Requiem for a Dream
-
Classical music composed by Sergei Rachmaninoff
Here is another video by Alex ! This time, it is the soundtrack of the film Requiem for a Dream. Entirely done by ear, enjoy it !
See also Rachmaninov Prelude Opus 23 No 5 youtube.com/watch?v=S8_8YUH7JBM and Chopin Etude revolutionnaire youtube.com/watch?v=eX3L-z25N-U by Alex !
Related Videos
Verdi Requiem
UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630]
UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630]
Mozart Requiem
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343
A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
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
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
Wolfgang Amadeus Mozart- Requiem in D minor, K626 (FULL PERFORMANCE)
WA Mozart's Requiem Mass, full and uncut. Completed by Franz Xaver Sussmayer. __ Mozart's Requiem Mass (Mass #19, K626) in D Minor, written in 1791. 14 Movements. Approx 55 minutes typically. Scored for: SATB Choir SATB Soloists 2 Fagoti 2 Basset Horns 2 Trumpets in D 3 Trombones (ATB) Timpani Strings (2 Violin, Viola, Cello) Baso Continuo and Organo Movements: Introitus Kyrie Dies Irae Tuba Mirum Rex Tremendae Recordare Confutatis Maledictis Lacrimosa Domine Iesu Christe Hostias Sanctus Benedictus Agnus Dei Lux Aeterna Possibly the most mysterious classical work ever writ, this mass is not truly of Mozart by himself, but a collaboration between four composers: Sussmayer, Eybler, Freystadler, and Mozart himself. After falling ill, Mozart passed away during the writing of the Requiem- his final pieces written were bars 1-8 of the "Lacrimosa" (26:29). From there, Freystadler placed in a ninth and tenth measure, while Eybler worked on the Offertorium movements (Domine Iesu, Hostias). Soon after, the two composers abandoned the Requiem, leaving it to Sussmayer, a close friend and former pupil of the Court Composer, Antonio Salieri, to see to the completion of the mass. He removed the "Freystadler Measures" from the lacrimose, and completed the mass, claiming the Agnus Dei and Sanctus to his own hand. The rest is believed to be completed using "Scraps of Paper" left by Mozart, which had sketches for the remaining movements. Mozart's cause of death is still unknown. Since <b>...</b>
WA Mozart's Requiem Mass, full and uncut. Completed by Franz Xaver Sussmayer. __ Mozart's Requiem Mass (Mass #19, K626) in D Minor, written in 1791. 14 Movements. Approx 55 minutes typically. Scored for: SATB Choir SATB Soloists 2 Fagoti 2 Basset Horns 2 Trumpets in D 3 Trombones (ATB) Timpani Strings (2 Violin, Viola, Cello) Baso Continuo and Organo Movements: Introitus Kyrie Dies Irae Tuba Mirum Rex Tremendae Recordare Confutatis Maledictis Lacrimosa Domine Iesu Christe Hostias Sanctus Benedictus Agnus Dei Lux Aeterna Possibly the most mysterious classical work ever writ, this mass is not truly of Mozart by himself, but a collaboration between four composers: Sussmayer, Eybler, Freystadler, and Mozart himself. After falling ill, Mozart passed away during the writing of the Requiem- his final pieces written were bars 1-8 of the "Lacrimosa" (26:29). From there, Freystadler placed in a ninth and tenth measure, while Eybler worked on the Offertorium movements (Domine Iesu, Hostias). Soon after, the two composers abandoned the Requiem, leaving it to Sussmayer, a close friend and former pupil of the Court Composer, Antonio Salieri, to see to the completion of the mass. He removed the "Freystadler Measures" from the lacrimose, and completed the mass, claiming the Agnus Dei and Sanctus to his own hand. The rest is believed to be completed using "Scraps of Paper" left by Mozart, which had sketches for the remaining movements. Mozart's cause of death is still unknown. Since <b>...</b>
Fauré - Requiem (Op. 48) - Pie Jesu
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
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.
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.
-----
"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.
Cavatina performed by Xue-fei Yang
This beautiful classical guitar piece is composed by Stanley Myers, and is the theme from the movie "Deer Hunter".
The guitar recording featured in the movie was performed by one of the greatest guitarist in the world - John Williams.
Guitar tablature: http://www.classtab.org/smcavati.txt
This beautiful classical guitar piece is composed by Stanley Myers, and is the theme from the movie "Deer Hunter".The guitar recording featured in the movie was performed by one of the greatest guitarist in the world - John Williams.
Guitar tablature: http://www.classtab.org/smcavati.txt
Fanfare for the Common Man Aaron Copland
WOODY HERMAN and the THUNDERING HERD
Nice, France July 1979
arrangement by Gary Anderson
Woody Herman-soprano sax
Frank Tiberi-cowbell
Dick Mitchell-flute, tenor sax
Bob Belden-tenor sax
Gary Smulyan-bari sax
Joe Rodriguez, Tim Burke, Bill Stapleton, Jim Powell, Bill Byrne-trumpets
Birch Johnson, Nelson Hind, Larry Shunk-trombones
Dave LaLama-electric piano
Dave Laroca-electric bass
Bobby Leonard-drums
WOODY HERMAN and the THUNDERING HERDNice, France July 1979
arrangement by Gary Anderson
Woody Herman-soprano sax
Frank Tiberi-cowbell
Dick Mitchell-flute, tenor sax
Bob Belden-tenor sax
Gary Smulyan-bari sax
Joe Rodriguez, Tim Burke, Bill Stapleton, Jim Powell, Bill Byrne-trumpets
Birch Johnson, Nelson Hind, Larry Shunk-trombones
Dave LaLama-electric piano
Dave Laroca-electric bass
Bobby Leonard-drums
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.
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
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...
Wedding March from A Midsummer Nights Dream Mendelssohn
WSU Brass and Organ Recital
Organized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
WSU Brass and Organ RecitalOrganized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
Joshua Bell - Faure - Apres un reve After a dream
Joshua Bell, violin Michael Stern, conductor Orchestra of St. Luke's
Joshua Bell, violin Michael Stern, conductor Orchestra of St. Luke's
CLASSICAL MUSIC (EPIC PIANO) Inside My Wildest Dreams by Dunbar -Mú
EPIC CLASSICAL MUSIC (PIANO) Inside My Wildest Dreams by Janet Dunbar -Música Clásica: Enjoy a wild ride to fast piano music composed by Dr. Janet Dunbar. Dunbar's contemporary classical compositional style is called "The New Elegant Simplicity". This new epic classical piano piece is the film score for this classical music video. The music is for sale at itunes store: itunes.apple.com. Dr. Janet Dunbar, MA, DMA directs Amberlight Conservatory in Colleyville TX. Классическая музыка фортепиано. Klassische Musik: Klavier. Muzică clasică: pian. Musica classica: pianoforte. Musique classique: piano. Klasická hudba: klavír. Klassieke Muziek: piano. Muzyka Klasyczna: fortepian.
EPIC CLASSICAL MUSIC (PIANO) Inside My Wildest Dreams by Janet Dunbar -Música Clásica: Enjoy a wild ride to fast piano music composed by Dr. Janet Dunbar. Dunbar's contemporary classical compositional style is called "The New Elegant Simplicity". This new epic classical piano piece is the film score for this classical music video. The music is for sale at itunes store: itunes.apple.com. Dr. Janet Dunbar, MA, DMA directs Amberlight Conservatory in Colleyville TX. Классическая музыка фортепиано. Klassische Musik: Klavier. Muzică clasică: pian. Musica classica: pianoforte. Musique classique: piano. Klasická hudba: klavír. Klassieke Muziek: piano. Muzyka Klasyczna: fortepian.
Mendelssohn A Midsummer Night's Dream - Furtwangler -(part1)
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
