TCHAIKOVSKY: Serenade for Strings in C major, Op. 48
- Classical music composed by Pyotr Ilyich Tchaikovsky Passing Through: www.youtube.com - Friends, Please visit my Poet friend "Passing Through's" YouTube channel: www.youtube.com , and support him - Thanks :) I. Pezzo i forma di sonatina: Andante non troppo; Allegro moderato Tchaikovsky's Serenade for Strings in C major, Op. 48, premiered in 1880, remains today one of the late Romantic era's most definitive compositions. In his score, Tchaikovsky supposedly wrote, "The larger the string orchestra, the better will the composer's desires be fulfilled." Serenade for Strings has 4 movements: I. Pezzo i forma di sonatina: Andante non troppo; Allegro moderato; this was an homage to Mozart II. Valse: Moderato; Tempo di valse III. Élégie: Larghetto elegiaco IV. Finale (Tema russo): Andante; Allegro con spirito (We appreciate Wikipaedia's contributions in the descriptions here)
Related Videos
[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)
![[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)](http://img.classicalclips.com/DcVgraeCOo9GHQ29.jpg "[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)")
From the Bolshoi Theatre 1989. Swan Lake is the very essence of classical ballet and has a rather venerable history of its own. First choreographed in 1877 by the great Marius Petipa for the Bolshoi, this original choreography has since been tweaked by almost every choreographer to get hold of it down through the years. Yuri Grigorovich keeps the general outline of the story of a prince who falls in love with the mythic half-woman, half-swan Odette (only to betray her when she appears to him in disguise as Odile). Grigorovich however added a controversial twist with his inclusion of a psychological dimension to the proceedings: the evil sorcerer cast as the dark twin of the hero-prince. The pearl of this production is undoubtedly Alla Mikhalchenko as Odette-Odile. Her impressive technique and brilliant acting gives the character a new expressive dimension. (Arthaus 100713) More Info.: www.naxos.com
From the Bolshoi Theatre 1989. Swan Lake is the very essence of classical ballet and has a rather venerable history of its own. First choreographed in 1877 by the great Marius Petipa for the Bolshoi, this original choreography has since been tweaked by almost every choreographer to get hold of it down through the years. Yuri Grigorovich keeps the general outline of the story of a prince who falls in love with the mythic half-woman, half-swan Odette (only to betray her when she appears to him in disguise as Odile). Grigorovich however added a controversial twist with his inclusion of a psychological dimension to the proceedings: the evil sorcerer cast as the dark twin of the hero-prince. The pearl of this production is undoubtedly Alla Mikhalchenko as Odette-Odile. Her impressive technique and brilliant acting gives the character a new expressive dimension. (Arthaus 100713) More Info.: www.naxos.com
TCHAIKOVSKY: Swan Lake - Лебединое Озеро
Passing Through: www.youtube.com - Friends, Please visit my Poet friend "Passing Through's" YouTube channel: www.youtube.com , and support him - Thanks :) Valse (Corps de Ballet) Swan Lake (Russian: Лебединое Озеро, Lebedinoye Ozero, Swan Lake) is a ballet by Pyotr Ilyich Tchaikovsky presented in either four Acts, four Scenes (primarily outside Russia and Eastern Europe) or three Acts, four Scenes (primarily in Russia and Eastern Europe), based on a libretto by Vladimir Begichev and (possibly) Vasily Geltser, fashioned from an ancient German legend, which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. It was originally choreographed by Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20). First presented as The Lake of the Swans by the Ballet of the Moscow Imperial Bolshoi Theatre on February 20/March 4, 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented January 15, 1895 at the Imperial Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's kapellmeister Riccardo Drigo. (We appreciate Wikipaedia's contributions in the descriptions here)
Passing Through: www.youtube.com - Friends, Please visit my Poet friend "Passing Through's" YouTube channel: www.youtube.com , and support him - Thanks :) Valse (Corps de Ballet) Swan Lake (Russian: Лебединое Озеро, Lebedinoye Ozero, Swan Lake) is a ballet by Pyotr Ilyich Tchaikovsky presented in either four Acts, four Scenes (primarily outside Russia and Eastern Europe) or three Acts, four Scenes (primarily in Russia and Eastern Europe), based on a libretto by Vladimir Begichev and (possibly) Vasily Geltser, fashioned from an ancient German legend, which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. It was originally choreographed by Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20). First presented as The Lake of the Swans by the Ballet of the Moscow Imperial Bolshoi Theatre on February 20/March 4, 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented January 15, 1895 at the Imperial Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's kapellmeister Riccardo Drigo. (We appreciate Wikipaedia's contributions in the descriptions here)
Max Kayser , violin 1955 Tchaikovsky: Serenade Melancolique
Max Kayser , violin ; FFB Sinfonieorchester Berlin , Wilhelm Schüchter, dirigent. Peter Ilyich Tchaikovsky: Serenade Melancolique, Op. 26 for Violin and Orchestra . Imperial 45 RPM record. I've transferred it myself. Imperial was a budget sub-label of EMI, marketed at the European continent, Germany especially. They started ambitiously in 1954, and recorded the core repertoire in rapid succession. Kayser, later in his live the violinist in the Gobel trio Berlin, was one of the young artists recording for Imperial. His 10# LP of Bruch's violin concerto is a well sought item among record collectors, This Serenade was recorded around 1955. 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!
Max Kayser , violin ; FFB Sinfonieorchester Berlin , Wilhelm Schüchter, dirigent. Peter Ilyich Tchaikovsky: Serenade Melancolique, Op. 26 for Violin and Orchestra . Imperial 45 RPM record. I've transferred it myself. Imperial was a budget sub-label of EMI, marketed at the European continent, Germany especially. They started ambitiously in 1954, and recorded the core repertoire in rapid succession. Kayser, later in his live the violinist in the Gobel trio Berlin, was one of the young artists recording for Imperial. His 10# LP of Bruch's violin concerto is a well sought item among record collectors, This Serenade was recorded around 1955. 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!
Pyotr Ilyich Tchaikovsky: Swan Lake
www.encognitive.com Swan Lake (Russian Лебединое Озеро, Lebedinoye Ozero) is a ballet, first presented in four acts, Opus 20, by Pyotr Tchaikovsky. The scenario was worked out by Vladimir Begichev and Vasiliy Geltser, fashioned from Russican folk tales[1] and an ancient German legend, which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20), composed 1875-1876. The ballet received its premiere on February 27, 1877 at the Bolshoy Theatre in Moscow as The Lake of the Swans. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on January 15, 1895 at the Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. en.wikipedia.org
www.encognitive.com Swan Lake (Russian Лебединое Озеро, Lebedinoye Ozero) is a ballet, first presented in four acts, Opus 20, by Pyotr Tchaikovsky. The scenario was worked out by Vladimir Begichev and Vasiliy Geltser, fashioned from Russican folk tales[1] and an ancient German legend, which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20), composed 1875-1876. The ballet received its premiere on February 27, 1877 at the Bolshoy Theatre in Moscow as The Lake of the Swans. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on January 15, 1895 at the Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. en.wikipedia.org
Vitaly Pisarenko plays Standchen (Serenade) by Schubert/Liszt
Vitaly Pisarenko, Winner of the 8th International Franz Liszt Piano Competition of Utrecht, The Netherlands plays Standchen (Serenade) by Schubert/Liszt. This was his encore after recieving the First Prize during the Final Gala evening of the Liszt Competition in April 2008 in Utrecht. Recording by NPS television.
Vitaly Pisarenko, Winner of the 8th International Franz Liszt Piano Competition of Utrecht, The Netherlands plays Standchen (Serenade) by Schubert/Liszt. This was his encore after recieving the First Prize during the Final Gala evening of the Liszt Competition in April 2008 in Utrecht. Recording by NPS television.
Schubert Serenade (arr. Liszt) Piano Tutorial SLOW
Request from Vietnam. This goes with the at Tempo version. Schubert's beautiful Serenade was written in 1826. It was originally composed for alto solo and male chorus, and was subsequently rearranged for female voices only. This transcription is by Franz Liszt. www.youtube.com Monkey See Monkey Do Piano monkeyseemonkeydopiano.web.officelive.com
Request from Vietnam. This goes with the at Tempo version. Schubert's beautiful Serenade was written in 1826. It was originally composed for alto solo and male chorus, and was subsequently rearranged for female voices only. This transcription is by Franz Liszt. www.youtube.com Monkey See Monkey Do Piano monkeyseemonkeydopiano.web.officelive.com
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.
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.
-----
"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.
Cavatina performed by Xue-fei Yang
This beautiful classical guitar piece is composed by Stanley Myers, and is the theme from the movie "Deer Hunter".
The guitar recording featured in the movie was performed by one of the greatest guitarist in the world - John Williams.
Guitar tablature: http://www.classtab.org/smcavati.txt
This beautiful classical guitar piece is composed by Stanley Myers, and is the theme from the movie "Deer Hunter".The guitar recording featured in the movie was performed by one of the greatest guitarist in the world - John Williams.
Guitar tablature: http://www.classtab.org/smcavati.txt
Fanfare for the Common Man Aaron Copland
WOODY HERMAN and the THUNDERING HERD
Nice, France July 1979
arrangement by Gary Anderson
Woody Herman-soprano sax
Frank Tiberi-cowbell
Dick Mitchell-flute, tenor sax
Bob Belden-tenor sax
Gary Smulyan-bari sax
Joe Rodriguez, Tim Burke, Bill Stapleton, Jim Powell, Bill Byrne-trumpets
Birch Johnson, Nelson Hind, Larry Shunk-trombones
Dave LaLama-electric piano
Dave Laroca-electric bass
Bobby Leonard-drums
WOODY HERMAN and the THUNDERING HERDNice, France July 1979
arrangement by Gary Anderson
Woody Herman-soprano sax
Frank Tiberi-cowbell
Dick Mitchell-flute, tenor sax
Bob Belden-tenor sax
Gary Smulyan-bari sax
Joe Rodriguez, Tim Burke, Bill Stapleton, Jim Powell, Bill Byrne-trumpets
Birch Johnson, Nelson Hind, Larry Shunk-trombones
Dave LaLama-electric piano
Dave Laroca-electric bass
Bobby Leonard-drums
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.
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.
Bach's Concerto for 2 Violins, Strings and Continuo in D minor - BWV 1043
Kirk Hunter and Loretta Zarlenga perform the 1st movement of the Bach Double Violin Concerto.
Kirk Hunter and Loretta Zarlenga perform the 1st movement of the Bach Double Violin Concerto.
Bach's Concerto for 2 Violins, Strings and Continuo in D minor, BWV 1043 - 2nd Movement
Kirk Hunter and Loretta Zarlenga perform the 2nd movement of the Bach Double Violin Concerto in D minor.
Kirk Hunter and Loretta Zarlenga perform the 2nd movement of the Bach Double Violin Concerto in D minor.
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Americas Got Talent - Jackie Evancho 10 Opera Singer
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.
Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
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
Beethoven Symphony No. 3 in E-flat Major, Op. 55 - 1st Movement
Leonard Bernstein and the New York Philharmonic perform Allegro con brio from Beethoven's 3rd Symphony.
Leonard Bernstein and the New York Philharmonic perform Allegro con brio from Beethoven's 3rd Symphony.
Beethoven Symphony No. 4 in B-flat Major, Op. 60 - 4th Movement
Audio only - Allegro ma non troppo from Beethoven's 4th Symphony.
Audio only - Allegro ma non troppo from Beethoven's 4th Symphony.
Beethoven's Sonata No. 12 in A-flat Major, Op.26 - 3rd Movement
"Maestoso Andante, marcia funebre sulla morte d'un eroe" from Ludwig van Beethoven's Piano Sonata No. 12, performed by Michelangeli.
"Maestoso Andante, marcia funebre sulla morte d'un eroe" from Ludwig van Beethoven's Piano Sonata No. 12, performed by Michelangeli.
Chopin Nocturne in E flat major, Opus 9 No. 2 by Tzvi Erez, HQ
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Nocturne Opus 9 No. 2 in E flat major on a 1912 Bosendorfer. Better Video Quality. No Commentary. Recorded 2003. P & C Niv Classical Records. www.nivmusic.com
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Nocturne Opus 9 No. 2 in E flat major on a 1912 Bosendorfer. Better Video Quality. No Commentary. Recorded 2003. P & C Niv Classical Records. www.nivmusic.com
Allegretto from Piano Sonata No. 17 in D minor, Op. 31, No. 2 - Beethoven
Beethoven's "Tempest Sonata", played by Wilhelm Kempff.
Beethoven's "Tempest Sonata", played by Wilhelm Kempff.
Beethoven Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" - 3rd Movement
Allegro ma non troppo from Beethoven's Piano Sonata in F minor. Rehearsal run before recital in Musikverein, Vienna.
Allegro ma non troppo from Beethoven's Piano Sonata in F minor. Rehearsal run before recital in Musikverein, Vienna.
Beethoven Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" - 2nd Movemen
Andante con moto from Beethoven's Piano Sonata in F minor. Rehearsal run before recital in Musikverein, Vienna.
Andante con moto from Beethoven's Piano Sonata in F minor. Rehearsal run before recital in Musikverein, Vienna.
Brandenburg Concerto No. 3 - Allegro Moderato - BWV 1048
The Freiburg Baroque Orchestra plays J.S. Bach's Allegro Moderato from the Brandenburg Concerto No. 3.
The Freiburg Baroque Orchestra plays J.S. Bach's Allegro Moderato from the Brandenburg Concerto No. 3.
Fauré - Requiem (Op. 48) - Pie Jesu
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
Cello Concerto in B flat Major, G.482 - I. Allegro moderato
Young cellist, Stéphane Tétreault (13 years old) plays the 1st Movement of Luigi Boccherini's Cello Concerto in B flat Major, G.482 with I Musici de Montréal Chamber Orchestra led by Yuli Turovsky on April 1, 2007 www.stephanetetreault.com
Young cellist, Stéphane Tétreault (13 years old) plays the 1st Movement of Luigi Boccherini's Cello Concerto in B flat Major, G.482 with I Musici de Montréal Chamber Orchestra led by Yuli Turovsky on April 1, 2007 www.stephanetetreault.com
Boccherini - Cello Concerto in D Major G483 - Mov. 1/3
LUIGI BOCCHERINI (1743-1805) Concerto for cello and orchestra in D major G483 1. Allegro maestoso Performed by Pulcinella Featuring Ophelie Gaillard, cello
LUIGI BOCCHERINI (1743-1805) Concerto for cello and orchestra in D major G483 1. Allegro maestoso Performed by Pulcinella Featuring Ophelie Gaillard, cello
