Etude No 9, M. Carcassi by Jacob Bernstein
- Classical music Music & Dance Academy student Jacob Bernstein performs in the 2010 Honors Music Concert in Tucson, Arizona. Mr. Bernstein is a student of Michael Lich.
Related Videos
Chopin - Valentina Igoshina - Étude Op. 10, No. 3
♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) www.facebook.com/Classical.Mussic ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) ♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥ This is Valentina Igoshina playing Chopin's Étude in E Major, Op. 10, No. 3. Apologies about the editing!
♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) www.facebook.com/Classical.Mussic ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) ♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥ This is Valentina Igoshina playing Chopin's Étude in E Major, Op. 10, No. 3. Apologies about the editing!
Freddy Kempf - Chopin, Etude Op.10 No. 12
Freddy Kempf is an English pianist, born in 1977 in London to a German father and a Japanese mother. Having resided in London for many years and studying at the Royal Academy of Music, he now lives in Berlin. Taking up the piano at the age of four, Kempf first caught the attention of British concertgoers four years later when he played Mozart's Piano Concerto No. 12, K. 414, with the Royal Philharmonic Orchestra at the Royal Festival Hall. The child virtuoso was shortly invited to Germany to repeat his performance. In 1987, Kempf won the first National Mozart Competition in England and in 1992, was named BBC Young Musician of the Year for his performance of Rachmaninoff's Paganini Rhapsody. In a controversial turn of events, Kempf's early adult career ironically benefited from his failure to win the 1998 International Tchaikovsky Competition in Moscow, where the first prize in the piano section went instead to Denis Matsuev. Apparently, some judges had wanted to award the first prize jointly to Matsuev and Kempf and had successfully negotiated with the Russian Culture Ministry for the additional funding. However, Kempf collected only third prize in the end, which provoked a barrage of indignant protests from the audience and the Russian press, who accused some of the judges of bias (especially towards contestants who also happened to be their former pupils). In April 1999, Kempf returned to Moscow with a series of television broadcasts and sold-out concerts. Kempf's <b>...</b>
Freddy Kempf is an English pianist, born in 1977 in London to a German father and a Japanese mother. Having resided in London for many years and studying at the Royal Academy of Music, he now lives in Berlin. Taking up the piano at the age of four, Kempf first caught the attention of British concertgoers four years later when he played Mozart's Piano Concerto No. 12, K. 414, with the Royal Philharmonic Orchestra at the Royal Festival Hall. The child virtuoso was shortly invited to Germany to repeat his performance. In 1987, Kempf won the first National Mozart Competition in England and in 1992, was named BBC Young Musician of the Year for his performance of Rachmaninoff's Paganini Rhapsody. In a controversial turn of events, Kempf's early adult career ironically benefited from his failure to win the 1998 International Tchaikovsky Competition in Moscow, where the first prize in the piano section went instead to Denis Matsuev. Apparently, some judges had wanted to award the first prize jointly to Matsuev and Kempf and had successfully negotiated with the Russian Culture Ministry for the additional funding. However, Kempf collected only third prize in the end, which provoked a barrage of indignant protests from the audience and the Russian press, who accused some of the judges of bias (especially towards contestants who also happened to be their former pupils). In April 1999, Kempf returned to Moscow with a series of television broadcasts and sold-out concerts. Kempf's <b>...</b>
Tongthong (age 7) : Henry Lemoine's Etude Op.37 No.17 and Beethoven'
Henry Lemoine ( Etude Op. 37 No.17 ) LV Beethoven ( Sonatina in G Major), played by Tongthong ( Pert ) when he was 7 years old
Henry Lemoine ( Etude Op. 37 No.17 ) LV Beethoven ( Sonatina in G Major), played by Tongthong ( Pert ) when he was 7 years old
Transcendental Etude No. 8 (Wilde Jagd) by Franz Liszt 720P
After playing some basketball on a cool day in Chicago, I thought it would be appropriate to record some Liszt at home. Actually, it's always a good idea to record some Liszt, no matter what the hell you were doing before. I did this in a couple of takes without warmup, i'll probably have more versions of this pretty soon. Thanks for checking it out, it took more attempts to upload it than to record it... I should have the 1080P version up soon hopefully
After playing some basketball on a cool day in Chicago, I thought it would be appropriate to record some Liszt at home. Actually, it's always a good idea to record some Liszt, no matter what the hell you were doing before. I did this in a couple of takes without warmup, i'll probably have more versions of this pretty soon. Thanks for checking it out, it took more attempts to upload it than to record it... I should have the 1080P version up soon hopefully
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...
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.
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.
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.
Mozart Piano Concerto No. 9, First Mvt, Mitsuko Uchida
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 1. Allegro, in E flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and 2/2 time Dawn Chan notes: Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos." update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is <b>...</b>
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 1. Allegro, in E flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and 2/2 time Dawn Chan notes: Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos." update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is <b>...</b>
Mozart Piano Concerto No. 9, Third Mvt, Mitsuko Uchida
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat <b>...</b>
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat <b>...</b>
Mozart Piano Concerto No. 9, 2nd Mvt, Part 2 Mitsuko Uchida
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 1. Allegro, in E flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and 2/2 time update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear <b>...</b>
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 1. Allegro, in E flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and 2/2 time update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear <b>...</b>
Cello Journey #29, Thais Meditation (Version 2)
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com I thought I would put up two versions of the same episode. It is difficult to pick one sometimes. There may be a different feeling in each. Let me know what you think. In this episode we play the Meditation from the Opera Thais by Jules Massenet. The Thais comes from an interlude towards the end of the opera. It is usually played on the violin. It is marked Andante Religioso and there is a reflective mood throughout. This piece is special to me because, over the years, my mother has played it in church on the violin. I wanted to do a good job with it. We hope you enjoy it.
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com I thought I would put up two versions of the same episode. It is difficult to pick one sometimes. There may be a different feeling in each. Let me know what you think. In this episode we play the Meditation from the Opera Thais by Jules Massenet. The Thais comes from an interlude towards the end of the opera. It is usually played on the violin. It is marked Andante Religioso and there is a reflective mood throughout. This piece is special to me because, over the years, my mother has played it in church on the violin. I wanted to do a good job with it. We hope you enjoy it.
Etude No. 7, M. Carcasi performed by Ally Vanasco
Music & Dance Academy student Ally Vanasco performs in the 2010 Honors Music Concert in Tucson, Arizona. Ms. Vanasco is a student of Michael Lich.
Music & Dance Academy student Ally Vanasco performs in the 2010 Honors Music Concert in Tucson, Arizona. Ms. Vanasco is a student of Michael Lich.
G. Cassado - Suite for Cello Solo, 1st m.
Fantasy Prelude Dmitry Cheglakov - cello Turgenev's library, Moscow
Fantasy Prelude Dmitry Cheglakov - cello Turgenev's library, Moscow
Popular Mexican song by M. Ponce -Richard Arellano- guitar
La Pajarera is a popular mexican song arr. by Mexican composer Manuel Ponce.Video cortesia de Francisco Calcaño
La Pajarera is a popular mexican song arr. by Mexican composer Manuel Ponce.Video cortesia de Francisco Calcaño
Damien ARIBERT plays 'Suite for lovers' (M. LINNEMANN)
Damien ARIBERT is a french classical guitar teacher, composer and concertist. He's playing "Suite for lovers" (composed by Maria LINNEMANN) in concert in Comps (France) the 20th september 2008. He plays exclusively on a classical guitar made by Renaud GALABERT. Website: www.damienaribert.com www.guitares-galabert.com Special thanks to Vabejas for the video. Damien ARIBERT starts playing the classical guitar at the age of 7 with Evelyne LACHERET and Brigitte REPITON. In 2000, he studies at the "Ecole Nationale de Musique et de Danse" (National Music and Dance School) of Romans sur Isère (FRANCE), in Gilles GOGNIAT's guitar class, and obtains a "Diplome d'Etudes Musicales (Music Studies Diploma) three years later. From 2004 to 2006, he improves his technical playing skill with Emmanuel ROSSFELDER, and obtains a "Diplome d'Etat de Professeur de Guitare" (State Guitar Teacher Diploma) in the CEFEDEM-Sud in 2008. He gives classical guitar lessons in L'Isle sur la Sorgue, in France, but his musical skills don't stop here: he's also composer. His musical repertoire is very eclectic. Among other things, he has written a suite for 4 cellos dedicated to APOCALYPTICA, published to "Editions du Petit Page". His compositions are produced on his CD "Figures de Style", recorded in 2003.
Damien ARIBERT is a french classical guitar teacher, composer and concertist. He's playing "Suite for lovers" (composed by Maria LINNEMANN) in concert in Comps (France) the 20th september 2008. He plays exclusively on a classical guitar made by Renaud GALABERT. Website: www.damienaribert.com www.guitares-galabert.com Special thanks to Vabejas for the video. Damien ARIBERT starts playing the classical guitar at the age of 7 with Evelyne LACHERET and Brigitte REPITON. In 2000, he studies at the "Ecole Nationale de Musique et de Danse" (National Music and Dance School) of Romans sur Isère (FRANCE), in Gilles GOGNIAT's guitar class, and obtains a "Diplome d'Etudes Musicales (Music Studies Diploma) three years later. From 2004 to 2006, he improves his technical playing skill with Emmanuel ROSSFELDER, and obtains a "Diplome d'Etat de Professeur de Guitare" (State Guitar Teacher Diploma) in the CEFEDEM-Sud in 2008. He gives classical guitar lessons in L'Isle sur la Sorgue, in France, but his musical skills don't stop here: he's also composer. His musical repertoire is very eclectic. Among other things, he has written a suite for 4 cellos dedicated to APOCALYPTICA, published to "Editions du Petit Page". His compositions are produced on his CD "Figures de Style", recorded in 2003.
Matteo Carcassi - Etude 7 op. 60 - Romantic guitar
famous one... Guitar restaured by Erik-Pierre Hofmann www.fine-antique-and-classical-guitars.com
famous one... Guitar restaured by Erik-Pierre Hofmann www.fine-antique-and-classical-guitars.com
Carcassi studio n.9 op.25 - Sor Studio n.8 op.35 - Bruno Pinto, Guit
Carcassi studio n.9 op.25 - Sor Studio n.8 op.35 - Bruno Pinto, Guitar Conservatorio Statale di Musica "Nicola Sala" di Benevento Saggio di Studi AA 2010/2011 Classe di Chitarra del M° Paolo Lambiase
Carcassi studio n.9 op.25 - Sor Studio n.8 op.35 - Bruno Pinto, Guitar Conservatorio Statale di Musica "Nicola Sala" di Benevento Saggio di Studi AA 2010/2011 Classe di Chitarra del M° Paolo Lambiase
N. Paganini - M. Carcassi. La Campanella. Classical guitar V.Sharii
Matteo Carcassi. Processing threads La Campanella by Nicolo Paganini op. 54 no 21. Classical guitar V.Sharii. М. Каркасси. Обработка темы КАМПАНЕЛЛА Н. Паганини. оp. 54 № 21. Классическая гитара В. Шарий. Сайт vs.hmarka.net
Matteo Carcassi. Processing threads La Campanella by Nicolo Paganini op. 54 no 21. Classical guitar V.Sharii. М. Каркасси. Обработка темы КАМПАНЕЛЛА Н. Паганини. оp. 54 № 21. Классическая гитара В. Шарий. Сайт vs.hmarka.net
Andantino by Carcassi (www.learnclassicalguitar.com)
www.learnclassicalguitar.com for monthly free sheet music (with music notation & Tab)... This Carcassi study (Opus 60, No.3) for classical guitar is a little bit deceptive. Although it sounds very easy there are many technical requirements to make it "flow" and sound smooth and legato.
www.learnclassicalguitar.com for monthly free sheet music (with music notation & Tab)... This Carcassi study (Opus 60, No.3) for classical guitar is a little bit deceptive. Although it sounds very easy there are many technical requirements to make it "flow" and sound smooth and legato.
Joshua Bell Stop and Hear the Music by the Washington Post
From the Washington Post:
Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
From the Washington Post:Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
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.
Jascha Heifetz Plays Rondo by Mozart
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Recuerdos de la Alhambra - Mattias Jacobsson, classical guitar
Mattias Jacobsson plays Recuerdos de la Alhambra by Francisco Tárrega.
Mattias Jacobsson plays Recuerdos de la Alhambra by Francisco Tárrega.
Jacob Lateiner plays Beethoven 5th piano concerto p3
Westminister LP from 1957. Jacob Lateiner, Piano; Orchester der Wiener Staatsoper, Armando Aliberti. Beethoven pianoconcerto nr 5 "Emperor" Eb-maj op.73 I de-clicked and eq-ed the record myself. For three years I have a website, where I post "out-of-copyright" (in the Netherlands) classical lp's and 78rpm's. It is updated every Friday: homepages.ipact.nl Enjoy!
Westminister LP from 1957. Jacob Lateiner, Piano; Orchester der Wiener Staatsoper, Armando Aliberti. Beethoven pianoconcerto nr 5 "Emperor" Eb-maj op.73 I de-clicked and eq-ed the record myself. For three years I have a website, where I post "out-of-copyright" (in the Netherlands) classical lp's and 78rpm's. It is updated every Friday: homepages.ipact.nl Enjoy!
Saint Saens- Introduction and Rondo Capriccioso - Jacob Reuven - man
Displaying a unique combination of technical brilliance and a rich musical persona, Jacob Reuven has established himself as one of the most intriguing and sought after mandolin players to have emerged from Israel in recent years. Jacob's broad musical horizons encompass everything from classical music, baroque music, contemporary music, world music, to music for modern dance and theatre, bringing to all that he does his unique voice and uncompromising musical standards. Beginning his mandolin studies at the age of eight under the guidance of Prof. Simha Nathanson at the Beer Sheva Music Conservatory, Jacob later studied with Mr. Lev Haimovitch until beginning his studies at the Jerusalem Academy of Music and Dance where he worked with Prof. Motti Smidt. During his studies Jacob had won twice the academy's prestigious Concerto Competition, which marked the beginning of his promising career. Jacob has performed as a soloist with some of the best Israeli orchestras and ensembles including the Israel Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Israeli Sinfonietta ,the Israel Chamber Orchestra and the Twenty First Century Ensemble and played under the baton of conductors such as Zubin Mehta, Mstislav Rostropovitch, Antonio Pappano, Mendi Rodan and Zsolt Nagy. In 2004, Jacob won first prize in the distinguished International Plectro Rioja competition in Spain and has become internationally known. Since then Jacob has been invited to perform with orchestras <b>...</b>
Displaying a unique combination of technical brilliance and a rich musical persona, Jacob Reuven has established himself as one of the most intriguing and sought after mandolin players to have emerged from Israel in recent years. Jacob's broad musical horizons encompass everything from classical music, baroque music, contemporary music, world music, to music for modern dance and theatre, bringing to all that he does his unique voice and uncompromising musical standards. Beginning his mandolin studies at the age of eight under the guidance of Prof. Simha Nathanson at the Beer Sheva Music Conservatory, Jacob later studied with Mr. Lev Haimovitch until beginning his studies at the Jerusalem Academy of Music and Dance where he worked with Prof. Motti Smidt. During his studies Jacob had won twice the academy's prestigious Concerto Competition, which marked the beginning of his promising career. Jacob has performed as a soloist with some of the best Israeli orchestras and ensembles including the Israel Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Israeli Sinfonietta ,the Israel Chamber Orchestra and the Twenty First Century Ensemble and played under the baton of conductors such as Zubin Mehta, Mstislav Rostropovitch, Antonio Pappano, Mendi Rodan and Zsolt Nagy. In 2004, Jacob won first prize in the distinguished International Plectro Rioja competition in Spain and has become internationally known. Since then Jacob has been invited to perform with orchestras <b>...</b>
Gustav Mahler - Symphony No. 4 - 1 (1/2) - Leonard Bernstein
Gustav Mahler Symphony No. 4 in G major 1st Movement (1/2) Bedächtig, nicht eilen performed by the Vienna Philharmonic Orchestra (Wiener Philharmoniker) conducted by Leonard Bernstein
Gustav Mahler Symphony No. 4 in G major 1st Movement (1/2) Bedächtig, nicht eilen performed by the Vienna Philharmonic Orchestra (Wiener Philharmoniker) conducted by Leonard Bernstein
Gustav Mahler - Symphony No. 4 - 4 (1/1) - Leonard Bernstein
Gustav Mahler Symphony No. 4 in G major 4th Movement (1/1) Sehr behaglich performed by the Vienna Philharmonic Orchestra (Wiener Philharmoniker) lyrics based on "Des Knaben Wunderhorn" sung by Edith Mathis conducted by Leonard Bernstein
Gustav Mahler Symphony No. 4 in G major 4th Movement (1/1) Sehr behaglich performed by the Vienna Philharmonic Orchestra (Wiener Philharmoniker) lyrics based on "Des Knaben Wunderhorn" sung by Edith Mathis conducted by Leonard Bernstein
Richard Wagner Tannhäuser Ouvertüre Leonard Bernstein New York Phi
now available in one part: www.youtube.com Richard Wagner: Tannhäuser und der Sängerkrieg auf der Wartburg, Ouvertüre - performed by the New York Philharmonic, conducted by Leonard Bernstein, recorded October 26, 1967 at Philharmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City
now available in one part: www.youtube.com Richard Wagner: Tannhäuser und der Sängerkrieg auf der Wartburg, Ouvertüre - performed by the New York Philharmonic, conducted by Leonard Bernstein, recorded October 26, 1967 at Philharmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City
Beethoven 3rd Symphony (4/5); 2nd-4th movements; Bernstein
Ludwig van Beethoven Leonard Bernstein New York Philharmonic In his late twenties, Beethoven started to hear buzzing and ringing sounds in his ears. A few years later in 1802, he wrote a distressed letter in a town near Vienna that was addressed to his brothers (yet it remained in his own possession until his death at age 57). The note discussed Beethoven's deteriorating hearing (he eventually went deaf), how it made him feel lonely and anxious around others, and it laid out a will such that his siblings would inherit his wealth when he died. However, he also wrote in it, "I would have ended my life—it was only my art that held me back." Historians later dubbed this letter, the Heiligenstadt Testament, after the town in which it was written. This triumph over personal adversity happened concurrently with a significant change in Beethoven's musical style. The works composed after his emotional breakdown in 1802 radiated a new boldness and intrepidity, which often broke the formal rules of the Classical era in music. In fact, the first musical ideas for his Third Symphony—which was completed in 1804—were jotted down merely a few weeks after the Heiligenstadt Testament. Putting these ideas into perspective, it is no wonder why Beethoven's Third Symphony is sometimes deemed a nexus between the Classical and Romantic musical periods. The Third Symphony's nickname is Eroica, which is Italian for "heroic." Originally, Beethoven planned to call the work, Bonaparte, after Napoleon <b>...</b>
Ludwig van Beethoven Leonard Bernstein New York Philharmonic In his late twenties, Beethoven started to hear buzzing and ringing sounds in his ears. A few years later in 1802, he wrote a distressed letter in a town near Vienna that was addressed to his brothers (yet it remained in his own possession until his death at age 57). The note discussed Beethoven's deteriorating hearing (he eventually went deaf), how it made him feel lonely and anxious around others, and it laid out a will such that his siblings would inherit his wealth when he died. However, he also wrote in it, "I would have ended my life—it was only my art that held me back." Historians later dubbed this letter, the Heiligenstadt Testament, after the town in which it was written. This triumph over personal adversity happened concurrently with a significant change in Beethoven's musical style. The works composed after his emotional breakdown in 1802 radiated a new boldness and intrepidity, which often broke the formal rules of the Classical era in music. In fact, the first musical ideas for his Third Symphony—which was completed in 1804—were jotted down merely a few weeks after the Heiligenstadt Testament. Putting these ideas into perspective, it is no wonder why Beethoven's Third Symphony is sometimes deemed a nexus between the Classical and Romantic musical periods. The Third Symphony's nickname is Eroica, which is Italian for "heroic." Originally, Beethoven planned to call the work, Bonaparte, after Napoleon <b>...</b>
