Ravel Bolero Christoph Eschenbach Orchestre de Paris part1
- Classical music composed by Maurice Ravel Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall
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Ravel's "Bolero" played to scenes of ancient Egypt. A construction management study carried out by the firm Daniel, Mann, Johnson, & Mendenhall in association with Mark Lehner and other Egyptologists, estimates that the total project required an average workforce of 14567 people and a peak workforce of 40000. Without the use of pulleys, wheels, or iron tools, they surmise the Great Pyramid was completed from start to finish in approximately 10 years. Their critical path analysis study reveals estimates that the number of blocks used in construction was between 2-2.8 million (an average of 2.4 million), but settles on a reduced finished total of 2 million after subtracting the estimated area of the hollow spaces of the chambers and galleries. Most sources agree on this number of blocks somewhere above 2.3 million. The Egyptologists' calculations suggest the workforce could have sustained a rate of 180 blocks per hour (3 blocks/minute) with ten hour work days for putting each individual block in place. They derived these estimates from construction projects that did not use modern machinery. This study fails to take into account however, especially when compared to modern third world construction projects, the logistics and craftsmanship time inherent in constructing a building of nearly unparalleled magnitude with such precision, or among other things, the use of up to 60-80 ton stones being quarried and transported a distance of over 500 miles. Average core blocks of the <b>...</b>
Ravel's "Bolero" played to scenes of ancient Egypt. A construction management study carried out by the firm Daniel, Mann, Johnson, & Mendenhall in association with Mark Lehner and other Egyptologists, estimates that the total project required an average workforce of 14567 people and a peak workforce of 40000. Without the use of pulleys, wheels, or iron tools, they surmise the Great Pyramid was completed from start to finish in approximately 10 years. Their critical path analysis study reveals estimates that the number of blocks used in construction was between 2-2.8 million (an average of 2.4 million), but settles on a reduced finished total of 2 million after subtracting the estimated area of the hollow spaces of the chambers and galleries. Most sources agree on this number of blocks somewhere above 2.3 million. The Egyptologists' calculations suggest the workforce could have sustained a rate of 180 blocks per hour (3 blocks/minute) with ten hour work days for putting each individual block in place. They derived these estimates from construction projects that did not use modern machinery. This study fails to take into account however, especially when compared to modern third world construction projects, the logistics and craftsmanship time inherent in constructing a building of nearly unparalleled magnitude with such precision, or among other things, the use of up to 60-80 ton stones being quarried and transported a distance of over 500 miles. Average core blocks of the <b>...</b>
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Orchestre de Chambre de Toulouse - Concerto opus 3, n°9 de l'Estro
Directeur musical : Gilles COLLIARD Fondé en 1953 par Louis Auriacombe, l'Orchestre de Chambre de Toulouse s'intéresse à toutes les musiques, de la période baroque jusqu'à la création contemporaine. De nombreux compositeurs ont travaillé avec lui pour des concerts et des enregistrements, lui dédiant des œuvres spécifiques. Il se produit régulièrement avec les plus grands solistes, tels Christophe Coin, Gautier Capuçon, Natalie Dessay, Régis Pasquier, Michel Lethiec, Anne Queffelec et Richard Galliano pour ne parler que de l'histoire récente, et collabore avec des ensembles vocaux comme le Chœur de Chambre Les Éléments et l'Escale chromatique . Il est l'invité de nombreux festivals en France (La Chaise-Dieu, La Vézère, Pablo Casals à Prades, Septembre Musical de l'Orne...), comme à l'étranger (Japon, Suède, Suisse, Espagne, Argentine, Brésil, Macédoine, Bermudes). De la formation de chambre jusqu'à l'effectif « Mozart », l'Orchestre de Chambre de Toulouse s'est produit sur tous les continents, visitant plus de 30 pays et donnant plus de 6500 concerts à un public qui lui est toujours resté fidèle. Sous la direction de Gilles Colliard, depuis 2004, l'orchestre a choisi d'aller au bout de sa démarche d'authenticité en proposant des concerts baroques sur instruments anciens, mais aussi des concerts modernes avec les instruments actuels, ou encore des programmes réunissant les deux instruments. La hauteur du diapason ou la nature des cordes (boyau ou acier) ne peuvent éluder la <b>...</b>
Directeur musical : Gilles COLLIARD Fondé en 1953 par Louis Auriacombe, l'Orchestre de Chambre de Toulouse s'intéresse à toutes les musiques, de la période baroque jusqu'à la création contemporaine. De nombreux compositeurs ont travaillé avec lui pour des concerts et des enregistrements, lui dédiant des œuvres spécifiques. Il se produit régulièrement avec les plus grands solistes, tels Christophe Coin, Gautier Capuçon, Natalie Dessay, Régis Pasquier, Michel Lethiec, Anne Queffelec et Richard Galliano pour ne parler que de l'histoire récente, et collabore avec des ensembles vocaux comme le Chœur de Chambre Les Éléments et l'Escale chromatique . Il est l'invité de nombreux festivals en France (La Chaise-Dieu, La Vézère, Pablo Casals à Prades, Septembre Musical de l'Orne...), comme à l'étranger (Japon, Suède, Suisse, Espagne, Argentine, Brésil, Macédoine, Bermudes). De la formation de chambre jusqu'à l'effectif « Mozart », l'Orchestre de Chambre de Toulouse s'est produit sur tous les continents, visitant plus de 30 pays et donnant plus de 6500 concerts à un public qui lui est toujours resté fidèle. Sous la direction de Gilles Colliard, depuis 2004, l'orchestre a choisi d'aller au bout de sa démarche d'authenticité en proposant des concerts baroques sur instruments anciens, mais aussi des concerts modernes avec les instruments actuels, ou encore des programmes réunissant les deux instruments. La hauteur du diapason ou la nature des cordes (boyau ou acier) ne peuvent éluder la <b>...</b>
Arno Bornkamp: Debussy Rhapsodie pour Orchestre et Saxophone part 1
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Arno Bornkamp performs Debussy Rhapsodie pour Orchestre et Saxophone version Bornkamp and Janssen during his concert at Salerno Casino Sociale Red Hall on June 29 2010 with pianist Giulio De Luca. Event organized by Salerno Conservatoire. Dutch saxophonist Arno Bornkamp is the archetype of the modern virtuoso, feeling equally at home in traditional and contemporary repertoire. Hailed as a lyrical musician with a great sense of performance, Bornkamp studied at the Sweelinck Conservatory in Amsterdam with Ed Bogaard and graduated in 1986 with the highest distinction. He has won many awards, the 'Silver Laurel of the Concertgebouw' and the 'Netherlands Music Prize' among the most noteworthy. The latter enabled him to go abroad, studying in France with Daniel Deffayet and Jean-Marie Londeix, in Japan with Ryo Noda as well as working with composers as Luciano Berio and Karlheinz Stockhausen. Since his 1982 solo debut in Rome, performing the 'Concertino da Camera' by Jacques Ibert, he has played more than 250 concerts with orchestras around the world, including the most important works from the saxophone repertoire in addition to new concerti written especially for him, such as the 'Tallahatchie Concerto' by Jacob TV. In the year 2009 Bornkamp added 3 new works to his repertoire: 'Trois Danses' (orig. for oboe) by Frank Martin and 2 new saxophone concerto's by Joey Roukens and Carlos Michans. Chamber music is also a great love of Arno Bornkamp. He has a long-standing duo with <b>...</b>
Wedding March from A Midsummer Nights Dream Mendelssohn
WSU Brass and Organ Recital
Organized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
WSU Brass and Organ RecitalOrganized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
Handel - Water Music Suite No. 2 in D Mayor Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.
Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
Claude Debussy - Prelude to the Afternoon of a Faun
Painting - On the Hudson Artist - Thomas Doughty
Painting - On the Hudson Artist - Thomas Doughty
Handel - Messiah - Hallelujah Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.
Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
Gymnopédie No. 1, Je t'aime Paris
Paris 3 day visit, my first, and how I fell in love with it via a dream.
Paris 3 day visit, my first, and how I fell in love with it via a dream.
Chopin: La Dame aux camélias (Paris Opera Ballet)
Based on the Alexandre Dumas novel that also inspired the stories of Verdis La Traviata and Hollywoods Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeiers intense and refined choreographic language. Chopins ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world. Available from Opus Arte on DVD & Blu-ray www.opusarte.com Please 'Like' us at www.facebook.com
Based on the Alexandre Dumas novel that also inspired the stories of Verdis La Traviata and Hollywoods Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeiers intense and refined choreographic language. Chopins ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world. Available from Opus Arte on DVD & Blu-ray www.opusarte.com Please 'Like' us at www.facebook.com
Telemann, Paris Quartet VI, fifth movement, Distrait (animated balls
The fifth movement of Georg Philipp Telemann's sixth Paris Quartet, performed by Concerto Amabile, accompanied by an animated score. FAQ Q: Who is playing this piece? A: This performance is from 1990; the performers are the members of the group Concerto Amabile (Kathleen Kraft, traverso, Elizabeth Blumenstock, violin, Elisabeth Le Guin, violoncello, and Phebe Craig, harpsichord) joined by viola da gambist Margriet Tindemans. Q: This is lovely; where can I hear the rest of the movements of this piece? A: This recording is from the Wild Boar CD "Concerto Amabile, George Phillip Telemann, 'Paris' Quartets 2, 3 & 6" (WLBR8801). I don't know whether the CD is available, but I'm going to find out; I will post information here when I do. Q: How did you get the animation synchronized with the recording? A: First I entered the score into the notation program Sibelius. Then, I made a half-speed version of the recording (with the Amazing Slow-Downer software), and adjusted the notation to match (added the ornaments, shortened notes, mistakes made by the performers, etc). Then, while listening to the half-speed recording, I recorded a MIDI click-track. Finally, I fed the score and the click-track into some software I wrote, which adjusted the timings of score to match the click-track. The adjusted version of the score is what my animation software takes as input. Q: Isthere a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate <b>...</b>
The fifth movement of Georg Philipp Telemann's sixth Paris Quartet, performed by Concerto Amabile, accompanied by an animated score. FAQ Q: Who is playing this piece? A: This performance is from 1990; the performers are the members of the group Concerto Amabile (Kathleen Kraft, traverso, Elizabeth Blumenstock, violin, Elisabeth Le Guin, violoncello, and Phebe Craig, harpsichord) joined by viola da gambist Margriet Tindemans. Q: This is lovely; where can I hear the rest of the movements of this piece? A: This recording is from the Wild Boar CD "Concerto Amabile, George Phillip Telemann, 'Paris' Quartets 2, 3 & 6" (WLBR8801). I don't know whether the CD is available, but I'm going to find out; I will post information here when I do. Q: How did you get the animation synchronized with the recording? A: First I entered the score into the notation program Sibelius. Then, I made a half-speed version of the recording (with the Amazing Slow-Downer software), and adjusted the notation to match (added the ornaments, shortened notes, mistakes made by the performers, etc). Then, while listening to the half-speed recording, I recorded a MIDI click-track. Finally, I fed the score and the click-track into some software I wrote, which adjusted the timings of score to match the click-track. The adjusted version of the score is what my animation software takes as input. Q: Isthere a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate <b>...</b>
Sarah Chang Mendelssohn Violin Concerto Mvt1 Part1
Mendelssohn Violin Concerto Movement 1 Allegro, molto appassionato: PART 1 OF 2
SARAH CHANG, NEW YORK
PHILHARMONIC and KURT MASUR - AVERY FISHER HALL 1995
PART2 HERE: http://youtube.com/watch?v=0_3PJf4lAj0
***SPECIAL THANKS TO YOUTUBE USER belgradegeneve FOR THE VIDEOS!***
Mendelssohn Violin Concerto Movement 1 Allegro, molto appassionato: PART 1 OF 2SARAH CHANG, NEW YORK
PHILHARMONIC and KURT MASUR - AVERY FISHER HALL 1995
PART2 HERE: http://youtube.com/watch?v=0_3PJf4lAj0
***SPECIAL THANKS TO YOUTUBE USER belgradegeneve FOR THE VIDEOS!***
Mendelssohn A Midsummer Night's Dream - Furtwangler -(part1)
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
Valentina Lisitsa, piano - Rachmaninoff, Sonata No. 1, Part1
Exceptional music & interpretation.... *** Born in Kiev, Ukraine, Valentina Lisitsa started playing piano at the age of three, performing her first solo recital at the age of four. Lisitsa attended the Lysenko music school for Gifted Children and, later, Kiev Conservatory, where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko. In 1991 they won the first prize in The Murray Dranoff Two Piano Competition. In the same year, they moved to the United States to further their careers as concert pianists. Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995. Lisitsa has performed in various venues around the world, including Carnegie Hall, Avery Fisher Hall, and the Musikverein. Recently, she has been the pianist in recital engagements collaborating with violinist Hilary Hahn.[5] Many of Lisitsa's performances, including Frédéric Chopin's Op. 10 and Op. 25 Etudes and Beethoven's Appassionata Sonata, have been made available on her YouTube channel, often in high quality. To date, Lisitsa has recorded 6 CDs (two solo CDs) for Audiofon Records (two are in duet with Alexei Kuznetsoff), a Gold CD for CiscoMusic label with cellist DeRosa, a duet recital on VAI label with violinist Ida Haendel, DVDs of Frédéric Chopin's 24 Etudes, Schubert-Liszt Schwanengesang, and her most recent DVD titled Black and Pink. Lisitsa recently collaborated with HORSE the band on their song, "Rape Escape", featured on their latest album <b>...</b>
Exceptional music & interpretation.... *** Born in Kiev, Ukraine, Valentina Lisitsa started playing piano at the age of three, performing her first solo recital at the age of four. Lisitsa attended the Lysenko music school for Gifted Children and, later, Kiev Conservatory, where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko. In 1991 they won the first prize in The Murray Dranoff Two Piano Competition. In the same year, they moved to the United States to further their careers as concert pianists. Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995. Lisitsa has performed in various venues around the world, including Carnegie Hall, Avery Fisher Hall, and the Musikverein. Recently, she has been the pianist in recital engagements collaborating with violinist Hilary Hahn.[5] Many of Lisitsa's performances, including Frédéric Chopin's Op. 10 and Op. 25 Etudes and Beethoven's Appassionata Sonata, have been made available on her YouTube channel, often in high quality. To date, Lisitsa has recorded 6 CDs (two solo CDs) for Audiofon Records (two are in duet with Alexei Kuznetsoff), a Gold CD for CiscoMusic label with cellist DeRosa, a duet recital on VAI label with violinist Ida Haendel, DVDs of Frédéric Chopin's 24 Etudes, Schubert-Liszt Schwanengesang, and her most recent DVD titled Black and Pink. Lisitsa recently collaborated with HORSE the band on their song, "Rape Escape", featured on their latest album <b>...</b>
Bohemian Rhapsody (classical guitar) - part1
i just start learning Bohemian Rhapsody from Edgar Cruz DVD so its just the first part of the song...
i just start learning Bohemian Rhapsody from Edgar Cruz DVD so its just the first part of the song...
