Luigi Boccherini - Minuet - String Quintet
- Classical music composed by Luigi Boccherini Boccherini - Minuet - String Quintet
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Luigi Boccherini - Menuet, from String Quintet No. 5 in E.
Luigi Rodolfo Boccherini (February 19, 1743 May 28, 1805) was an Italian classical era composer and cellist whose music is known for a courtly and galante style. Boccherini is most widely known for one particular minuet from his String Quintet in E, Op. 11, No. 5 (G 275).
Luigi Rodolfo Boccherini (February 19, 1743 May 28, 1805) was an Italian classical era composer and cellist whose music is known for a courtly and galante style. Boccherini is most widely known for one particular minuet from his String Quintet in E, Op. 11, No. 5 (G 275).
Minuet - Luigi Boccherini - String Quintet in E Major, Op.11 No.5
For David "Menuet" - Luigi Boccherini ( 1743-1805) Minuet Minuetto String Quintet in E Major Op. 11 No.5 Classical
For David "Menuet" - Luigi Boccherini ( 1743-1805) Minuet Minuetto String Quintet in E Major Op. 11 No.5 Classical
Pavel Steidl interprets Luigi Legnani - Caprice no. 36 - Virtuoso "
Pavel Steidl interprets Luigi Legnani's Caprice 36 (Moderato), Op. 20 Played on a copy of a "19th century guitar by Georg Staufer". Recorded May 1997. This video was uploaded to show that there are guitarists who are just as relaxed and expressive when playing fast, as when playing a slower work. Also: speed alone - is never Steidl's focus. Steidl always shapes the music to a charming effect. He's one of the few players who give 19th century guitar music the charm and friendly playfulness, which so many other guitarists either do not understand (nothing wrong with that: there are so many different musical styles), or do not have as their focus (their perverted focus usually being only speed). Bravo Mr. Steidl ! www.naxos.com
Pavel Steidl interprets Luigi Legnani's Caprice 36 (Moderato), Op. 20 Played on a copy of a "19th century guitar by Georg Staufer". Recorded May 1997. This video was uploaded to show that there are guitarists who are just as relaxed and expressive when playing fast, as when playing a slower work. Also: speed alone - is never Steidl's focus. Steidl always shapes the music to a charming effect. He's one of the few players who give 19th century guitar music the charm and friendly playfulness, which so many other guitarists either do not understand (nothing wrong with that: there are so many different musical styles), or do not have as their focus (their perverted focus usually being only speed). Bravo Mr. Steidl ! www.naxos.com
2) Ray Reussner: Guitar / Tandy Reussner: Organ / Boccherini Concert
Ray Reussner, classical guitarist, and Tandy C. Reussner: 1996 Wolff 3-65 organ perform the second movement "Andante cantabile" from Luigi Boccherini's Concerto in E major in the grand acoustics of Bales Organ Recital Hall, University of Kansas, Lawrence. The piece was originally written as Boccherini's Concerto for Cello & Orchestra No.6 in D, G479 - It was arranged as Concerto in E for Guitar and Orchestra by Gaspar Cassado (1896/1966) - It was recorded as such by Andrés Segovia. Ray studied with Segovia, off and on, for 20 years, as well as with John Williams at the Royal Conservatory. He is considered to be one of the very few "true" remaining links to Maestro Andres Segovia. "The dedication to his profession, his talent and his willingness to work have made him into one of the most distinguished young guitarists of today, deserving of the success that awaits him and that I predict for him ... He shows a refined sensitivity and gift for interpretation, a perfect knowledge of the guitar technique." Andres Segovia From an upcoming DVD release on Heartside Music. See heartsidemusic.com or visit Ray at http Guitar constructed by Ray Reussner. Tandy C. Reussner holds degrees in Organ Performance from the University of Kansas and the Eastman School of Music. A Fulbright Scholar to Freiburg, Germany and winner of two national organ competitions, Reussner has studied with James Higdon, Zsigmond Szathmary, John Ditto, David Craighead, and David Higgs.
Ray Reussner, classical guitarist, and Tandy C. Reussner: 1996 Wolff 3-65 organ perform the second movement "Andante cantabile" from Luigi Boccherini's Concerto in E major in the grand acoustics of Bales Organ Recital Hall, University of Kansas, Lawrence. The piece was originally written as Boccherini's Concerto for Cello & Orchestra No.6 in D, G479 - It was arranged as Concerto in E for Guitar and Orchestra by Gaspar Cassado (1896/1966) - It was recorded as such by Andrés Segovia. Ray studied with Segovia, off and on, for 20 years, as well as with John Williams at the Royal Conservatory. He is considered to be one of the very few "true" remaining links to Maestro Andres Segovia. "The dedication to his profession, his talent and his willingness to work have made him into one of the most distinguished young guitarists of today, deserving of the success that awaits him and that I predict for him ... He shows a refined sensitivity and gift for interpretation, a perfect knowledge of the guitar technique." Andres Segovia From an upcoming DVD release on Heartside Music. See heartsidemusic.com or visit Ray at http Guitar constructed by Ray Reussner. Tandy C. Reussner holds degrees in Organ Performance from the University of Kansas and the Eastman School of Music. A Fulbright Scholar to Freiburg, Germany and winner of two national organ competitions, Reussner has studied with James Higdon, Zsigmond Szathmary, John Ditto, David Craighead, and David Higgs.
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
Minuet in G - J.S. Bach
Minuet in G by Johann Sebastian Bach, played by Raíssa Amaral on classical guitar.
Minuet in G by Johann Sebastian Bach, played by Raíssa Amaral on classical guitar.
Adagio for Strings, Op. 11 - Samuel Barber
Leonard Slatkin conducts the BBC Orchestra in Adagio for Strings on September 15, 2001, in honor of those who lost their lives in the terror attack on September 11.
Leonard Slatkin conducts the BBC Orchestra in Adagio for Strings on September 15, 2001, in honor of those who lost their lives in the terror attack on September 11.
Bach's Air on the G String - Visual Score
J.S. Bach's Air on the G String, from his 3rd Orchestral Suite in D major.
J.S. Bach's Air on the G String, from his 3rd Orchestral Suite in D major.
Air on the G String - J.S. Bach
Per-Olov Kindgren playing the famous "Air on a G-string" from Bach's Suite for Orchestra No. 3.
Per-Olov Kindgren playing the famous "Air on a G-string" from Bach's Suite for Orchestra No. 3.
Adagio for Strings - Samuel Barber
Audio only - Adagio for Strings by Samuel Barber, performed by the New Zealand Symphony Orchestra.
Audio only - Adagio for Strings by Samuel Barber, performed by the New Zealand Symphony Orchestra.
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>
Cesar Franck Piano Quintet in F minor, mvt. 1 (1of2) HD!
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Cesar Franck Piano Quintet in F minor, mvt. 3 HD
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Arnold Schoenberg, Quintett Op. 26 i. Schwungvoll Part 1, Basel Ense
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn. At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization. The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.' That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first <b>...</b>
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn. At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization. The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.' That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first <b>...</b>
