Andrejs Osokins plays Back to the Sound by Jean-Luc Fafchamps
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Hannah plays Chopin Nocturne 20 in C Sharp Minor
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Argerich plays Tchaikovsky Piano Concerto Part 1
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Yo-Yo Ma plays Prelude from Bach's Cello Suite No. 1
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Beethoven Piano Concert No 4 - 1.mov part 1 - Wilhelm Backhaus - Kar
GOOD QUALITY WILHELM BACKHAUS & KARL BÖHM Concerto for Piano no 4 in G major, Op. 58 by Ludwig van Beethoven Performer: Wilhelm Backhaus (Piano) Conductor: Karl Böhm Orchestra/Ensemble: Vienna Symphony Orchestra Date of Recording: 3-9/4/1967 Venue: Studio Rosenhügel, Vienna Period: Classical Written: 1806; Vienna, Austria * Backhaus was regarded by many as the greatest interpreter of Beethoven. * Backhaus and Böhm were friends of nearly forty years' standing and collaborated in concertos by both these composers on many occasions. * The present performance was among their last. Two years later, Backhaus died, aged 85, after a career of some seventy years. * Both men were technicians of exceptional brilliance. * Böhm's command of orchestral ensemble, sonority, textural clarity and subtlety of rhythm was legendary. His musicianship was impeccable, his authority unquestioned. * A marvellous testament to great Brahms conducting! Perhaps this DVD will act as a reminder of the power of the medium. These are two fine performances by two great artists - and here we have the opportunity to study their most intimate movements in performance. Piano students will surely glean volumes from Backhaus's sovereign technique; conducting students may find less to admire in Böhm's rather staid manner and gestures, but nevertheless can observe a major podium figure of the past at close quarters. The set-up in the studio is typical for the period, with the conductor rather isolated from his <b>...</b>
GOOD QUALITY WILHELM BACKHAUS & KARL BÖHM Concerto for Piano no 4 in G major, Op. 58 by Ludwig van Beethoven Performer: Wilhelm Backhaus (Piano) Conductor: Karl Böhm Orchestra/Ensemble: Vienna Symphony Orchestra Date of Recording: 3-9/4/1967 Venue: Studio Rosenhügel, Vienna Period: Classical Written: 1806; Vienna, Austria * Backhaus was regarded by many as the greatest interpreter of Beethoven. * Backhaus and Böhm were friends of nearly forty years' standing and collaborated in concertos by both these composers on many occasions. * The present performance was among their last. Two years later, Backhaus died, aged 85, after a career of some seventy years. * Both men were technicians of exceptional brilliance. * Böhm's command of orchestral ensemble, sonority, textural clarity and subtlety of rhythm was legendary. His musicianship was impeccable, his authority unquestioned. * A marvellous testament to great Brahms conducting! Perhaps this DVD will act as a reminder of the power of the medium. These are two fine performances by two great artists - and here we have the opportunity to study their most intimate movements in performance. Piano students will surely glean volumes from Backhaus's sovereign technique; conducting students may find less to admire in Böhm's rather staid manner and gestures, but nevertheless can observe a major podium figure of the past at close quarters. The set-up in the studio is typical for the period, with the conductor rather isolated from his <b>...</b>
Flashbacks: Cambry plays Liszt Transcendental Etude 10
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
Flashbacks: Cambry plays Rachmaninoff Prelude in C# Minor
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
Flashbacks: Cambry plays Scriabin Etude op8 no12
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
This was recorded in Ganz Hall at the Chicago College of the performing Arts at Roosevelt University. I was supposed to record Rachmaninoff's Second Piano concerto with my piano professor, but we pushed it back 2 weeks. I had the hall reserved so I decided it would be cool if I just remade some of the older videos that were way lower quality. I recorded 10 videos, 3 of them are new pieces. These are probably some of the last classical music videos i'll upload for now, i'm going to be doing other music types on here, thanks for watching!
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...
Toccata and Fugue - J.S. Bach
Vanessa-Mae plays a rare version of Toccata and Fugue with her acoustic violin, accompanied by the Bratislava Radio Symphony Orchestra. This was during her classical tour in 1996.
Vanessa-Mae plays a rare version of Toccata and Fugue with her acoustic violin, accompanied by the Bratislava Radio Symphony Orchestra. This was during her classical tour in 1996.
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
Donal Fox: Sound Check Rehearsal at Ozawa Concert Hall, Tang
Donal Fox at the Boston Symphony Orchestra's (BSO) Ozawa Concert Hall for sound check and rehearsal for his Scarlatti Jazz Suite Project performance at the 2008 Tanglewood Jazz Festival; Donal Fox: Scarlatti Jazz Suite Project with Donal Fox, piano, Christian Scott, trumpet, Warren Wolf, vibraphone, John Lockwood, bass, Terri Lyne Carrington, drums; Tanglewood Jazz Festival, Ozawa Concert Hall, Saturday, August 31, 2008. <br /><br />Donal Fox Quartet Live: Scarlatti Jazz Suite Project CD, selected in AllAboutJazz for The 10 Best New Jazz Releases for 2008, is available at www.cdbaby.com, Amazon.com, and other various online stores.
Donal Fox at the Boston Symphony Orchestra's (BSO) Ozawa Concert Hall for sound check and rehearsal for his Scarlatti Jazz Suite Project performance at the 2008 Tanglewood Jazz Festival; Donal Fox: Scarlatti Jazz Suite Project with Donal Fox, piano, Christian Scott, trumpet, Warren Wolf, vibraphone, John Lockwood, bass, Terri Lyne Carrington, drums; Tanglewood Jazz Festival, Ozawa Concert Hall, Saturday, August 31, 2008. <br /><br />Donal Fox Quartet Live: Scarlatti Jazz Suite Project CD, selected in AllAboutJazz for The 10 Best New Jazz Releases for 2008, is available at www.cdbaby.com, Amazon.com, and other various online stores.
Mr Nobody Soundtrack - Pavane Op 50 - Gabriel Faure - Mars Theme
Classical Music that is played during the scenes in Mars of "Mr Nobody"
Classical Music that is played during the scenes in Mars of "Mr Nobody"
Platoon Soundtrack - Samuel Barber
Samuel Barber's Adagio for Strings, used as the theme for the movie Platoon.
Samuel Barber's Adagio for Strings, used as the theme for the movie Platoon.
Purcell - Sound the trumpet - J. Bowman, A. Scholl
High resolution and stereo sound: www.youtube.com Henry Purcell Come, ye sons of art, Z 323 Birthday Ode for Queen Mary, 1694 "Sound the trumpet" Text: Probably by Nahum Tate In this video: Countertenor 1: James Bowman Countertenor 2: Andreas Scholl Orchestra of the Age of Enlightenment From the live performance at Royal Festival Hall Wednesday 11 June 2008 James Bowman, who was the presenter of the concert, and Andreas Scholl singing the duet "Sound the trumpet" from Purcell's ode "Come, ye sons of art" as an encore. Note that James Bowman is 66 years old here and Scholl is 40. "In the time of Purcell, odes were composed by the Master of the Children of the Chapel Royal. Although Purcell was never appointed to head the Chapel Royal, he was a favorite composer of the king, so it fell to him to compose odes for the birthday of Queen Mary II in 1694. Come, Ye Sons of Art, Away was the final birthday ode Purcell composed for Queen Mary; by the end of 1695 both she and Purcell had passed away. 'Sound the Trumpet' is a striking duet for two countertenors. The melody dances over a ground bass as the singers imitate the sound of trumpets." All Music Guide Text: Sound the trumpet till around You make the list'ning shores rebound. On the sprightly hautboy play all the instruments of joy that skillful numbers can employ to celebrate the glories of this day.
High resolution and stereo sound: www.youtube.com Henry Purcell Come, ye sons of art, Z 323 Birthday Ode for Queen Mary, 1694 "Sound the trumpet" Text: Probably by Nahum Tate In this video: Countertenor 1: James Bowman Countertenor 2: Andreas Scholl Orchestra of the Age of Enlightenment From the live performance at Royal Festival Hall Wednesday 11 June 2008 James Bowman, who was the presenter of the concert, and Andreas Scholl singing the duet "Sound the trumpet" from Purcell's ode "Come, ye sons of art" as an encore. Note that James Bowman is 66 years old here and Scholl is 40. "In the time of Purcell, odes were composed by the Master of the Children of the Chapel Royal. Although Purcell was never appointed to head the Chapel Royal, he was a favorite composer of the king, so it fell to him to compose odes for the birthday of Queen Mary II in 1694. Come, Ye Sons of Art, Away was the final birthday ode Purcell composed for Queen Mary; by the end of 1695 both she and Purcell had passed away. 'Sound the Trumpet' is a striking duet for two countertenors. The melody dances over a ground bass as the singers imitate the sound of trumpets." All Music Guide Text: Sound the trumpet till around You make the list'ning shores rebound. On the sprightly hautboy play all the instruments of joy that skillful numbers can employ to celebrate the glories of this day.
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.
