Anderson & Roe Piano Duet play "BLUE DANUBE FANTASY"

Classical music composed by Johann Strauss II www.andersonroe.com | "A New Account of the Blue Danube Waltzes," composed and performed by the Anderson & Roe Piano Duo Camera work Estelle Choi, Yalin Chi, Greg Anderson, Elizabeth Roe Watch the outtakes in the video response section below! In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-) Be sure to watch for: * The choreography of our hands. We wanted to show the similarity between four hands playing together on a piano and four feet on a dance floor. Be sure to listen for: * The musical combining of themes. At times, melodies are layered atop one another, most notably at the climax. Believe it or not, seven melodies from throughout the piece are being played simultaneously (7:49 - 8:10), a real compositional feat! The sheet music for this arrangement is for sale. Visit www.andersonroe.com to instantly purchase a PDF of the score! Or you can purchase the sheet music on amazon.com : www.amazon.com Both the piece and the video are featured on the Anderson & Roe Piano Duo's debut album, "Reimagine." Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of ...

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Anderson & Roe Piano Duo play "LIBERTANGO" (Piazzolla)

www.andersonroe.com | Anderson & Roe play their own arrangement of Astor Piazzolla's "Libertango." * Camera work Ming Wang, Greg Anderson, Elizabeth Roe * Teacher's voice: Estelle Choi A performance of this piece is featured on the Anderson & Roe Piano Duo debut album, "Reimagine!" Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of Stravinsky's 'Rite of Spring,' and a bonus DVD of music videos. Buy it today on CD Baby (cdbaby.com ), Amazon, iTunes, and DigStation. WATCH the REIMAGINE "TRAILER" here: youtube.com .

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Donal Fox Plays T.J. Anderson Concerto

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A Clockwork Orange - Extended Theme & Title Music

Originally written more than 315 years ago by the great English composer Henry Purcell (1659 - 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) - This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film "A Clockwork Orange" which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven's Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie, Land of Hope and Glory, and the well-known 1st and 4th Pomp and Circumstance Marches composed by Sir Edward Elgar. Wendy Carlos has been one of my musical inspirations and role models since my teenage years with her revolutionary & futuristic Moog Synthesizer adaptations that include "Switched-on-Bach" from way back in 1968, and of course the highly creative soundtrack for "A Clockwork Orange". And Congratulations to Wendy Carlos on her 70th Birthday on 14th November 2009! More info on musical genius & composer Wendy Carlos at: www.wendycarlos.com This very personal interpretation and improvised extension of Henry Purcell's - "Music for the Funeral March & Procession of Queen Mary" (1694) is performed on a vintage 1990s Technics PR60 Electronic ...

Carnival of the Animals - Introduction & Lion

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HD: Mozart's SONATA for TWO PIANOS - Anderson & Roe

www.andersonroe.com | We had trouble uploading files that worked well in both normal quality and high definition settings, so we uploaded two different files. Please select the version that works best for you. Thank you for your patience! To watch in high definition Please click "WATCH IN HD" below the video. If you prefer faster loading time, PLEASE DO NOT WATCH THIS COPY OF THE VIDEO. Watch this video instead: www.youtube.com *** Music: Sonata in D major for Two Pianos, K. 448 -- Allegro con spirito -- composed by Wolfgang Amadeus Mozart *** Pianists: Greg Anderson & Elizabeth Joy Roe *** Venue: Morse Recital Hall at Sprague Hall at the Yale School of Music *** Direction: The Anderson & Roe Piano Duo *** Camera Work: Carl Berdahl, Greg Anderson, and Elizabeth Joy Roe *** Audio Engineer: Eugene Kimball *** Video Editing: Greg Anderson *** Piano Technician: William Harold *** Concept: The Anderson & Roe Piano Duo www.andersonroe.com . .

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 â€” 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.

Argerich plays Tchaikovsky Piano Concerto Part 1

Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.

Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida

Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.
A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989

Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.

It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.

1. Allegro, in E flat major and common (C) time

2. Andantino, in C minor and 3/4 time

3. Rondo (Presto), in E flat major and 2/2 time

Dawn Chan notes:

Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."

update--

thanks to Laemmerhirt, I moved past my old sources and got some new info!

Christopher H. Gibbs wrote in 2005:

WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.

Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars ThÃ©odore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"

In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamyâ€”she does not appear to have been a professional musician, though clearly Mozart admired her playingâ€”Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."

The Next Mozart 6-Year Old Piano Prodigy Wows All

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Saverio Mercadante - Il Bravo, ossia La veneziana (1839) - Duet/Scen

Mercadante composed "Il bravo" between 1838 and 1839, not without difficulty, as he had problems with finding a reliable librettist, going through Bindocci, soon replaced with Gaetano Rossi and later on with Marcelliano who, on the composer's demand, was supervised by Felice Romani. The work was written for Domenico Donzelli (nearing the end of an illustrious career) and premiered with an excellent cast (headed by Schoberlechner, the first Elaisa). The success of the opening night at la Scala on the 9th of March, 1839, was complete. No. 4. Duet for Pisani and Carlo. The present piece is one of the most unstraightforward of the whole opera, developing in a style of an intense dialogue between the two characters, interspersed with passionate ariosos and only two actual concentrated passages. The scene opens with a narrative verse for Pisani who recounts to a skeptical Carlo the story of his love for Violetta. Carlo, in a perfect dramatic touch, does not answer the young man in the same melody. Instead, a hurried discussion breaks between the two men, as Carlo finally realizes that Pisani is searching for Il Bravo, in hope of attaining his help in saving Violetta, a desire that Carlo tries to denounce but an affecting appeal by Pisani, asking the older man if had ever lost someone ("a lover, a mother, a father"), leads to a sudden break in the musical flow, as Carlo is reminded of the reason for his tormented soul; however, he tries to hide his sorrow and turns to Pisani ...

Live: Moonlight - Classical Guitar Duet

download, www.joeno1.net contact Joe, www.joeno1.net Donate: j.mp

JC Bach - Duet for Two Pianos in G Major - Mov. 1/2

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Johann Strauss II - The Blue Danube Waltz

Title : Johann Strauss II , The Blue Danube Waltz
Date : 1867

From Wikipedia,The Blue Danube is the common English title of An der schÃ¶nen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener MÃ¤nnergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!"

The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion.

The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs.

It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody.

The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.

Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated.

A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key.

After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer.

The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.

The Blue Danube - Andre Rieu

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Title : Johann Strauss II , The Blue Danube Waltz Date : 1867 From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!" The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion. The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs. It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan ...

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