Romeo and Juliet by Sergei Prokofiev
- Classical music composed by Sergei Prokofiev An experiment with music - ballet szenes - flowers
Related Videos
Prokofiev: Romeo and Juliet - Montagues and Capulets, Dance Of The K
Great piece, maybe my favourite out of all Prokofiev's music. Montagues and Capulets also known as Dance of the Knights is a score composed by Sergei Prokofiev. It is from Act I, Scene 2 of the ballet Romeo and Juliet. A dark and atmospheric piece, it has become a de facto signature tune for the Soviet era, and is used as the soundtrack for numerous dramas, documentaries and adverts that have Soviet subject matter. It was used as the background music in a popular 1990s French commercial for Chanel's Egoiste fragrance, and it was the competition music for the Canadian television mockumentary Kenny vs. Spenny. The piece has also been used as the theme score for the English football club Sunderland who play at the Stadium of Light in order to evoke a stirring mood before kick-off and to trouble the nerves of visiting opponents. Since the stadium opened in 1997, Dance of the Knights is played, in full, before the teams walk out onto the pitch before the game. The use of the piece in this context saw interest in Prokofiev's Romeo and Juliet rise sharply in the North-East of England toward the end of the 1990s.[citation needed] Furthermore, this composition is used as title music for the movie Caligula. The German Technical Death Metal band Necrophagist uses a portion of this piece at the end of their song Only Ash Remains. It is also used in the song 'Lords of Bedlam' by the Austrian symphonic death metal band Hollenthon. The Smiths would also famously come on stage to the <b>...</b>
Great piece, maybe my favourite out of all Prokofiev's music. Montagues and Capulets also known as Dance of the Knights is a score composed by Sergei Prokofiev. It is from Act I, Scene 2 of the ballet Romeo and Juliet. A dark and atmospheric piece, it has become a de facto signature tune for the Soviet era, and is used as the soundtrack for numerous dramas, documentaries and adverts that have Soviet subject matter. It was used as the background music in a popular 1990s French commercial for Chanel's Egoiste fragrance, and it was the competition music for the Canadian television mockumentary Kenny vs. Spenny. The piece has also been used as the theme score for the English football club Sunderland who play at the Stadium of Light in order to evoke a stirring mood before kick-off and to trouble the nerves of visiting opponents. Since the stadium opened in 1997, Dance of the Knights is played, in full, before the teams walk out onto the pitch before the game. The use of the piece in this context saw interest in Prokofiev's Romeo and Juliet rise sharply in the North-East of England toward the end of the 1990s.[citation needed] Furthermore, this composition is used as title music for the movie Caligula. The German Technical Death Metal band Necrophagist uses a portion of this piece at the end of their song Only Ash Remains. It is also used in the song 'Lords of Bedlam' by the Austrian symphonic death metal band Hollenthon. The Smiths would also famously come on stage to the <b>...</b>
Pyotr Ilich Tchaikovsky - Romeo & Juliet Love Theme
Piotr Ilich Chaikovski (en ruso Пётр Ильи́ч Чайко́вский) (Nótese que su patronímico - hijo de Iliá - se pronuncia ilích y no ílich); Vótkinsk, 7 de mayo de 1840 - San Petersburgo, 6 de noviembre de 1893 es uno de los compositores rusos más importantes del siglo XIX. A veces se puede encontrar su nombre transcrito del alfabeto cirílico en versiones similares a la francesa e inglesa (Tchaikovsky) o alemana (Tschaikowski). Biografía Según el calendario gregoriano nació el 7 de mayo de 1840 (en la ciudad rusa de Vótkinsk, centro minero e industrial al este de Moscú, cerca de los montes Urales), en el seno de una familia de origen ucraniano. Según el calendario juliano (que en esa época se seguía empleando en Rusia), nació el 25 de abril. Su padre, Iliá Petróvich, ingeniero minero, trabajaba allí a cargo de una importante mina. También residieron varios años en Alapáevsk. La familia vivía al estilo de los grandes terratenientes de la época, tenía una casa imponente y un gran personal a su servicio. Las fuentes rusas mencionan que incluso tuvo bajo sus órdenes una compañía de cien cosacos. Iliá Petróvich casó en segundas nupcias con Aleksandra Adréyevna d'Assier, una aristócrata de origen francés, bella y refinada. De esta unión nacieron seis hijos, de los que Piotr Ilich fue el segundo. Otras fuentes indican que Chaikovski tuvo cuatro hermanos: Modest, Ippolit, Aleksandra y Anatoli. En sus primeros años tuvo como institutriz a Fanny Dürbach, de origen suizo. Inicialmente esta <b>...</b>
Piotr Ilich Chaikovski (en ruso Пётр Ильи́ч Чайко́вский) (Nótese que su patronímico - hijo de Iliá - se pronuncia ilích y no ílich); Vótkinsk, 7 de mayo de 1840 - San Petersburgo, 6 de noviembre de 1893 es uno de los compositores rusos más importantes del siglo XIX. A veces se puede encontrar su nombre transcrito del alfabeto cirílico en versiones similares a la francesa e inglesa (Tchaikovsky) o alemana (Tschaikowski). Biografía Según el calendario gregoriano nació el 7 de mayo de 1840 (en la ciudad rusa de Vótkinsk, centro minero e industrial al este de Moscú, cerca de los montes Urales), en el seno de una familia de origen ucraniano. Según el calendario juliano (que en esa época se seguía empleando en Rusia), nació el 25 de abril. Su padre, Iliá Petróvich, ingeniero minero, trabajaba allí a cargo de una importante mina. También residieron varios años en Alapáevsk. La familia vivía al estilo de los grandes terratenientes de la época, tenía una casa imponente y un gran personal a su servicio. Las fuentes rusas mencionan que incluso tuvo bajo sus órdenes una compañía de cien cosacos. Iliá Petróvich casó en segundas nupcias con Aleksandra Adréyevna d'Assier, una aristócrata de origen francés, bella y refinada. De esta unión nacieron seis hijos, de los que Piotr Ilich fue el segundo. Otras fuentes indican que Chaikovski tuvo cuatro hermanos: Modest, Ippolit, Aleksandra y Anatoli. En sus primeros años tuvo como institutriz a Fanny Dürbach, de origen suizo. Inicialmente esta <b>...</b>
Romeo & Juliet Fantasy-Overture (Tchaikovsky)
Tchaikovsky wrote this symphonic poem based on William Shakespeare's play of tragic romance, Romeo & Juliet. This is one of my all-time favorite pieces of classical music, and it is the music that introduced me to my all-time favorite composer Tchaikovsky, and well as the music that got me hooked on classical music just two years ago. While making the video to go with this music, I was trying to decide on what to tell the story with picture-wise since good pictures of the Romeo and Juliet plot-line didn't seem to fit with the music that well. After listening to the music a few times through, I discovered that during the length of the piece I could see roses representing the famous love theme and fire representing the turbulent fight scenes between the battling families. In order to tell a story through the music and pictures, I began with the sun rising on peaceful springtime scenes, and the looming foreshadowing of death for the two star-crossed lovers. Then as the strife continues with the Capulets and Montagues, fire is sparked and burns through the rest of the video. As the lovers meet and fall deeply in love, pink, white, and red roses tell their story of bliss. In the end, the lovers meet their deaths; however, their burning love never meets its end. Thus, the story ends with the remaining red rose and the sun setting in the never-ending horizon. Enjoy!
Tchaikovsky wrote this symphonic poem based on William Shakespeare's play of tragic romance, Romeo & Juliet. This is one of my all-time favorite pieces of classical music, and it is the music that introduced me to my all-time favorite composer Tchaikovsky, and well as the music that got me hooked on classical music just two years ago. While making the video to go with this music, I was trying to decide on what to tell the story with picture-wise since good pictures of the Romeo and Juliet plot-line didn't seem to fit with the music that well. After listening to the music a few times through, I discovered that during the length of the piece I could see roses representing the famous love theme and fire representing the turbulent fight scenes between the battling families. In order to tell a story through the music and pictures, I began with the sun rising on peaceful springtime scenes, and the looming foreshadowing of death for the two star-crossed lovers. Then as the strife continues with the Capulets and Montagues, fire is sparked and burns through the rest of the video. As the lovers meet and fall deeply in love, pink, white, and red roses tell their story of bliss. In the end, the lovers meet their deaths; however, their burning love never meets its end. Thus, the story ends with the remaining red rose and the sun setting in the never-ending horizon. Enjoy!
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.
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
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
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.
Montagues & Capulets by Sergei Prokofiev
Montagues & Capulets from the Romeo and Juliet Suite Anthony Feldman, Piano
Montagues & Capulets from the Romeo and Juliet Suite Anthony Feldman, Piano
Sergei Rachmaninoff 's Masterpiece : Ave Maria
Title : Sergei Rachmaninoff 's Masterpiece : Ave Maria
Title : Sergei Rachmaninoff 's Masterpiece : Ave Maria
Sergei Rachmaninoff "Sonata in G Minor for Cello and Piano Op 19 No
Proformed by Yo-Yo Ma and Emanuel Ax . Sergei Vasilievich Rachmaninoff, 1 April 1873 [OS 20 March] 28 March 1943) was a Russian composer, pianist, and conductor. He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism in classical music. Early influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers gave way to a thoroughly personal idiom which included a pronounced lyricism, expressive breadth, structural ingenuity and a tonal palette of rich, distinctive orchestral colors. Understandably, the piano figures prominently in Rachmaninoff's compositional output, either as a solo instrument or as part of an ensemble. He made it a point, however, to use his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works, he revealed a sure grasp of idiomatic piano writing and a striking gift for melody. In some of his early orchestral pieces he showed the first signs of a talent for tone painting, which he would perfect in The Isle of the Dead, and he began to show a similar penchant for vocal writing in two early sets of songs, Opp. 4 and 8. Rachmaninoff's masterpiece, however, is his choral symphony The Bells, in which all of his talents are fused and unified Sergei Rachmaninoff's Cello Sonata in G minor, op. 19, a sonata for cello and piano, was composed in 1901 and published a year later. As typical of sonatas in the Romantic period, it has <b>...</b>
Proformed by Yo-Yo Ma and Emanuel Ax . Sergei Vasilievich Rachmaninoff, 1 April 1873 [OS 20 March] 28 March 1943) was a Russian composer, pianist, and conductor. He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism in classical music. Early influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers gave way to a thoroughly personal idiom which included a pronounced lyricism, expressive breadth, structural ingenuity and a tonal palette of rich, distinctive orchestral colors. Understandably, the piano figures prominently in Rachmaninoff's compositional output, either as a solo instrument or as part of an ensemble. He made it a point, however, to use his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works, he revealed a sure grasp of idiomatic piano writing and a striking gift for melody. In some of his early orchestral pieces he showed the first signs of a talent for tone painting, which he would perfect in The Isle of the Dead, and he began to show a similar penchant for vocal writing in two early sets of songs, Opp. 4 and 8. Rachmaninoff's masterpiece, however, is his choral symphony The Bells, in which all of his talents are fused and unified Sergei Rachmaninoff's Cello Sonata in G minor, op. 19, a sonata for cello and piano, was composed in 1901 and published a year later. As typical of sonatas in the Romantic period, it has <b>...</b>
Sergei Prokofiev plays Prokofiev Small Pieces, op.12
Sergei Prokofiev - Zehn kleine Klavierstücke, Op. 12 1. March 2. Gavotte 3. Rigaudon 7. Prelude 10. Scherzo Recorded for Duo-Art Reproducing Piano Rolls.
Sergei Prokofiev - Zehn kleine Klavierstücke, Op. 12 1. March 2. Gavotte 3. Rigaudon 7. Prelude 10. Scherzo Recorded for Duo-Art Reproducing Piano Rolls.
Richter - Prokofiev's Piano Sonata 2 Op 14 Mvt IV - Vivace
Sviatoslav Richter plays Piano Sonata #2 in D minor, Op. 14 by Prokofiev (Recorded in B/W for telecast in 1964).
Mvt. IV. Vivace
Sviatoslav Richter plays Piano Sonata #2 in D minor, Op. 14 by Prokofiev (Recorded in B/W for telecast in 1964).Mvt. IV. Vivace
S. Prokofiev – Piano Sonata No.1 Op.1 in f minor (Jamina Ger
Jamina Gerl plays S. Prokofiev – Piano Sonata No.1 Op.1 in f minor
Jamina Gerl plays S. Prokofiev – Piano Sonata No.1 Op.1 in f minor
Di Wu plays Brahms, Bach, Debussy, Liszt, and Prokofiev
Di Wu performs excerpts from five classical pieces: -Brahms' Variations on a Theme by Pagannini -Bach's Toccata in F-sharp minor -Debussy's Estampes -Liszt's Sonata in B-minor -Prokofiev's Seventh Sonata, Third Movement
Di Wu performs excerpts from five classical pieces: -Brahms' Variations on a Theme by Pagannini -Bach's Toccata in F-sharp minor -Debussy's Estampes -Liszt's Sonata in B-minor -Prokofiev's Seventh Sonata, Third Movement
Prokofiev Symphony No.1 "Classical" - 4th Movement
Valery GERGIEV conducts Wiener Philharmoniker @ SALZBURGER FESTSPIELE 2000 ワレリー・ゲルギエフ指揮 ウィーンフィルハーモニー管弦楽団 (2000年ザルツブルグ音楽祭)
Valery GERGIEV conducts Wiener Philharmoniker @ SALZBURGER FESTSPIELE 2000 ワレリー・ゲルギエフ指揮 ウィーンフィルハーモニー管弦楽団 (2000年ザルツブルグ音楽祭)
