El Barbero de Sevilla Barbeiro de Siviglia O Barbeiro de Sevilha La calumnia Mexiquense Lirica Musica Clasica Classical Noe Colin Arvizu Bajo mexicano Cantantes Mexicanos Cantantes mejicanos Севильский цирюльник Россини
Rossini Barber of Seville Fantasie for Piano 6 hands at Classical Un
Pepi Pilibossian, Mikael Oganes and Harout Senekeremian perform Rossini's Barber of Seville Fantasie as arranged for Piano 6 Hands by D. Krug, at Classical Underground in Los Angeles, 10-25-10
Pepi Pilibossian, Mikael Oganes and Harout Senekeremian perform Rossini's Barber of Seville Fantasie as arranged for Piano 6 Hands by D. Krug, at Classical Underground in Los Angeles, 10-25-10
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
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Meditation (from Thais) on Wersi Scala, Classic Series
This well-known and much-loved piece of music is from the opera Thaïs, by French composer Jules Massenet. It's originally scored for solo violin and orchestra, but I heard a cello version by Yo Yo Ma that inspired this arrangement. Played lived by David and his Open Art Orchestra, Wersi Scala.
This well-known and much-loved piece of music is from the opera Thaïs, by French composer Jules Massenet. It's originally scored for solo violin and orchestra, but I heard a cello version by Yo Yo Ma that inspired this arrangement. Played lived by David and his Open Art Orchestra, Wersi Scala.
The Temple of Salomon - Gli arredi festivi (from Nabucco) - La Scala
"Solomon's Temple, also known as the First Temple, was constructed by Solomon, king of the ancient Israelites, on mount Moriah in Jerusalem according to the Hebrew Bible ... The Temple was plundered by the Babylonian king Nebuchadnezzar ('Nabucco'), during the brief reign of Jehoiachin c. 598 (2 Kings 24:13), Josiah's grandson. The Babylonians attacked Jerusalem again and burned the Temple in 597 BCE, along with most of the city (2 Kings 25)." en.wikipedia.org ****************************** NABUCCO (short for Nebuchadnezzar) is an opera by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the Biblical story. It is Verdi's third opera and the one which is considered to have permanently established his reputation as a composer. Nabucco follows the plight of the Jews as they are assaulted, conquered, and subsequently exiled from their homeland by the Babylonian King Nabucco. The historical events are used as background for a romantic and political plot. Its first performance took place on 9 March 1842 at the Teatro alla Scala, Milan. Free scores: imslp.org Parte Prima Gerusalemme Così ha detto il Signore: "Ecco, io do questa città in mano del re di Babilonia; egli l'arderà col fuoco". Geremia XXXII N.1. Introduzione CORO Scena Prima Interno del Tempio di Salomone. Ebrei, Leviti e Vergini ebree Coro Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s'ammanti! Ministro dell'ira del Nume sdegnato Il rege d'Assiria su noi già piombò! Di <b>...</b>
"Solomon's Temple, also known as the First Temple, was constructed by Solomon, king of the ancient Israelites, on mount Moriah in Jerusalem according to the Hebrew Bible ... The Temple was plundered by the Babylonian king Nebuchadnezzar ('Nabucco'), during the brief reign of Jehoiachin c. 598 (2 Kings 24:13), Josiah's grandson. The Babylonians attacked Jerusalem again and burned the Temple in 597 BCE, along with most of the city (2 Kings 25)." en.wikipedia.org ****************************** NABUCCO (short for Nebuchadnezzar) is an opera by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the Biblical story. It is Verdi's third opera and the one which is considered to have permanently established his reputation as a composer. Nabucco follows the plight of the Jews as they are assaulted, conquered, and subsequently exiled from their homeland by the Babylonian King Nabucco. The historical events are used as background for a romantic and political plot. Its first performance took place on 9 March 1842 at the Teatro alla Scala, Milan. Free scores: imslp.org Parte Prima Gerusalemme Così ha detto il Signore: "Ecco, io do questa città in mano del re di Babilonia; egli l'arderà col fuoco". Geremia XXXII N.1. Introduzione CORO Scena Prima Interno del Tempio di Salomone. Ebrei, Leviti e Vergini ebree Coro Gli arredi festivi giù cadano infranti, Il popol di Giuda di lutto s'ammanti! Ministro dell'ira del Nume sdegnato Il rege d'Assiria su noi già piombò! Di <b>...</b>
Wedding March from A Midsummer Nights Dream Mendelssohn
WSU Brass and Organ Recital
Organized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
WSU Brass and Organ RecitalOrganized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
Verdi Requiem
UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630]
UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630]
Richard Wagner Tannhäuser Ouvertüre Leonard Bernstein New York Phi
now available in one part: www.youtube.com Richard Wagner: Tannhäuser und der Sängerkrieg auf der Wartburg, Ouvertüre - performed by the New York Philharmonic, conducted by Leonard Bernstein, recorded October 26, 1967 at Philharmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City
now available in one part: www.youtube.com Richard Wagner: Tannhäuser und der Sängerkrieg auf der Wartburg, Ouvertüre - performed by the New York Philharmonic, conducted by Leonard Bernstein, recorded October 26, 1967 at Philharmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City
Carl Maria von Weber Der Freischütz ouverture
The National Philharmonic of Russia, conductor Sergey Kiss Another video - www.youtube.com
The National Philharmonic of Russia, conductor Sergey Kiss Another video - www.youtube.com
Gioachino Rossini - L'italiana in Algeri - Ouverture (Marriner)
The year 1813 proved a productive one for Rossini, with several important works: "Il signor ", "Tancredi", "Aureliano in Palmira"... In between came an opera that nearly didn't happen. Carlo Coccia, who had accepted a commission to compose an opera for the Teatro San Benedetto in Venice, apparently ran into difficulty in completing his assignment. Rossini accepted the offer from the theater's impresario and wrote "L'italiana in Algeri" in less than a month. Given the tight schedule, the composer turned to a libretto already in existence, one by Angelo Anelli, already set by Luigi Mosca (Meyerbeer1's channel includes a version of the duet between Isabella and Taddeo by Mosca, do check it out). Although Rossini was likely familiar with Mosca's opera, significant additions and changes were made to the libretto. The 21-year-old composer elected to go for broke with the effects of his ensemble writing. The opera was premiered on May 22, 1813, to applause that, according to one critic, "thundered without pause". "L'italiana" was the first of several important Rossini comic operas to hold prominent roles for lower female voices, the third, to be precise. The protagonist is a determined Italian lady, sung by contralto, who travels to Algiers to search for her lover, Lindoro, kidnapped and held as a slave by Mustafa, the Bey of Algiers. Isabella's wit and charm prove too much for Mustafa and his retinue, and she is able to escape with Lindoro at the end, leaving the Bey fuming <b>...</b>
The year 1813 proved a productive one for Rossini, with several important works: "Il signor ", "Tancredi", "Aureliano in Palmira"... In between came an opera that nearly didn't happen. Carlo Coccia, who had accepted a commission to compose an opera for the Teatro San Benedetto in Venice, apparently ran into difficulty in completing his assignment. Rossini accepted the offer from the theater's impresario and wrote "L'italiana in Algeri" in less than a month. Given the tight schedule, the composer turned to a libretto already in existence, one by Angelo Anelli, already set by Luigi Mosca (Meyerbeer1's channel includes a version of the duet between Isabella and Taddeo by Mosca, do check it out). Although Rossini was likely familiar with Mosca's opera, significant additions and changes were made to the libretto. The 21-year-old composer elected to go for broke with the effects of his ensemble writing. The opera was premiered on May 22, 1813, to applause that, according to one critic, "thundered without pause". "L'italiana" was the first of several important Rossini comic operas to hold prominent roles for lower female voices, the third, to be precise. The protagonist is a determined Italian lady, sung by contralto, who travels to Algiers to search for her lover, Lindoro, kidnapped and held as a slave by Mustafa, the Bey of Algiers. Isabella's wit and charm prove too much for Mustafa and his retinue, and she is able to escape with Lindoro at the end, leaving the Bey fuming <b>...</b>
