Herbie Hancock & Lang Lang - Rhapsody in Blue - Classical Brits 2009
- Classical music composed by George Gershwin Performance in the 10th annual Classical Brit Awards, 2009.
Related Videos
Herbie Hancock and Lang Lang Rhapsody In Blue
Herbie Hancock and Lang Lang play "Rhapsody in Blue" at the Classical Brit Awards, programme dated 19th May 2009. This is produced solely to promote Herbie, Lang Lang and their music.
Herbie Hancock and Lang Lang play "Rhapsody in Blue" at the Classical Brit Awards, programme dated 19th May 2009. This is produced solely to promote Herbie, Lang Lang and their music.
Anderson & Roe Piano Duet play "BLUE DANUBE FANTASY"
www.andersonroe.com | "A New Account of the Blue Danube Waltzes," composed and performed by the Anderson & Roe Piano Duo Camera work Estelle Choi, Yalin Chi, Greg Anderson, Elizabeth Roe Watch the outtakes in the video response section below! In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-) Be sure to watch for: * The choreography of our hands. We wanted to show the similarity between four hands playing together on a piano and four feet on a dance floor. Be sure to listen for: * The musical combining of themes. At times, melodies are layered atop one another, most notably at the climax. Believe it or not, seven melodies from throughout the piece are being played simultaneously (7:49 - 8:10), a real compositional feat! The sheet music for this arrangement is for sale. Visit www.andersonroe.com to instantly purchase a PDF of the score! Or you can purchase the sheet music on amazon.com : www.amazon.com Both the piece and the video are featured on the Anderson & Roe Piano Duo's debut album, "Reimagine." Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of <b>...</b>
www.andersonroe.com | "A New Account of the Blue Danube Waltzes," composed and performed by the Anderson & Roe Piano Duo Camera work Estelle Choi, Yalin Chi, Greg Anderson, Elizabeth Roe Watch the outtakes in the video response section below! In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-) Be sure to watch for: * The choreography of our hands. We wanted to show the similarity between four hands playing together on a piano and four feet on a dance floor. Be sure to listen for: * The musical combining of themes. At times, melodies are layered atop one another, most notably at the climax. Believe it or not, seven melodies from throughout the piece are being played simultaneously (7:49 - 8:10), a real compositional feat! The sheet music for this arrangement is for sale. Visit www.andersonroe.com to instantly purchase a PDF of the score! Or you can purchase the sheet music on amazon.com : www.amazon.com Both the piece and the video are featured on the Anderson & Roe Piano Duo's debut album, "Reimagine." Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of <b>...</b>
Anderson & Roe Piano Duo play "LIBERTANGO" (Piazzolla)
www.andersonroe.com | Anderson & Roe play their own arrangement of Astor Piazzolla's "Libertango." * Camera work Ming Wang, Greg Anderson, Elizabeth Roe * Teacher's voice: Estelle Choi A performance of this piece is featured on the Anderson & Roe Piano Duo debut album, "Reimagine!" Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of Stravinsky's 'Rite of Spring,' and a bonus DVD of music videos. Buy it today on CD Baby (cdbaby.com ), Amazon, iTunes, and DigStation. WATCH the REIMAGINE "TRAILER" here: youtube.com .
www.andersonroe.com | Anderson & Roe play their own arrangement of Astor Piazzolla's "Libertango." * Camera work Ming Wang, Greg Anderson, Elizabeth Roe * Teacher's voice: Estelle Choi A performance of this piece is featured on the Anderson & Roe Piano Duo debut album, "Reimagine!" Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of Stravinsky's 'Rite of Spring,' and a bonus DVD of music videos. Buy it today on CD Baby (cdbaby.com ), Amazon, iTunes, and DigStation. WATCH the REIMAGINE "TRAILER" here: youtube.com .
A Clockwork Orange - Extended Theme & Title Music
Originally written more than 315 years ago by the great English composer Henry Purcell (1659 - 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) - This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film "A Clockwork Orange" which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven's Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie, Land of Hope and Glory, and the well-known 1st and 4th Pomp and Circumstance Marches composed by Sir Edward Elgar. Wendy Carlos has been one of my musical inspirations and role models since my teenage years with her revolutionary & futuristic Moog Synthesizer adaptations that include "Switched-on-Bach" from way back in 1968, and of course the highly creative soundtrack for "A Clockwork Orange". And Congratulations to Wendy Carlos on her 70th Birthday on 14th November 2009! More info on musical genius & composer Wendy Carlos at: www.wendycarlos.com This very personal interpretation and improvised extension of Henry Purcell's - "Music for the Funeral March & Procession of Queen Mary" (1694) is performed on a vintage 1990s Technics PR60 Electronic <b>...</b>
Originally written more than 315 years ago by the great English composer Henry Purcell (1659 - 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) - This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film "A Clockwork Orange" which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven's Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie, Land of Hope and Glory, and the well-known 1st and 4th Pomp and Circumstance Marches composed by Sir Edward Elgar. Wendy Carlos has been one of my musical inspirations and role models since my teenage years with her revolutionary & futuristic Moog Synthesizer adaptations that include "Switched-on-Bach" from way back in 1968, and of course the highly creative soundtrack for "A Clockwork Orange". And Congratulations to Wendy Carlos on her 70th Birthday on 14th November 2009! More info on musical genius & composer Wendy Carlos at: www.wendycarlos.com This very personal interpretation and improvised extension of Henry Purcell's - "Music for the Funeral March & Procession of Queen Mary" (1694) is performed on a vintage 1990s Technics PR60 Electronic <b>...</b>
Daniel Gortler - Langsam getragen. (Fantasie in C major, Op. 17) (R.
This recording of selected piano works by Robert Schumann was conceived as a tribute to the composer on the occasion of the 200th anniversary of his birth Fantasie (Obolen auf Beethovens Monument) in C major, Op. 17 III - Langsam getragen. Durchweg leise zu halten - Etwas bewegter (Romeo Records, NY) R. Schumann 2 CDs Album, Romeo (NEW) . International Record Review,Britain February 2011 Edition The Israeli pianist Daniel Gortler has been performing to steady international acclaim since winning third prize in the Geneva Competition in 1984. His recordings include the complete Mendelssohn Songs Without Words as well as a collection of Schubert songs with soprano Sharon-Rostorf Zamir (both for Romeo Records). In the present two-disc Schumann set, which is my introduction to his playing, he reveals a high level of technical refinement and-more importantly- a distinctive musical personality. In this over-familiar repertoire, which sometimes invites interpretative extremes, he wins by playing simply and directly. This is not to say that he plays without color and imagination, for these are in abundance, but rather to say that at no moment does he let his pianism draw our attention away from the music. He seems to deliver the letter as well as the spirit of these scores in a way that is rare among younger pianists. It is especially refreshing to hear such musicality applied to Op. 13, a work that is often played mainly as a technical tour de force but that is here treated as a <b>...</b>
This recording of selected piano works by Robert Schumann was conceived as a tribute to the composer on the occasion of the 200th anniversary of his birth Fantasie (Obolen auf Beethovens Monument) in C major, Op. 17 III - Langsam getragen. Durchweg leise zu halten - Etwas bewegter (Romeo Records, NY) R. Schumann 2 CDs Album, Romeo (NEW) . International Record Review,Britain February 2011 Edition The Israeli pianist Daniel Gortler has been performing to steady international acclaim since winning third prize in the Geneva Competition in 1984. His recordings include the complete Mendelssohn Songs Without Words as well as a collection of Schubert songs with soprano Sharon-Rostorf Zamir (both for Romeo Records). In the present two-disc Schumann set, which is my introduction to his playing, he reveals a high level of technical refinement and-more importantly- a distinctive musical personality. In this over-familiar repertoire, which sometimes invites interpretative extremes, he wins by playing simply and directly. This is not to say that he plays without color and imagination, for these are in abundance, but rather to say that at no moment does he let his pianism draw our attention away from the music. He seems to deliver the letter as well as the spirit of these scores in a way that is rare among younger pianists. It is especially refreshing to hear such musicality applied to Op. 13, a work that is often played mainly as a technical tour de force but that is here treated as a <b>...</b>
Lang Lang- Liszt Hungarian Rhapsody No.6
An excerpt of pianist Lang Lang playing Liszt's Hungarian Rhapsody No 6 from the BBC programme Classical Star
An excerpt of pianist Lang Lang playing Liszt's Hungarian Rhapsody No 6 from the BBC programme Classical Star
Brahms - Michelangeli, Ballade Op.10 No. 1 in D minor
(Lugano, 1981) Arturo Benedetti Michelangeli (January 5, 1920 June 12, 1995) was an Italian classical pianist. He has been regarded as among the most commanding and individual piano virtuosos of the 20th century, among names such as Horowitz and Richter. Along with Ferruccio Busoni, he is often considered the most important Italian pianist. Born in Brescia, Italy, he began music lessons at the age of three, initially with the violin, but quickly switched to the piano. At ten he entered the Milan Conservatory. In 1938, at age eighteen, he began his international career by entering the Ysaÿe International Festival in Brussels, Belgium, where he placed seventh (a brief account of this competition, at which Emil Gilels took first prize, is given by Arthur Rubinstein, who was one of the judges. According to Rubinstein, Michelangeli gave "an unsatisfactory performance, but already showed his impeccable technique"). A year later he earned first prize in the Geneva International Competition where he was acclaimed as "a new Liszt" by pianist Alfred Cortot, a member of the judging panel, which was presided by Ignacy Jan Paderewski. Michelangeli was known for his note-perfect performances. The music critic Harold Schonberg wrote of him: "His fingers can no more hit a wrong note or smudge a passage than a bullet can be veered off course once it has been fired...The puzzling part about Michelangeli is that in many pieces of the romantic repertoire he seems unsure of himself <b>...</b>
(Lugano, 1981) Arturo Benedetti Michelangeli (January 5, 1920 June 12, 1995) was an Italian classical pianist. He has been regarded as among the most commanding and individual piano virtuosos of the 20th century, among names such as Horowitz and Richter. Along with Ferruccio Busoni, he is often considered the most important Italian pianist. Born in Brescia, Italy, he began music lessons at the age of three, initially with the violin, but quickly switched to the piano. At ten he entered the Milan Conservatory. In 1938, at age eighteen, he began his international career by entering the Ysaÿe International Festival in Brussels, Belgium, where he placed seventh (a brief account of this competition, at which Emil Gilels took first prize, is given by Arthur Rubinstein, who was one of the judges. According to Rubinstein, Michelangeli gave "an unsatisfactory performance, but already showed his impeccable technique"). A year later he earned first prize in the Geneva International Competition where he was acclaimed as "a new Liszt" by pianist Alfred Cortot, a member of the judging panel, which was presided by Ignacy Jan Paderewski. Michelangeli was known for his note-perfect performances. The music critic Harold Schonberg wrote of him: "His fingers can no more hit a wrong note or smudge a passage than a bullet can be veered off course once it has been fired...The puzzling part about Michelangeli is that in many pieces of the romantic repertoire he seems unsure of himself <b>...</b>
Gustav Mahler - Symphony No.9 in D-major - IV, Adagio. Sehr langsam
The Symphony No. 9 by Gustav Mahler was written between 1908 and 1909, and was the last symphony that he completed. The symphony is in four movements: 1. Andante comodo (D major); 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major); 3. Rondo-Burleske: Allegro assai. Sehr trotzig (A minor); 4. Adagio. Sehr langsam und noch zurückhaltend (D-flat major). Although the symphony has the traditional number of movements, it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler. The first movement embraces a loose sonata form; the work opens with a hesitant, syncopated motif which is to return at the height of the movement's development as a sudden intrusion of "death in the midst of life", announced by trombones and marked within the score "with the greatest force". The second movement is a dance, a Ländler, but it has becomes distorted to the point that it no longer resembles a dance. The movement contains shades of the second movement of Mahler's Fourth Symphony, in the distortion of a traditional dance into a dance of death. For example, Mahler alters traditional chord sequences into near-unrecognizable variations, turning the rustic and mostly diatonic C major introductory Ländler into a vicious whole-tone waltz, saturated with accidentals and frantic rhythms. The third movement, in the form of a rondo, displays the final maturation of Mahler's contrapuntal skills <b>...</b>
The Symphony No. 9 by Gustav Mahler was written between 1908 and 1909, and was the last symphony that he completed. The symphony is in four movements: 1. Andante comodo (D major); 2. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major); 3. Rondo-Burleske: Allegro assai. Sehr trotzig (A minor); 4. Adagio. Sehr langsam und noch zurückhaltend (D-flat major). Although the symphony has the traditional number of movements, it is unusual in that the first and last are slow rather than fast. As is often the case with Mahler, one of the middle movements is a ländler. The first movement embraces a loose sonata form; the work opens with a hesitant, syncopated motif which is to return at the height of the movement's development as a sudden intrusion of "death in the midst of life", announced by trombones and marked within the score "with the greatest force". The second movement is a dance, a Ländler, but it has becomes distorted to the point that it no longer resembles a dance. The movement contains shades of the second movement of Mahler's Fourth Symphony, in the distortion of a traditional dance into a dance of death. For example, Mahler alters traditional chord sequences into near-unrecognizable variations, turning the rustic and mostly diatonic C major introductory Ländler into a vicious whole-tone waltz, saturated with accidentals and frantic rhythms. The third movement, in the form of a rondo, displays the final maturation of Mahler's contrapuntal skills <b>...</b>
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
Jung Lin Performing Liszts Hungarian Rhapsody no 2
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization
Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
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"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_CivilizationConcert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
-----
"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Edgar Cruz - Bohemian Rhapsody classical guitar
http://videoprogressions.tv/downloads/product_info.php?products_id=35
"Bohemian Rhapsody" arranged for solo guitar by Edgar Cruz. Performance and Teaching excerpts.
http://videoprogressions.tv/downloads/product_info.php?products_id=35"Bohemian Rhapsody" arranged for solo guitar by Edgar Cruz. Performance and Teaching excerpts.
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
Rachmaninoff - Vocalise For Violin
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)
From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Americas Got Talent - Jackie Evancho 10 Opera Singer
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.
Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
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.
Andre Rieu - The Blue Danube
Beautiful segment of Rieu leading an orchestra in some of the best classical European music ever made.
Beautiful segment of Rieu leading an orchestra in some of the best classical European music ever made.
Romance - classical guitar tremolo solo
http://nylonguitarist.com
The classic Spanish Ballad played tremolo style.
http://nylonguitarist.comThe classic Spanish Ballad played tremolo style.
Classical Medley by Buddy Greene on the Harmonica
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:
1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
Bocelli with Netrebko, Classical Brits 2008
Unique duet, Brindisi from "Traviata", final performance at Clasical Brits Award 08/05/2008 at Albert Hall London
Unique duet, Brindisi from "Traviata", final performance at Clasical Brits Award 08/05/2008 at Albert Hall London
Jonas Kaufmann - La Donna e Mobile - Classical Brits 2009
Performance in the 10th annual Classical Brit Awards, 2009.
Performance in the 10th annual Classical Brit Awards, 2009.
Opera at the market 2009
13 November 2009 : an ordinary day at the Central Market of Valencia. Suddenly, beautiful classical music starts sounding over the market stores of fruits and vegetables : fragments of Giuseppe Verdi's "La Traviata" are sung by professional opera singers ! Look at the faces and reactions of the buyers and customers, amazed before such magic and divine music, and by the confidence of good taste. Some are even moved into tears...
13 November 2009 : an ordinary day at the Central Market of Valencia. Suddenly, beautiful classical music starts sounding over the market stores of fruits and vegetables : fragments of Giuseppe Verdi's "La Traviata" are sung by professional opera singers ! Look at the faces and reactions of the buyers and customers, amazed before such magic and divine music, and by the confidence of good taste. Some are even moved into tears...
String Quartet No. 4: The Infinite Sphere (2009) II
Excerpt from the second movement of "String Quartet No. 4: The Infinite Sphere" by Lawrence Dillon http://www.lawrencedillon.com. Performed by the Daedalus String Quartet. From the 2010 release of "Insects and Paper Airplanes" on Bridge (http://www.bridgerecords.com/catpage.php?call=9332
Excerpt from the second movement of "String Quartet No. 4: The Infinite Sphere" by Lawrence Dillon http://www.lawrencedillon.com. Performed by the Daedalus String Quartet. From the 2010 release of "Insects and Paper Airplanes" on Bridge (http://www.bridgerecords.com/catpage.php?call=9332
A Clockwork Orange - Extended Theme Music - 2009 Version
Welcome to my Spring 2009 Version of the Theme Music from the soundtrack of Stanley Kubrick's futuristic film - A Clockwork Orange - I recorded this version to celebrate my 10th Anniversary On-Line - March 1999 to March 2009 Wow! - Originally my on-line tag line in the olden days of Web1.0 was "Denise in Cyberspace", but since the birth of YouTube and Web2.0 I've updated my channel tag to "Dressed for the Classics" - Enjoy the power, depth & beauty of Henry Purcell's Eternal Theme played on a 20thC Technics PR903 Digital Piano! The photo in the opening titles and closing credits was shot by Denise just before sunset from the rocky peaks of the Valley of Desolation near the Karoo town of Graff Reinet in South Africa - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Originally written by Henry Purcell (1659 - 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) - This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film "A Clockwork Orange" which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven's Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie <b>...</b>
Welcome to my Spring 2009 Version of the Theme Music from the soundtrack of Stanley Kubrick's futuristic film - A Clockwork Orange - I recorded this version to celebrate my 10th Anniversary On-Line - March 1999 to March 2009 Wow! - Originally my on-line tag line in the olden days of Web1.0 was "Denise in Cyberspace", but since the birth of YouTube and Web2.0 I've updated my channel tag to "Dressed for the Classics" - Enjoy the power, depth & beauty of Henry Purcell's Eternal Theme played on a 20thC Technics PR903 Digital Piano! The photo in the opening titles and closing credits was shot by Denise just before sunset from the rocky peaks of the Valley of Desolation near the Karoo town of Graff Reinet in South Africa - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Originally written by Henry Purcell (1659 - 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) - This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film "A Clockwork Orange" which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven's Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie <b>...</b>
