Antonio Vivaldi - The Four Seasons
- Classical music composed by Antonio Vivaldi concerto Teatro Asioli di Correggio 2005 ENSEMBLE GUIDANTUS www.ensembleguidantus.com
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Antonio Vivaldi, Mandolin Concerto, 1st Movement
Classical music with Detlef Tewes (mandolin, www.detlef-tewes.de ), mandolin orchestra of Ettlingen Germany www.mandolinenorchester-ettlingen.de , conductor Boris Björn Bagger (http ), Prof. Boris Bagger is teacher for guitar at the University of Music, Karlsruhe / Germany, www.hfm-karlsruhe.de , Hochschule für Musik, Musikhochschule This piece is used as sountrack to the movie Kramer vs. Kramer dieses Stück ist als Filmmusik Kramer gegen Kramer mit Dustin Hoffman und Meryl Streep in den Hauptrollen benutzt worden sheet music available www.edition49.de New CD available with Detlef Tewes & Boris Björn Bagger Mozart - World premiere recordings sold more than 10 000 times new arrangements for mandolin and guitar Detlef Tewes & Boris Björn Bagger - a fantastic CD - 5 stars are not enough! order here http More infos and informations about this CD www.borisbagger.de Thanks for visiting our pages
Classical music with Detlef Tewes (mandolin, www.detlef-tewes.de ), mandolin orchestra of Ettlingen Germany www.mandolinenorchester-ettlingen.de , conductor Boris Björn Bagger (http ), Prof. Boris Bagger is teacher for guitar at the University of Music, Karlsruhe / Germany, www.hfm-karlsruhe.de , Hochschule für Musik, Musikhochschule This piece is used as sountrack to the movie Kramer vs. Kramer dieses Stück ist als Filmmusik Kramer gegen Kramer mit Dustin Hoffman und Meryl Streep in den Hauptrollen benutzt worden sheet music available www.edition49.de New CD available with Detlef Tewes & Boris Björn Bagger Mozart - World premiere recordings sold more than 10 000 times new arrangements for mandolin and guitar Detlef Tewes & Boris Björn Bagger - a fantastic CD - 5 stars are not enough! order here http More infos and informations about this CD www.borisbagger.de Thanks for visiting our pages
Antonio Vivaldi's Concerto in A minor Op.3 No.8 sheet music - Video
http://www.virtualsheetmusic.com/video54<br />Virtual Sheet Music presents the famous Antonio Vivaldi's Concerto in A minor Op.3 No.8 for two violins and piano. Subscribe to our channel to watch weekly Video Scores from our high quality sheet music collection. This Video Score is about violin and piano sheet music and related MP3 files. It gives you the opportunity to play the music directly from your computer screen and to discover our unique repertoire of high quality digital sheet music.
http://www.virtualsheetmusic.com/video54<br />Virtual Sheet Music presents the famous Antonio Vivaldi's Concerto in A minor Op.3 No.8 for two violins and piano. Subscribe to our channel to watch weekly Video Scores from our high quality sheet music collection. This Video Score is about violin and piano sheet music and related MP3 files. It gives you the opportunity to play the music directly from your computer screen and to discover our unique repertoire of high quality digital sheet music.
Antonio Salieri Triple Concerto D major (1/3)
Salieri wrote little instrumental music. Among the few pieces he wrote is this triple concerto for violin, oboe and violoncello from 1770. It is a fine example of an intermediate concerto between baroque and classical style. I find it to be full of aristocratic charme. Thomas Füri (violin), Heinz Holliger (oboe) and Thomas Demenga (violoncello) are the soloists. Füri also conducts the Camerata Bern.
Salieri wrote little instrumental music. Among the few pieces he wrote is this triple concerto for violin, oboe and violoncello from 1770. It is a fine example of an intermediate concerto between baroque and classical style. I find it to be full of aristocratic charme. Thomas Füri (violin), Heinz Holliger (oboe) and Thomas Demenga (violoncello) are the soloists. Füri also conducts the Camerata Bern.
Antonio Lauro, Natalia; Humberto Bruni, Guitar.mov
Vals "Natalia" by Maestro Antonio Lauro, one of the greatest composers for guitar, played by Venezuelan Classical Guitarist Humberto Bruni.
Vals "Natalia" by Maestro Antonio Lauro, one of the greatest composers for guitar, played by Venezuelan Classical Guitarist Humberto Bruni.
Ladusa 10 Year Old Violinist - Vivaldi Winter Violin Concerto
I began the violin at 6 year old. Vivaldi 4 season violin concerto- Winter Music concert - December 2006 Montreal **Sorry for lack of energy, I had a bad cold!
I began the violin at 6 year old. Vivaldi 4 season violin concerto- Winter Music concert - December 2006 Montreal **Sorry for lack of energy, I had a bad cold!
Vivaldi's 'Four Seasons'- Pre Concert Talk by David Gordon
In the past 70 years, more than 120 recordings have been made of Vivaldi's groundbreaking set of four concerti: The Four Seasons. David Gordon explains what makes this beloved music so memorable and what to listen for. FIlmed by Douglas Mueller. www.bachfestival.org <br /><br />The webpage you are currently viewing is NOT part of the official Carmel Bach Festival website. These videos are posted here as a public educational service by David Gordon and Doug Mueller. <br /><br />For more Festival videos, follow the "carmelbach" link by Bach's picture. <br />
In the past 70 years, more than 120 recordings have been made of Vivaldi's groundbreaking set of four concerti: The Four Seasons. David Gordon explains what makes this beloved music so memorable and what to listen for. FIlmed by Douglas Mueller. www.bachfestival.org <br /><br />The webpage you are currently viewing is NOT part of the official Carmel Bach Festival website. These videos are posted here as a public educational service by David Gordon and Doug Mueller. <br /><br />For more Festival videos, follow the "carmelbach" link by Bach's picture. <br />
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
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.
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.
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.
Title : Johann Strauss II , The Blue Danube WaltzDate : 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.
Claude Debussy - Prelude to the Afternoon of a Faun
Painting - On the Hudson Artist - Thomas Doughty
Painting - On the Hudson Artist - Thomas Doughty
Mozart Piano Concerto No. 5 Four Hands Duet
Alan Uy and Theo Alvarez playing Mozart's Piano Concerto No. 5 in D Major K.175 (Allegro) originally for Orchestra and Piano. The Schirmer piano score edition reduced orchestra part to separate piano. Original rendition further reduced to "one & a half" pianos by Theo & Alan. "Classical comedy" inspiration from Victor Borge. Played at the El Camino Talent Show 2007
Alan Uy and Theo Alvarez playing Mozart's Piano Concerto No. 5 in D Major K.175 (Allegro) originally for Orchestra and Piano. The Schirmer piano score edition reduced orchestra part to separate piano. Original rendition further reduced to "one & a half" pianos by Theo & Alan. "Classical comedy" inspiration from Victor Borge. Played at the El Camino Talent Show 2007
Pierre Fournier,Vivaldi Cello Concerto E minor (1/4)
www.facebook.com Pierre Fournier-violoncello, Festival Strings Lucerne, Rudolf Baumgartner. Pierre Fournier (1906-1986) was born in Paris on June 24, and known in his lifetime as "the aristocrat of cellists," because of his lyrical playing, and for his impeccable artistic sensitivity. Fournier was the son of a French army general, and as a child was taught piano by his mother. At the age of nine he suffered a mild case of polio, and lost some of the dexterity in his legs and feet. No longer able to master the use of the piano pedals, he searched for another musical instrument, and turned to the cello. He quickly made good progress on his new instrument, and was able to win entrance to the Paris Conservatoire, where he became a pupil of Paul Bazelaire, and later Anton Hekking. He graduated at the age of seventeen, in the year 1923. Maurice Marechal called him "the cellist of the future." Even at such a young age, Fournier had tremendous virtuosity, and was famous for his bowing facility. Fournier was a friend of another great French cellist, Tortelier. Once, meeting backstage after a recital by Tortelier, Pierre said to him, "Paul, I wish I had your left hand." Tortelier replied, "Pierre, I wish I had your right arm!" Fournier became well known in 1925 after a successful performance with the Edouard Colonne Orchestra in Paris, and began to give concerts all over Europe. Fournier played with all the great musicians of his time, including Cortot, Thibaud, Furtwangler <b>...</b>
www.facebook.com Pierre Fournier-violoncello, Festival Strings Lucerne, Rudolf Baumgartner. Pierre Fournier (1906-1986) was born in Paris on June 24, and known in his lifetime as "the aristocrat of cellists," because of his lyrical playing, and for his impeccable artistic sensitivity. Fournier was the son of a French army general, and as a child was taught piano by his mother. At the age of nine he suffered a mild case of polio, and lost some of the dexterity in his legs and feet. No longer able to master the use of the piano pedals, he searched for another musical instrument, and turned to the cello. He quickly made good progress on his new instrument, and was able to win entrance to the Paris Conservatoire, where he became a pupil of Paul Bazelaire, and later Anton Hekking. He graduated at the age of seventeen, in the year 1923. Maurice Marechal called him "the cellist of the future." Even at such a young age, Fournier had tremendous virtuosity, and was famous for his bowing facility. Fournier was a friend of another great French cellist, Tortelier. Once, meeting backstage after a recital by Tortelier, Pierre said to him, "Paul, I wish I had your left hand." Tortelier replied, "Pierre, I wish I had your right arm!" Fournier became well known in 1925 after a successful performance with the Edouard Colonne Orchestra in Paris, and began to give concerts all over Europe. Fournier played with all the great musicians of his time, including Cortot, Thibaud, Furtwangler <b>...</b>
Vivaldi_four_seasons classical guitar and Marimba
www.burfieldbrothers.com. Are you looking for a GREAT duet to come perform for your event. The Burchfield Brothers travel the country performing for different venues and events.
www.burfieldbrothers.com. Are you looking for a GREAT duet to come perform for your event. The Burchfield Brothers travel the country performing for different venues and events.
Philip Glass - The American Four Seasons (Violin Concerto No. 2) Mov
I had to cut the first 15 seconds :( "When people, especially in North America, get over the hangup that Glass is not supposed to be considered a serious classical music composer, despite numerous operas, symphonies, concerti and ballets, and despite their enduring popularity in Europe, or that he is a nails-on-the-blackboard minimalist, despite some of the most transporting melodies written in the last century, they will recognize that his music, and especially his recent direction, constitutes a landmark in 20-21st century "serious" music. This violin concerto is a good example. It his his second violin concerto, the first having achieved repetition in a variety of media (check youtube for this) for its transcendent second movement. The American 4 seasons, his second violin concerto represents a more mature Glass style, of far greater complexity and with memorable qualities throughout, from first to last note. Due it its complexity, it may not be completely accessible on first hearing, but repeated listening brings great rewards in enjoyment. A review of the Glass concerto output (violin, cello, concerto grosso, piano, saxophone quartet, etc.) reveals that his second movements are outstanding for their melodic lyricism and this concerto's second movement even exceeds the others in that regard. Glass's most recent concerti have tended to opt for a slow final movement, choosing tranquility over fireworks, as is especially true in the second piano concerto ("Lewis and <b>...</b>
I had to cut the first 15 seconds :( "When people, especially in North America, get over the hangup that Glass is not supposed to be considered a serious classical music composer, despite numerous operas, symphonies, concerti and ballets, and despite their enduring popularity in Europe, or that he is a nails-on-the-blackboard minimalist, despite some of the most transporting melodies written in the last century, they will recognize that his music, and especially his recent direction, constitutes a landmark in 20-21st century "serious" music. This violin concerto is a good example. It his his second violin concerto, the first having achieved repetition in a variety of media (check youtube for this) for its transcendent second movement. The American 4 seasons, his second violin concerto represents a more mature Glass style, of far greater complexity and with memorable qualities throughout, from first to last note. Due it its complexity, it may not be completely accessible on first hearing, but repeated listening brings great rewards in enjoyment. A review of the Glass concerto output (violin, cello, concerto grosso, piano, saxophone quartet, etc.) reveals that his second movements are outstanding for their melodic lyricism and this concerto's second movement even exceeds the others in that regard. Glass's most recent concerti have tended to opt for a slow final movement, choosing tranquility over fireworks, as is especially true in the second piano concerto ("Lewis and <b>...</b>
