Félix Lajkó - Déli szél a Dunán (Southern wind on the Danube)
- Classical music Félix Lajkó is a Serbian-born Hungarian violinist, zither player and composer. Lajkó plays a variation of musical styles: traditional string music of the Hungarian (Pannonian) plain, Romani music, folk music, classical music, rock, blues, jazz and improvised melodies. In concert he plays mostly the violin, either with his small group or solo. This song is from his album, Remény (Hope), which was released in 2007
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Murray Perahia - Felix Mendelssohn Fantasy in F- Scottish Sonata Op28
Murray (Moshe) Perahia was born in the Bronx borough of New York City to a family of Sephardi Jewish origin. According to the biography on his Mozart piano sonatas CD, his first language was Ladino. The family came from Thessaloniki. His father moved to the United States in 1935; many family members perished in the Holocaust a few years later.
Perahia began studying the piano at age four with a teacher he says was "very limiting" because she made him play a single piece until it was perfect. He says his musical interests blossomed at age fifteen for reasons he can't explain, and he began to practice seriously. At seventeen, Perahia attended Mannes College, where he studied keyboard, conducting, and composition with his teacher and mentor Mieczysław Horszowski. During the summer, he also attended Marlboro, where he studied with musicians Rudolf Serkin, Alexander Schneider, and Pablo Casals, among others. He played duets for piano four hands with Serkin, who later made Perahia his assistant at the Curtis Institute in Philadelphia, a position he held for over a year.
In 1965 Perahia won the Young Concert Artists International Auditions. In 1972, he was the first North American to win first prize at the Leeds Piano Competition, helping to cement its reputation for advancing the careers of young pianistic talent. Dr. Fanny Waterman recalls anecdotally (in Wendy Thompson's book Piano Competition: The Story of the Leeds) that Horszowski had phoned her prior to the competition, announcing that he would be the winner. Other American contestants had apparently withdrawn their applications upon hearing that Perahia would be competing.
Perahia resides in London.
]Music career
In 1973 he worked with Benjamin Britten and Peter Pears at the Aldeburgh Festival, and with fellow pianist Radu Lupu. He was co-artistic director of the Festival from 1981 to 1989.
In the 1980s, Perahia was invited to work with Vladimir Horowitz, an admirer of his art. Perahia says this had a defining influence on his pianism.
Perahia's first major recording project was the complete piano concertos by Mozart, conducted from the keyboard with the English Chamber Orchestra. In the 1980s, he also recorded all the Beethoven piano concertos, with Bernard Haitink and the Royal Concertgebouw Orchestra.
[edit]Hand injury
In 1990, Perahia suffered a cut to his right thumb, which became septic. He took antibiotics for this condition, but they affected his health. In 1992, his career was threatened by a bone abnormality in his hand causing inflammation requiring several years away from the keyboard, and a series of operations. During that time, he says, he found solace through studying the music of Johann Sebastian Bach. After being given the all-clear, he produced in the late 1990s a series of award-winning recordings of Bach's keyboard works, most notably a cornerstone rendition of the Goldberg Variations.
(Wikipedia)
Murray (Moshe) Perahia was born in the Bronx borough of New York City to a family of Sephardi Jewish origin. According to the biography on his Mozart piano sonatas CD, his first language was Ladino. The family came from Thessaloniki. His father moved to the United States in 1935; many family members perished in the Holocaust a few years later.Perahia began studying the piano at age four with a teacher he says was "very limiting" because she made him play a single piece until it was perfect. He says his musical interests blossomed at age fifteen for reasons he can't explain, and he began to practice seriously. At seventeen, Perahia attended Mannes College, where he studied keyboard, conducting, and composition with his teacher and mentor Mieczysław Horszowski. During the summer, he also attended Marlboro, where he studied with musicians Rudolf Serkin, Alexander Schneider, and Pablo Casals, among others. He played duets for piano four hands with Serkin, who later made Perahia his assistant at the Curtis Institute in Philadelphia, a position he held for over a year.
In 1965 Perahia won the Young Concert Artists International Auditions. In 1972, he was the first North American to win first prize at the Leeds Piano Competition, helping to cement its reputation for advancing the careers of young pianistic talent. Dr. Fanny Waterman recalls anecdotally (in Wendy Thompson's book Piano Competition: The Story of the Leeds) that Horszowski had phoned her prior to the competition, announcing that he would be the winner. Other American contestants had apparently withdrawn their applications upon hearing that Perahia would be competing.
Perahia resides in London.
]Music career
In 1973 he worked with Benjamin Britten and Peter Pears at the Aldeburgh Festival, and with fellow pianist Radu Lupu. He was co-artistic director of the Festival from 1981 to 1989.
In the 1980s, Perahia was invited to work with Vladimir Horowitz, an admirer of his art. Perahia says this had a defining influence on his pianism.
Perahia's first major recording project was the complete piano concertos by Mozart, conducted from the keyboard with the English Chamber Orchestra. In the 1980s, he also recorded all the Beethoven piano concertos, with Bernard Haitink and the Royal Concertgebouw Orchestra.
[edit]Hand injury
In 1990, Perahia suffered a cut to his right thumb, which became septic. He took antibiotics for this condition, but they affected his health. In 1992, his career was threatened by a bone abnormality in his hand causing inflammation requiring several years away from the keyboard, and a series of operations. During that time, he says, he found solace through studying the music of Johann Sebastian Bach. After being given the all-clear, he produced in the late 1990s a series of award-winning recordings of Bach's keyboard works, most notably a cornerstone rendition of the Goldberg Variations.
(Wikipedia)
Felix Mendelssohn : The Hebrides (Fingal's Cave) - Overture
Title : Felix Mendelssohn : The Hebrides "Die Hebriden" (Fingal's Cave) - Overture Date : 1830
Title : Felix Mendelssohn : The Hebrides "Die Hebriden" (Fingal's Cave) - Overture Date : 1830
Songs Without Words Op19 1 Felix Mendelssohn
Lieder ohne Worte (songs without words) Opus 19 song 1 Composed 1830-32 by Felix Mendelssohn I loved it the moment I heard it! I had to share it.
Lieder ohne Worte (songs without words) Opus 19 song 1 Composed 1830-32 by Felix Mendelssohn I loved it the moment I heard it! I had to share it.
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
Yodeling - Kerry Christensen - Yodeler
Kerry Christensen is not your typical yodeler. His concerts and events this year will take him to as many as 23 US states and two or three countries internationally. Kerry spent two years in the country of Austria right out of high school. There he became interested in the Alpine yodeling art. After mastering this difficult medium he was asked in l983 to move his six member family to Orlando, Florida and use his yodeling skills at Walt Disney World's Epcot Center. He performed there for almost seven years until 1990. Today Kerry performs at all kinds of state fairs, corporate events, festivals, and community concerts. He recently lent his unique classical yodeling talent to a full-length Disney animated feature called "Home on the Range." Kerry is perhaps the only full-time yodeler in the world that specializes in all styles of yodeling. He can be strictly Alpine, or he can put on his Stetson hat and do an all-cowboy yodeling show. However, many of Kerry's fans say that their favorite show is when Kerry mixes up the styles. You will hear cowboy, Alpine, Cajun, Latin, Jewish, Hawaiian, jazz, classical, and his always popular mouth trumpet and humorous chicken yodeling renditions.
Kerry Christensen is not your typical yodeler. His concerts and events this year will take him to as many as 23 US states and two or three countries internationally. Kerry spent two years in the country of Austria right out of high school. There he became interested in the Alpine yodeling art. After mastering this difficult medium he was asked in l983 to move his six member family to Orlando, Florida and use his yodeling skills at Walt Disney World's Epcot Center. He performed there for almost seven years until 1990. Today Kerry performs at all kinds of state fairs, corporate events, festivals, and community concerts. He recently lent his unique classical yodeling talent to a full-length Disney animated feature called "Home on the Range." Kerry is perhaps the only full-time yodeler in the world that specializes in all styles of yodeling. He can be strictly Alpine, or he can put on his Stetson hat and do an all-cowboy yodeling show. However, many of Kerry's fans say that their favorite show is when Kerry mixes up the styles. You will hear cowboy, Alpine, Cajun, Latin, Jewish, Hawaiian, jazz, classical, and his always popular mouth trumpet and humorous chicken yodeling renditions.
Flower Duet from "Lakmé" by Léo Delibes (1883)
The Flower Duet (Viens, Mallika, les lianes en fleurs... Sous le dôme épais) by Delibes (1836-1891) has been on many TV advertisements and used extensively in the media. The most popular and well-known use is the British Airways adverts from 1989 onwards. The piece by the French composer is from the opera Lakmé which is based on the French novel 'Rarahu ou Le Mariage de Loti' (The Marriage of Loti) by Pierre Loti. It describes Loti's romantic liaison with an exotic Tahitian girl named Rarahu. Delibes wrote the score during 1881-82. Like other French operas of the period, Lakmé captures the ambience of the Orient that was in vogue during the latter part of the nineteenth century. The Flower Duet is actually a Barcarolle. A barcarolle (from French; also Italian barcarola, barcarole) is a folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, the three most famous barcarolles are those by Jacques Offenbach, from his opera The Tales of Hoffmann, Frédéric Chopin's Barcarolle in F sharp major for solo piano, and guitarist Agustin Barrios's Julia Florida. A barcarolle is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably a moderate tempo 6/8 meter (as it is in the Flower Duet). While the most famous barcarolles are from the Romantic period, the genre was well-enough known in the 18th century. It was a popular form in opera, where the apparently artless sentimental style of the folk-like song could be <b>...</b>
The Flower Duet (Viens, Mallika, les lianes en fleurs... Sous le dôme épais) by Delibes (1836-1891) has been on many TV advertisements and used extensively in the media. The most popular and well-known use is the British Airways adverts from 1989 onwards. The piece by the French composer is from the opera Lakmé which is based on the French novel 'Rarahu ou Le Mariage de Loti' (The Marriage of Loti) by Pierre Loti. It describes Loti's romantic liaison with an exotic Tahitian girl named Rarahu. Delibes wrote the score during 1881-82. Like other French operas of the period, Lakmé captures the ambience of the Orient that was in vogue during the latter part of the nineteenth century. The Flower Duet is actually a Barcarolle. A barcarolle (from French; also Italian barcarola, barcarole) is a folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, the three most famous barcarolles are those by Jacques Offenbach, from his opera The Tales of Hoffmann, Frédéric Chopin's Barcarolle in F sharp major for solo piano, and guitarist Agustin Barrios's Julia Florida. A barcarolle is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably a moderate tempo 6/8 meter (as it is in the Flower Duet). While the most famous barcarolles are from the Romantic period, the genre was well-enough known in the 18th century. It was a popular form in opera, where the apparently artless sentimental style of the folk-like song could be <b>...</b>
Adelita (Francisco Tárrega)
FREE sheet music download, blog.joeno1.com this guitar, j.mp contact Joe, www.joeno1.net Donate: j.mp
FREE sheet music download, blog.joeno1.com this guitar, j.mp contact Joe, www.joeno1.net Donate: j.mp
3/3 - GEORGES SZELL - MOZART SYMPHONY 40 - 1970 (LIVE)
Mozart, Symphony no. 40 in G minor, K. 550. PLAYLIST www.youtube.com III: Menuetto: Allegretto - Trio. IV: Allegro assai. The Cleveland Orchestra, Georges Szell, Conductor. Recorded live, May 22 1970, Tokyo.
Mozart, Symphony no. 40 in G minor, K. 550. PLAYLIST www.youtube.com III: Menuetto: Allegretto - Trio. IV: Allegro assai. The Cleveland Orchestra, Georges Szell, Conductor. Recorded live, May 22 1970, Tokyo.
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
Berlin Philharmonic Wind Quintet
Berlin Philharmonic Wind Quintet in rehearsal for a performance at Duke University in Durham North Carolina September 29th, 2007. This video shows them rehearsing bits of several pieces they would play that night. Walter Seyfarth, clarinet Michael Hasel, flute Andreas Wittmann, oboe Fergus McWilliam, horn Henning Trog, bassoon The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra's rich tradition of chamber music. Having maintained their original membership right from inception, they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent Musical Directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their times, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few. The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity. Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind <b>...</b>
Berlin Philharmonic Wind Quintet in rehearsal for a performance at Duke University in Durham North Carolina September 29th, 2007. This video shows them rehearsing bits of several pieces they would play that night. Walter Seyfarth, clarinet Michael Hasel, flute Andreas Wittmann, oboe Fergus McWilliam, horn Henning Trog, bassoon The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra's rich tradition of chamber music. Having maintained their original membership right from inception, they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent Musical Directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their times, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few. The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity. Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind <b>...</b>
Bugler's Holiday - Wind Ensemble
Leroy Anderson's "Bugler's Holiday" by Eleanor Roosevelt High School Wind Ensemble. Trumpets - Annie Lemieux, Alexander Kruskal, Gerard Marcus. Conducted by Sally Wagner.
Leroy Anderson's "Bugler's Holiday" by Eleanor Roosevelt High School Wind Ensemble. Trumpets - Annie Lemieux, Alexander Kruskal, Gerard Marcus. Conducted by Sally Wagner.
"Ugrós" performed by the Borealis Wind Quintet
"Ugrós" (Jumper) from Ancient Hungarian Dances by Ferenc Farkas, as performed by the Grammy-nominated Borealis Wind Quintet.
"Ugrós" (Jumper) from Ancient Hungarian Dances by Ferenc Farkas, as performed by the Grammy-nominated Borealis Wind Quintet.
Igor Stravinsky: Symphonies Of Wind Instruments (1920)
Netherlands Wind Ensemble, Reinbert De Leeuw, conductor Igor Stravinsky's "Symphonies of Wind for Instruments", a piece he composed in 1920 in memory of Claude Debussy. It is the last major work in his characteristic Russian style. He had just moved his family from Biarritz to Brittany, but spent much time in Paris composing. Gabrille Chanel let him use her house in the suburbs, and the Pleyel company let him use a studio in their piano warehouse. the famed conductor Serge Koussevitzky conducted one of the first performances of "Symphonies", rather disasterously, and Stravinsky later said "Koussevitzky executed the work, in firing-squad fashion". Igor Stravinsky (1882 - 1971): Symphonies of Wind Instruments at the end is a little clip of Robert Craft speaking of the letter he wrote to Stravinsky concerning "Symphonies"
Netherlands Wind Ensemble, Reinbert De Leeuw, conductor Igor Stravinsky's "Symphonies of Wind for Instruments", a piece he composed in 1920 in memory of Claude Debussy. It is the last major work in his characteristic Russian style. He had just moved his family from Biarritz to Brittany, but spent much time in Paris composing. Gabrille Chanel let him use her house in the suburbs, and the Pleyel company let him use a studio in their piano warehouse. the famed conductor Serge Koussevitzky conducted one of the first performances of "Symphonies", rather disasterously, and Stravinsky later said "Koussevitzky executed the work, in firing-squad fashion". Igor Stravinsky (1882 - 1971): Symphonies of Wind Instruments at the end is a little clip of Robert Craft speaking of the letter he wrote to Stravinsky concerning "Symphonies"
Summertime - Piano Improvisation
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.
Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
Tchaikovsky - None But The Lonely Hearts
Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart.
This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic.
Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.
Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart.This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic.
Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.
Johann Strauss II - The Blue Danube Waltz
Title : Johann Strauss II , The Blue Danube Waltz
Date : 1867
From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!"
The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion.
The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs.
It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody.
The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.
Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated.
A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key.
After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer.
The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.
Title : Johann Strauss II , The Blue Danube WaltzDate : 1867
From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!"
The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion.
The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs.
It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody.
The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.
Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated.
A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key.
After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer.
The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.
Claude Debussy - Prelude to the Afternoon of a Faun
Painting - On the Hudson Artist - Thomas Doughty
Painting - On the Hudson Artist - Thomas Doughty
