Mozart Sinfonia 41 Jupiter - VPO Bohm
-
Classical music composed by Wolfgang Amadeus Mozart
Mozart Symphony no. 41 K. 551 "Jupiter"
I. Allegro Vivace
Wiener Philharmoniker - Karl Bohm
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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:
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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:
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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
Mozart Sinfonia No. 25 Allegro - Karl Bohm
Mozart Symphony no. 25 k. 183
Wiener Philharmoniker - Karl Bohm
I. Allegro con brio
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I. Allegro con brio
Sinfonia nº40 de Mozart
Este é o 1ºandamento, o Molto Allegro, da mais importante música (Sinfonia nº40) de um dos maiores génios da música de todos os tempos, Wolfgang Amadeus Mozart. Psk
Este é o 1ºandamento, o Molto Allegro, da mais importante música (Sinfonia nº40) de um dos maiores génios da música de todos os tempos, Wolfgang Amadeus Mozart. Psk
Berio-Sinfonia for orchestra and voces 2 of 3.wmv
Berio, Luciano (b. October 24, 1925, Oneglia, Imperia d. May 27, 2003, Rome). Italian composer of mostly stage, orchestral, chamber, choral, and vocal works that have been performed throughout the world; he is also active as a conductor. Mr. Berio studied initially with his grandfather Adolfo Berio (b. 1847 d. 1942) and father Ernesto Berio, who were both composers and organists, and he quickly developed an interest in the piano. He studied composition with Giorgio Federico Ghedini and counterpoint with Giulio Cesare Paribeni at the Conservatorio G. Verdi in Milan from 194651 and received lessons on serialism from Luigi Dallapiccola at Tanglewood in 1952, on a scholarship from the Koussevitzky Foundation. He also holds honorary doctorates from universities in London (1980), Siena (1995) and Edinburgh and Turin (both 1999). He has received numerous awards, including the Ernst von Siemens Musikpreis (1989), the Wolf Prize in Arts in Jerusalem (1991), the Leone d'Oro per la Musica at the Biennale di Venezia (1995), the Praemium Imperiale in Japan (1996), and the Premio Internazionale Luigi Vanvitelli in Caserta (2001). His œuvre has been prominently featured at numerous recent festivals, including ones in Genoa and London (both 1994), Milan (1996), Paris (1997), Schleswig-Holstein (1998), and Geneva, Gütersloh, Lisbon, and Salzburg (all 1999). Furthermore, he is the subject of several publications, including Luciano Berio: Two Interviews by Rossana Dalmonte and Bálint András <b>...</b>
Berio, Luciano (b. October 24, 1925, Oneglia, Imperia d. May 27, 2003, Rome). Italian composer of mostly stage, orchestral, chamber, choral, and vocal works that have been performed throughout the world; he is also active as a conductor. Mr. Berio studied initially with his grandfather Adolfo Berio (b. 1847 d. 1942) and father Ernesto Berio, who were both composers and organists, and he quickly developed an interest in the piano. He studied composition with Giorgio Federico Ghedini and counterpoint with Giulio Cesare Paribeni at the Conservatorio G. Verdi in Milan from 194651 and received lessons on serialism from Luigi Dallapiccola at Tanglewood in 1952, on a scholarship from the Koussevitzky Foundation. He also holds honorary doctorates from universities in London (1980), Siena (1995) and Edinburgh and Turin (both 1999). He has received numerous awards, including the Ernst von Siemens Musikpreis (1989), the Wolf Prize in Arts in Jerusalem (1991), the Leone d'Oro per la Musica at the Biennale di Venezia (1995), the Praemium Imperiale in Japan (1996), and the Premio Internazionale Luigi Vanvitelli in Caserta (2001). His œuvre has been prominently featured at numerous recent festivals, including ones in Genoa and London (both 1994), Milan (1996), Paris (1997), Schleswig-Holstein (1998), and Geneva, Gütersloh, Lisbon, and Salzburg (all 1999). Furthermore, he is the subject of several publications, including Luciano Berio: Two Interviews by Rossana Dalmonte and Bálint András <b>...</b>
Pavel Haas: Sinfonia (1940/1941)
Pavel Haas (1899-1944): Sinfonia (orchestrazione di Zdenek Zouhar) (1940/1941) -- Orchestra Filarmonica di Brno diretta da Israel Yinon -- I. Meditativo II. Allegro vivace e risoluto energico III. Misteriosamente -- painting by Frantisek Kupka ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Pavel Haas (1899-1944): Sinfonia (orchestrazione di Zdenek Zouhar) (1940/1941) -- Orchestra Filarmonica di Brno diretta da Israel Yinon -- I. Meditativo II. Allegro vivace e risoluto energico III. Misteriosamente -- painting by Frantisek Kupka ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Mozart-Symphony No. 41 "Jupiter"/Leibowitz/Pt. 1 (of 3)
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 2 www.youtube.com
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 2 www.youtube.com
Allegro from Bach's Concerto for Violin, Strings and Continuo No. 1 in A minor - BWV 1041
Allegro (1st Movement) from J.S. Bach's Concerto for Violin, Strings & Continuo No. 1 in A minor. Performed by Géza Hosszu-Legocky and The Kremerata Baltica.
Allegro (1st Movement) from J.S. Bach's Concerto for Violin, Strings & Continuo No. 1 in A minor. Performed by Géza Hosszu-Legocky and The Kremerata Baltica.
Mozart-Symphony No. 41 "Jupiter"/Leibowitz/Pt. 2 (of 3)
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 3 www.youtube.com
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 3 www.youtube.com
Fibich, Moods: Impressions and Reminiscences, Opus 41
Zdenek Fibich: Moods: Impressions and Reminiscences, Opus 41. William Howard (piano).Zdeněk Fibich (December 21, 1850 October 15, 1900) was a Czech composer of classical music. (Pictures JC)
Zdenek Fibich: Moods: Impressions and Reminiscences, Opus 41. William Howard (piano).Zdeněk Fibich (December 21, 1850 October 15, 1900) was a Czech composer of classical music. (Pictures JC)
WA Mozart - "Jupiter" Symphony No. 41 in C major KV 551
WA Mozart Symfonia nr 41 C-dur "Jowiszowa" KV 551/WA Mozart - "Jupiter" Symphony No. 41 in C major KV 551. Opera i Filharmonia Podlaska Europejskie Centrum Sztuki w Białymstoku/The Podlasie Opera and Philharmonic European Art Centre in Bialystok. Marcin Nałęcz-Niesiołowski - dyrygent/conductor. Orkiestra Opery i Filharmonii Podlaskiej/The Orchestra of the Podlasie Opera and Philharmonic. Muzyka klasyczna/classical music. Koncerty symfoniczne/symphonic concerts. www.oifp.pl lub 217.17.47.78
WA Mozart Symfonia nr 41 C-dur "Jowiszowa" KV 551/WA Mozart - "Jupiter" Symphony No. 41 in C major KV 551. Opera i Filharmonia Podlaska Europejskie Centrum Sztuki w Białymstoku/The Podlasie Opera and Philharmonic European Art Centre in Bialystok. Marcin Nałęcz-Niesiołowski - dyrygent/conductor. Orkiestra Opery i Filharmonii Podlaskiej/The Orchestra of the Podlasie Opera and Philharmonic. Muzyka klasyczna/classical music. Koncerty symfoniczne/symphonic concerts. www.oifp.pl lub 217.17.47.78
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
【Karajan】 Johann Strauss I : Radetzky March(Marsch) 【VPO：198
[ Wiener Philharmoniker / Vienna Philharmonic Orchestra / VPO / WPh / WP / ウィーン・フィルハーモニー管弦楽団 : 1987 : Das Neujahrskonzert der Wiener Philharmoniker / New Year's Concert / ニューイヤーコンサート ] ☺ Herbert von Karajan ヘルベルト・フォン・カラヤン 1908年 - 1989 Austria ✵ Johann Strauß I Johann Strauss I ヨハン・シュトラウス1世 1804 - 1849 Austria composer conductor violinist ♬ Radetzky-Marsch Op. 228 / Radetzky March / ラデツキー行進曲 作品228 : 1848 It was dedicated to the Austrian Field Marshal Joseph Radetzky von Radetz, and became quite a popular march among soldiers.When it was first played, in front of Austrian officers in attendance, they promptly clapped and stomped their feet when they heard the chorus. This tradition is carried over today when the march is played in classical music venues in Vienna, among members of the audience who are familiar with the tradition. It is almost always played as the last piece of music at the Neujahrskonzert, the Vienna New Year Concert.Despite its military nature, its tone is rather festive than martial. This is because the Field Marshall could have executed the son of Strauss who served in the army, but chose not to. The march is thus more of a piece by a thankful father to the savior of his son than a march about a military man. It is usually played in under three minutes. 同年に北イタリアの独立運動を鎮圧したヨーゼフ・ラデツキー将軍を称えて作曲された。この曲において、シュトラウスは主題にカドリーユを用いて <b>...</b>
[ Wiener Philharmoniker / Vienna Philharmonic Orchestra / VPO / WPh / WP / ウィーン・フィルハーモニー管弦楽団 : 1987 : Das Neujahrskonzert der Wiener Philharmoniker / New Year's Concert / ニューイヤーコンサート ] ☺ Herbert von Karajan ヘルベルト・フォン・カラヤン 1908年 - 1989 Austria ✵ Johann Strauß I Johann Strauss I ヨハン・シュトラウス1世 1804 - 1849 Austria composer conductor violinist ♬ Radetzky-Marsch Op. 228 / Radetzky March / ラデツキー行進曲 作品228 : 1848 It was dedicated to the Austrian Field Marshal Joseph Radetzky von Radetz, and became quite a popular march among soldiers.When it was first played, in front of Austrian officers in attendance, they promptly clapped and stomped their feet when they heard the chorus. This tradition is carried over today when the march is played in classical music venues in Vienna, among members of the audience who are familiar with the tradition. It is almost always played as the last piece of music at the Neujahrskonzert, the Vienna New Year Concert.Despite its military nature, its tone is rather festive than martial. This is because the Field Marshall could have executed the son of Strauss who served in the army, but chose not to. The march is thus more of a piece by a thankful father to the savior of his son than a march about a military man. It is usually played in under three minutes. 同年に北イタリアの独立運動を鎮圧したヨーゼフ・ラデツキー将軍を称えて作曲された。この曲において、シュトラウスは主題にカドリーユを用いて <b>...</b>
