Sure on This Shining Night - Samuel Barber
- Classical music composed by Samuel Barber Choral performance of Samuel Barber's "Sure on This Shining Night".
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"Sure On This Shining Night" by Samuel Barber - Visual Score
"Sure On This Shining Night", Op. 13, No. 3, written and arranged for choir by Samuel Barber. Performed by The Joyful Company of Singers conducted by Peter Broadbent with Anthony Saunders at the piano.
"Sure On This Shining Night", Op. 13, No. 3, written and arranged for choir by Samuel Barber. Performed by The Joyful Company of Singers conducted by Peter Broadbent with Anthony Saunders at the piano.
"Sure On This Shining Night" by Samuel Barber
Maria Fasciano sings "Sure On This Shining Night" by Samuel Barber
Maria Fasciano sings "Sure On This Shining Night" by Samuel Barber
Hidden treasures - Georg Philip Telemann - Ouverture burlesque (1717
History (based on the Grove Dictionary of Music): The history of classical music, like any other art form, is hinged upon a myriad of over-amplified legends and ironic twists of fate. Georg Philip Telemann (1681-1767) is a striking example of the latter: virtually forgotten in the 19th century and rediscovered only in recent times, the composer's contemporaries were virtually unanimous in counting Telemann among the best composers of his time, comparing him favorably to composers of his own generation, namely Bach and Handel, and even writing, after his death, that "his name is his eulogy". Though showing signs of a great talent at an early age, Telemann was pushed by his family toward studying law, but even in his university career at Leipzig he gravitated toward music. After his efforts to conceal his musical gifts from the other students were confounded by a room-mate discovering a setting of Psalm VI that had somehow found its way into his luggage, Telemann's musical career went on almost without obstacle to the highest degree of excellence... Let us consider, however, the genesis of the presented work. Little is actually known about the time, place or occasion in which the "Ouverture burlesque" was written, as the work was not published in Telemann's time. However, its patina of Francophone grace is undoubtedly the result of the composer's first extended project. Telemann left Leipzig by early June 1705 to become Kapellmeister to Count Erdmann II of Promnitz at Sorau <b>...</b>
History (based on the Grove Dictionary of Music): The history of classical music, like any other art form, is hinged upon a myriad of over-amplified legends and ironic twists of fate. Georg Philip Telemann (1681-1767) is a striking example of the latter: virtually forgotten in the 19th century and rediscovered only in recent times, the composer's contemporaries were virtually unanimous in counting Telemann among the best composers of his time, comparing him favorably to composers of his own generation, namely Bach and Handel, and even writing, after his death, that "his name is his eulogy". Though showing signs of a great talent at an early age, Telemann was pushed by his family toward studying law, but even in his university career at Leipzig he gravitated toward music. After his efforts to conceal his musical gifts from the other students were confounded by a room-mate discovering a setting of Psalm VI that had somehow found its way into his luggage, Telemann's musical career went on almost without obstacle to the highest degree of excellence... Let us consider, however, the genesis of the presented work. Little is actually known about the time, place or occasion in which the "Ouverture burlesque" was written, as the work was not published in Telemann's time. However, its patina of Francophone grace is undoubtedly the result of the composer's first extended project. Telemann left Leipzig by early June 1705 to become Kapellmeister to Count Erdmann II of Promnitz at Sorau <b>...</b>
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
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...
Summertime - Piano Improvisation
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.
Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
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.
What Child is This Classical Guitar
guitarharrisy.blogspot.com What Child is this who, laid to rest On Mary's lap is sleeping? Whom Angels greet with anthems sweet, While shepherds watch are keeping? [CHORUS] This, this is Christ the King, Whom shepherds guard and Angels sing; Haste, haste, to bring Him laud, The Babe, the Son of Mary. Why lies He in such mean estate, Where ox and ass are feeding? Good Christians, fear, for sinners here The silent Word is pleading. [CHORUS] Nails, spear shall pierce Him through, The cross be borne for me, for you. Hail, hail the Word made flesh, The Babe, the Son of Mary. [CHORUS] So bring Him incense, gold and myrrh, Come peasant, king to own Him; The King of kings salvation brings, Let loving hearts enthrone Him. [CHORUS] Raise, raise a song on high, The virgin sings her lullaby. Joy, joy for Christ is born, The Babe, the Son of Mary.
guitarharrisy.blogspot.com What Child is this who, laid to rest On Mary's lap is sleeping? Whom Angels greet with anthems sweet, While shepherds watch are keeping? [CHORUS] This, this is Christ the King, Whom shepherds guard and Angels sing; Haste, haste, to bring Him laud, The Babe, the Son of Mary. Why lies He in such mean estate, Where ox and ass are feeding? Good Christians, fear, for sinners here The silent Word is pleading. [CHORUS] Nails, spear shall pierce Him through, The cross be borne for me, for you. Hail, hail the Word made flesh, The Babe, the Son of Mary. [CHORUS] So bring Him incense, gold and myrrh, Come peasant, king to own Him; The King of kings salvation brings, Let loving hearts enthrone Him. [CHORUS] Raise, raise a song on high, The virgin sings her lullaby. Joy, joy for Christ is born, The Babe, the Son of Mary.
Edith Mathis - WA Mozart "Exsultate, jubilate" (Part l) Allegro
WA Mozart "Exsultate, jubilate" (Part l) Allegro Edith Mathis - Soprano Bernhard Klee - Conductor Staatskapelle Dresden Paintings: Philipp Otto Runge (1977 - 1810) Special thanks to fj5a017 for his kind advice about Philipp Otto Runge Philipp Otto Runge was born on July 23, 1777 as the ninth of ten children in Wolgast (West Pomerania). His parents, the shipping company owner and merchant Daniel Nicolas Runge and Magdalena Dorothea Runge were wealthy protestant townspeople. As a boy Runge was often ill. At the Wolgast town school, which he attended from 1789, he was intellectually challenged by his teacher Gotthard Ludwig Kosegarten, who introduced him to 'Sturm und Drang' and Classical literature and philosophy. After school, where his artistic talent had already been identified by Kosegarten, Runge began an apprenticeship as a merchant in Hamburg in 1795. His brother Daniel introduced him to young poets and art lovers in Hamburg. From 1797 Philipp Otto Runge took drawing lessons under Joachim Herterich. His yearning to become a painter grew. He received instructions in drawing from Gert Hardorff the Elder and in oil painting from Dietrich Eckhart. From 1799 he studied at the Copenhagen art academy. During his studies Runge met Friderike Brun, who considerably influenced Runge with her art collection and her circle of friends. In 1801, towards the end of his studies, Philipp Otto Runge returned to Wolgast. In Greifswald, he met Caspar David Friedrich in person, but in <b>...</b>
WA Mozart "Exsultate, jubilate" (Part l) Allegro Edith Mathis - Soprano Bernhard Klee - Conductor Staatskapelle Dresden Paintings: Philipp Otto Runge (1977 - 1810) Special thanks to fj5a017 for his kind advice about Philipp Otto Runge Philipp Otto Runge was born on July 23, 1777 as the ninth of ten children in Wolgast (West Pomerania). His parents, the shipping company owner and merchant Daniel Nicolas Runge and Magdalena Dorothea Runge were wealthy protestant townspeople. As a boy Runge was often ill. At the Wolgast town school, which he attended from 1789, he was intellectually challenged by his teacher Gotthard Ludwig Kosegarten, who introduced him to 'Sturm und Drang' and Classical literature and philosophy. After school, where his artistic talent had already been identified by Kosegarten, Runge began an apprenticeship as a merchant in Hamburg in 1795. His brother Daniel introduced him to young poets and art lovers in Hamburg. From 1797 Philipp Otto Runge took drawing lessons under Joachim Herterich. His yearning to become a painter grew. He received instructions in drawing from Gert Hardorff the Elder and in oil painting from Dietrich Eckhart. From 1799 he studied at the Copenhagen art academy. During his studies Runge met Friderike Brun, who considerably influenced Runge with her art collection and her circle of friends. In 1801, towards the end of his studies, Philipp Otto Runge returned to Wolgast. In Greifswald, he met Caspar David Friedrich in person, but in <b>...</b>
Benjamin Zander: Classical music with shining eyes
www.ted.com Benjamin Zander has two infectious passions classical music, and helping us all realize our untapped love for it -- and by extension, our untapped love for all new possibilities, new experiences, new connections.TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes. TED stands for Technology, Entertainment, Design, and TEDTalks cover these topics as well as science, business, development and the arts. Closed captions and translated subtitles in a variety of languages are now available on TED.com, at www.ted.com Follow us on Twitter www.twitter.com Checkout our Facebook page for TED exclusives www.facebook.com
www.ted.com Benjamin Zander has two infectious passions classical music, and helping us all realize our untapped love for it -- and by extension, our untapped love for all new possibilities, new experiences, new connections.TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes. TED stands for Technology, Entertainment, Design, and TEDTalks cover these topics as well as science, business, development and the arts. Closed captions and translated subtitles in a variety of languages are now available on TED.com, at www.ted.com Follow us on Twitter www.twitter.com Checkout our Facebook page for TED exclusives www.facebook.com
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
Last Night Proms - Joshua Bell - Estrellita
Joshua Bell performing Estrellita by Ponce, arr. Heifetz at Royal Albert Hall during Last Night of the Proms 2007
Joshua Bell performing Estrellita by Ponce, arr. Heifetz at Royal Albert Hall during Last Night of the Proms 2007
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
Sumi Jo - Verdi - La Traviata - Violetta - Sempre Libera
"Ah! Fors'e lui"
"Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
"Ah! Fors'e lui""Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
Maria Callas - La Traviata
Maria Callas (1923-1977)
Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Maria Callas (1923-1977)Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
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
First Movement from Piano Sonata in E-flat minor - Samuel Barber
Visual score with Vladimir Horowitz' recording of the first movement from Samuel Barber's Piano Sonata in E-flat minor.
Visual score with Vladimir Horowitz' recording of the first movement from Samuel Barber's Piano Sonata in E-flat minor.
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.
"Pas de Deux" from Souvenirs, Op. 28 - Samuel Barber
The Anderson & Roe Piano Duo perform Samuel Barber's "Pas de Deux" from Souvenirs, Op. 28.
The Anderson & Roe Piano Duo perform Samuel Barber's "Pas de Deux" from Souvenirs, Op. 28.
Rossini - The Barber of Seville - Figaros Aria
The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Pierre Beaumarchais's comedy Le Barbier de Seville) by Cesare Sterbini. The overture, first written for Aureliano in Palmira, is a famous instance of Rossini's characteristic Italian style.
The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Pierre Beaumarchais's comedy Le Barbier de Seville) by Cesare Sterbini. The overture, first written for Aureliano in Palmira, is a famous instance of Rossini's characteristic Italian style.
