Gotthilf Fischer in Salzburg - Auf den Spuren von WA Mozart 2003
- Classical music composed by Wolfgang Amadeus Mozart Gotthilf Fischer in Salzburg - Auf den Spuren von WA Mozart 2003 Wolfgang Amadeus Mozart, vollständiger Taufname: Joannes Chrysostomus Wolfgangus Theophilus Mozart (* 27. Januar 1756 in Salzburg; † 5. Dezember 1791 in Wien) war ein Komponist zur Zeit der Wiener Klassik. Sein umfangreiches Werk genießt weltweite Popularität und gehört zu den bedeutendsten im Repertoire der klassischen Musik. Er selbst nannte sich meist Wolfgang Amadé Mozart. Lange Jahre lebte er in seiner Geburtsstadt Salzburg. Nach ihm benannt sind die Mozartkugeln. Wolfgang Amadeus Mozart, full name Johann Chrysostom Wolfgang Amadeus Mozart (27 January 1756 5 December 1791), was a prolific and influential composer of the Classical era. He composed over six hundred works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers. For a long period Mozart lived in his native town Salzburg. The Mozartkugel (English: Mozart ball), originally known as the Mozartbonbon, was created by the Salzburg confectioner, Paul Fürst in 1890 and named after Wolfgang Amadeus Mozart.
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Gotthilf Fischer & Chor - Gefangenenchor aus der Oper Nabucco 2007
Gotthilf Fischer & Chor - Gefangenenchor aus der Oper Nabucco 2007 (vor dem Dom von St. Gallen/Schweiz) A composition by Giuseppe Verdi Gesang der Hebräer in Babylonischer Gefangenschaft: Zieht, Gedanken, auf goldenen Flügeln, Zieht, Gedanken, ihr dürft nicht verweilen! Lasst euch nieder auf sonnigen Hügeln, Dort, wo Zions Türme blicken ins Tal! Um die Ufer des Jordan zu grüßen, Zu den teuren Gestaden zu eilen, Zur verlorenen Heimat, der süßen, Zieht Gedanken, lindert der Knechtschaft Qual! Warum hängst du so stumm an der Weide, Goldene Harfe der göttlichen Seher? Spende Trost, süßen Trost uns im Leide und erzähle von glorreicher Zeit. Singe, Harfe, in Tönen der Klage Von dem Schicksal geschlag'ner Hebräer. Als Verkünd'rin des Ew'gen uns sage: Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda befreit
Gotthilf Fischer & Chor - Gefangenenchor aus der Oper Nabucco 2007 (vor dem Dom von St. Gallen/Schweiz) A composition by Giuseppe Verdi Gesang der Hebräer in Babylonischer Gefangenschaft: Zieht, Gedanken, auf goldenen Flügeln, Zieht, Gedanken, ihr dürft nicht verweilen! Lasst euch nieder auf sonnigen Hügeln, Dort, wo Zions Türme blicken ins Tal! Um die Ufer des Jordan zu grüßen, Zu den teuren Gestaden zu eilen, Zur verlorenen Heimat, der süßen, Zieht Gedanken, lindert der Knechtschaft Qual! Warum hängst du so stumm an der Weide, Goldene Harfe der göttlichen Seher? Spende Trost, süßen Trost uns im Leide und erzähle von glorreicher Zeit. Singe, Harfe, in Tönen der Klage Von dem Schicksal geschlag'ner Hebräer. Als Verkünd'rin des Ew'gen uns sage: Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda vom Joch des Tyrannen befreit Bald wird Juda befreit
Gotthilf Fischer & Chor - Das Lied der Deutschen 2004
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Brahms: Hungarian Dance No. 15 / Fischer · Berliner Philharmoniker
Full-length concert at www.digitalconcerthall.com Johannes Brahms: Hungarian Dance No. 15 (orch. Iván Fischer) / Iván Fischer, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 24 October 2009. The Berliner Philharmoniker's Digital Concert Hall: dch.berliner-phi...
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Robert Schumann - Dichterliebe, Op. 48 Pt 1-4 Fischer-Dieskau Salzbu
I received a kind request (thank you!) to upload some of this performance of Dichterliebe and decided that this would be a perfect presentation to honor Fischer-Dieskau's 84th birthday on May 28. This performance comes from Fischer-Dieskau's debut solo recital at the Salzburg Festival on August 13, 1956. His partner at the piano is Gerald Moore. "Dichterliebe", 'The Poet's Love' (composed 1840), is the best-known song cycle of Robert Schumann (Op. 48). The texts for the 16 songs come from the "Lyrisches Intermezzo" of Heinrich Heine, composed 1822-1823, published as part of the poet's "Das Buch der Lieder". The very natural, almost hyper-sensitive poetical affections of the poems are beautifully mirrored in Schumann's settings, with their miniaturist chromaticism and suspensions. The poet's love is a hothouse of nuanced responses to the delicate language of flowers, dreams and fairy-tales. Schumann adapts the words of the poems to his needs for the songs, sometimes repeating phrases and often rewording a line to supply the desired cadence. Notes from Wikipedia. English translations of the Heine poems by Paul Hindemith. Dichterliebe, Op. 48 Part 1, Songs 1-6 Im wunderschönen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen Die Liebe aufgegangen. Im wunderschönen Monat Mai, Als alle Vögel sangen, Da hab' ich ihr gestanden Mein Sehnen und Verlangen. In the wonderfully beautiful month of May When all the buds are bursting open, There, from my own heart, Bursts <b>...</b>
I received a kind request (thank you!) to upload some of this performance of Dichterliebe and decided that this would be a perfect presentation to honor Fischer-Dieskau's 84th birthday on May 28. This performance comes from Fischer-Dieskau's debut solo recital at the Salzburg Festival on August 13, 1956. His partner at the piano is Gerald Moore. "Dichterliebe", 'The Poet's Love' (composed 1840), is the best-known song cycle of Robert Schumann (Op. 48). The texts for the 16 songs come from the "Lyrisches Intermezzo" of Heinrich Heine, composed 1822-1823, published as part of the poet's "Das Buch der Lieder". The very natural, almost hyper-sensitive poetical affections of the poems are beautifully mirrored in Schumann's settings, with their miniaturist chromaticism and suspensions. The poet's love is a hothouse of nuanced responses to the delicate language of flowers, dreams and fairy-tales. Schumann adapts the words of the poems to his needs for the songs, sometimes repeating phrases and often rewording a line to supply the desired cadence. Notes from Wikipedia. English translations of the Heine poems by Paul Hindemith. Dichterliebe, Op. 48 Part 1, Songs 1-6 Im wunderschönen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen Die Liebe aufgegangen. Im wunderschönen Monat Mai, Als alle Vögel sangen, Da hab' ich ihr gestanden Mein Sehnen und Verlangen. In the wonderfully beautiful month of May When all the buds are bursting open, There, from my own heart, Bursts <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
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.
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
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.
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"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.
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"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.
"MOZART en Salzburgo" : CONCERTO / CONCIERTO n° 21 para piano y o
CONCIERTO PARA PIANO n° 21 Mozart in Salzburg : El concerto para piano N° 21° en do mayor, K 467, de Wolfgang Amadeus Mozart fue completado el 9 de marzo de 1785 y estrenadó un día después, el día 10 de marzo, en el Teatro de la Corte Imperial y Real de Viena, en un concierto promocionado por el mismo Mozart. Este es uno de los conciertos para piano más populares del compositor. Canciónes de amor más bonitas y peliculas / film / trilhas sonoras/soundtrak/banda/band. Love songs. Para bebes para dormir,niños, relajación y embarazada. The most. The best song of , Most beautiful. The very best classical music relaxing in the world. Pianistas clásicos virtuosos más famosos . Relajarse. ORQUESTACIÓN Y ESTRUCTURA : Además del piano solista, la pieza está orquestada para una flauta, oboes, fagotes, trompas (todos estos en pares), tímpano y cuerdas. CONCERT n° 21 for Piano and Orchestra MOZART. Sinfonie, symphone. Music classical relaxing piano. Mozartmania. Está estructurado en tres movimientos : I - Allegro maestroso ; II - Andante y III - Allegro vivace assai. Relax and relaxing music violin. Música de relax y relajación. SALZBURG in Spring / Frühling / Primavera .Recorriendo las calles de la ciudad natal de Mozart y escuchando el concierto N°21 para piano y orquesta (2° Movimiento) por la orquesta de WALDO DE LOS RÍOS, Argentino. Se suicidó en Madrid , víctima de un "amor no correspondido". SALZBURGO, (Austria ,150.000 habitantes).Su nombre oficial en alemán es Salzburg <b>...</b>
CONCIERTO PARA PIANO n° 21 Mozart in Salzburg : El concerto para piano N° 21° en do mayor, K 467, de Wolfgang Amadeus Mozart fue completado el 9 de marzo de 1785 y estrenadó un día después, el día 10 de marzo, en el Teatro de la Corte Imperial y Real de Viena, en un concierto promocionado por el mismo Mozart. Este es uno de los conciertos para piano más populares del compositor. Canciónes de amor más bonitas y peliculas / film / trilhas sonoras/soundtrak/banda/band. Love songs. Para bebes para dormir,niños, relajación y embarazada. The most. The best song of , Most beautiful. The very best classical music relaxing in the world. Pianistas clásicos virtuosos más famosos . Relajarse. ORQUESTACIÓN Y ESTRUCTURA : Además del piano solista, la pieza está orquestada para una flauta, oboes, fagotes, trompas (todos estos en pares), tímpano y cuerdas. CONCERT n° 21 for Piano and Orchestra MOZART. Sinfonie, symphone. Music classical relaxing piano. Mozartmania. Está estructurado en tres movimientos : I - Allegro maestroso ; II - Andante y III - Allegro vivace assai. Relax and relaxing music violin. Música de relax y relajación. SALZBURG in Spring / Frühling / Primavera .Recorriendo las calles de la ciudad natal de Mozart y escuchando el concierto N°21 para piano y orquesta (2° Movimiento) por la orquesta de WALDO DE LOS RÍOS, Argentino. Se suicidó en Madrid , víctima de un "amor no correspondido". SALZBURGO, (Austria ,150.000 habitantes).Su nombre oficial en alemán es Salzburg <b>...</b>
1966 Salzburg Festival "Le Nozze di Figaro" cinque dieci venti tre
1966 Salzburg Festival "Le Nozze di Figaro" -cinque dieci venti trenta - Retitativo - Se vuol ballare Conductor - Karl Böhm Figaro - Walter Berry Susanna - Reri Grist Performance on 11/08/1968 -Salzburg Festival (part 2)- Post World War II Festivals The post-war festival slowly regained its prominence as the premier summer opera festival, especially in works by Mozart, with conductor Herbert von Karajan becoming artistic director in 1956. In 1960 the Great Festival Hall (Großes Festspielhaus) opera house opened its doors. As this summer festival gained fame and stature as the premier venue for opera, drama, and classical concert presentation, its musical repertoire concentrated on Mozart and Strauss, but other works, such as Verdi's Falstaff and Beethoven's Fidelio, were also performed. Upon Karajan's death in 1989, the festival was modernized by director Gerard Mortier, succeeded by Peter Ruzicka in 2001. In 2006, Salzburg celebrated the 250th anniversary of Mozart's birth by staging all 22 of his operatic works (including two unfinished operas), to great acclaim. All 22 were filmed and were released to the general public in November 2006. Since 2006 the festival is led by intendant Jürgen Flimm and concert director Markus Hinterhäuser. Alexander Pereira is scheduled to succeed Flimm, future director of the Berlin State Opera, after the 2011 summer festival. Salzburg Whitsun Festival The Salzburg Whitsun Festival (Salzburger Pfingstfestspiele) is an extension of the <b>...</b>
1966 Salzburg Festival "Le Nozze di Figaro" -cinque dieci venti trenta - Retitativo - Se vuol ballare Conductor - Karl Böhm Figaro - Walter Berry Susanna - Reri Grist Performance on 11/08/1968 -Salzburg Festival (part 2)- Post World War II Festivals The post-war festival slowly regained its prominence as the premier summer opera festival, especially in works by Mozart, with conductor Herbert von Karajan becoming artistic director in 1956. In 1960 the Great Festival Hall (Großes Festspielhaus) opera house opened its doors. As this summer festival gained fame and stature as the premier venue for opera, drama, and classical concert presentation, its musical repertoire concentrated on Mozart and Strauss, but other works, such as Verdi's Falstaff and Beethoven's Fidelio, were also performed. Upon Karajan's death in 1989, the festival was modernized by director Gerard Mortier, succeeded by Peter Ruzicka in 2001. In 2006, Salzburg celebrated the 250th anniversary of Mozart's birth by staging all 22 of his operatic works (including two unfinished operas), to great acclaim. All 22 were filmed and were released to the general public in November 2006. Since 2006 the festival is led by intendant Jürgen Flimm and concert director Markus Hinterhäuser. Alexander Pereira is scheduled to succeed Flimm, future director of the Berlin State Opera, after the 2011 summer festival. Salzburg Whitsun Festival The Salzburg Whitsun Festival (Salzburger Pfingstfestspiele) is an extension of the <b>...</b>
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.
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
Schubert: Hirtenchor "Hier Auf Den Fluren" from Rosamunde D797
David Alexander Rahbee, conductor. Franz Schubert: Hirtenchor "Hier Auf Den Fluren" from Rosamunde D797
David Alexander Rahbee, conductor. Franz Schubert: Hirtenchor "Hier Auf Den Fluren" from Rosamunde D797
Carl Maria von Weber - Was gleicht wohl auf Erden dem Jägervergnüg
A chorus from a great romantic opera Der Freischütz.
A chorus from a great romantic opera Der Freischütz.
3/6 Ohne Aufenthalt Polka schnell 2011 New Year's Concert Vienna, E
CD and DVD from this concert and tickets for next years to order: www.wienerphilharmoniker.at On January 1, 2011, Franz Welser-Möst takes up the baton for the annual Vienna Philharmonic New Year's Concert, which in terms of its international coverage represents the largest classical music event in the world. This year's concert will once again be broadcast on television and radio to over 70 countries worldwide. The CD recording of this concert will be released on January 7th, with the release of the DVD following one week later on January 14th. The Blu-ray disc will be released on February 11th. All of these recordings can now be ordered here at the Vienna Philharmonic E-Shop. Großer Musikvereinssaal in Vienna Dirigent: Franz Welser-Möst. Johann Strauß: Reiter Marsch, op. 428 Johann Strauß: Donauweibchen, Walzer, op. 427 Johann Strauß: Amazonen Polka, op. 9 Johann Strauß: Debut-Quadrille, op. 2 Joseph Lanner: Die Schönbrunner, Walzer, op. 200 Johann Strauß: Mutig voran!, Polka schnell, op. 432 Johann Strauß: Csárdás aus "Ritter Pasman" Johann Strauß: Abschiedsrufe, Walzer, op 179 Johann Strauß (Vater): Furioso-Galopp nach Liszts Motiven, op. 114 Franz Liszt: Mephisto-Walzer 1 Josef Strauß: Aus der Ferne, Polka Mazur, op. 270 Johann Strauß: Spanischer Marsch, op. 433 Joseph Hellmesberger: Zigeunertanz aus "Die Perle von Iberien" Johann Strauß (Vater): Cachucha Galopp, op. 97 Joseph Strauß: Mein Lebenslauf ist Lieb und Lust, Walzer, op. 263 Eduard Strauß: Ohne Aufenthalt <b>...</b>
CD and DVD from this concert and tickets for next years to order: www.wienerphilharmoniker.at On January 1, 2011, Franz Welser-Möst takes up the baton for the annual Vienna Philharmonic New Year's Concert, which in terms of its international coverage represents the largest classical music event in the world. This year's concert will once again be broadcast on television and radio to over 70 countries worldwide. The CD recording of this concert will be released on January 7th, with the release of the DVD following one week later on January 14th. The Blu-ray disc will be released on February 11th. All of these recordings can now be ordered here at the Vienna Philharmonic E-Shop. Großer Musikvereinssaal in Vienna Dirigent: Franz Welser-Möst. Johann Strauß: Reiter Marsch, op. 428 Johann Strauß: Donauweibchen, Walzer, op. 427 Johann Strauß: Amazonen Polka, op. 9 Johann Strauß: Debut-Quadrille, op. 2 Joseph Lanner: Die Schönbrunner, Walzer, op. 200 Johann Strauß: Mutig voran!, Polka schnell, op. 432 Johann Strauß: Csárdás aus "Ritter Pasman" Johann Strauß: Abschiedsrufe, Walzer, op 179 Johann Strauß (Vater): Furioso-Galopp nach Liszts Motiven, op. 114 Franz Liszt: Mephisto-Walzer 1 Josef Strauß: Aus der Ferne, Polka Mazur, op. 270 Johann Strauß: Spanischer Marsch, op. 433 Joseph Hellmesberger: Zigeunertanz aus "Die Perle von Iberien" Johann Strauß (Vater): Cachucha Galopp, op. 97 Joseph Strauß: Mein Lebenslauf ist Lieb und Lust, Walzer, op. 263 Eduard Strauß: Ohne Aufenthalt <b>...</b>
CPE Bach: Die Auferstehung und Himmelfahrt Jesu
CPE Bach: Die Auferstehung und Himmelfahrt Jesu. Recorded live at the Church of St. Nikolai, Leipzig (May 2004) Published in DVD Video by EuroArts. Interpreted by La Petite Bande directed by Sigiswald Kuijken . We listen here the extract "Mein Geist, voll Furcht und Freuden" by Stephan Genz.
CPE Bach: Die Auferstehung und Himmelfahrt Jesu. Recorded live at the Church of St. Nikolai, Leipzig (May 2004) Published in DVD Video by EuroArts. Interpreted by La Petite Bande directed by Sigiswald Kuijken . We listen here the extract "Mein Geist, voll Furcht und Freuden" by Stephan Genz.
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.
Andre Rieu - Rosen aus dem Süden 1997
André Rieu - Rosen aus dem Süden 1997 Op. 338, Walzer von Johann Strauss Roses From The South Op. 388, a Waltz by Johann Strauss
André Rieu - Rosen aus dem Süden 1997 Op. 338, Walzer von Johann Strauss Roses From The South Op. 388, a Waltz by Johann Strauss
Sortie - Secret Garden - New Album 2008
Secret Garden is an award winning Irish-Norwegian duo playing New Instrumental Music, also understood by some as Neo-classical music. It features the Irish violinist Fionnuala Sherry and the Norwegian composer/pianist Rolf Løvland. Secret Garden has sold over 3 million albums and won the Eurovision Song Contest for Norway's second time in 1995 with the composition Nocturne. It was the first and only time to date that a predominantly instrumental piece has won the Eurovision Song Contest, although a few Norwegian language lyrics, written by screenwriter Petter Skavlan, were included to ensure that the entry adhered to the contest's rules. Norwegian singer Gunnhild Tvinnereim sang the song in the Eurovision Song Contest, but is actually not a member of the group. Ten years earlier Rolf Løvland also co-wrote the song "La det swinge" (Let it swing) that secured Norway its first Eurovision Song Contest victory in 1985. Their success at Eurovision spearheaded the success of their first album Songs from a Secret Garden. It sold a million copies around the world going platinum in Norway and Korea, gold in Ireland, Hong Kong and New Zealand and spending two years in the Billboard New Age charts in 1996 and 1997. Barbra Streisand adapted "Heartstrings" from this album as the song "I've Dreamed Of You" on her A Love Like Ours album. She also used "Heartstrings" in her wedding to James Brolin. The album White Stones followed in 1997 also making the top ten on Billboard New Age charts <b>...</b>
Secret Garden is an award winning Irish-Norwegian duo playing New Instrumental Music, also understood by some as Neo-classical music. It features the Irish violinist Fionnuala Sherry and the Norwegian composer/pianist Rolf Løvland. Secret Garden has sold over 3 million albums and won the Eurovision Song Contest for Norway's second time in 1995 with the composition Nocturne. It was the first and only time to date that a predominantly instrumental piece has won the Eurovision Song Contest, although a few Norwegian language lyrics, written by screenwriter Petter Skavlan, were included to ensure that the entry adhered to the contest's rules. Norwegian singer Gunnhild Tvinnereim sang the song in the Eurovision Song Contest, but is actually not a member of the group. Ten years earlier Rolf Løvland also co-wrote the song "La det swinge" (Let it swing) that secured Norway its first Eurovision Song Contest victory in 1985. Their success at Eurovision spearheaded the success of their first album Songs from a Secret Garden. It sold a million copies around the world going platinum in Norway and Korea, gold in Ireland, Hong Kong and New Zealand and spending two years in the Billboard New Age charts in 1996 and 1997. Barbra Streisand adapted "Heartstrings" from this album as the song "I've Dreamed Of You" on her A Love Like Ours album. She also used "Heartstrings" in her wedding to James Brolin. The album White Stones followed in 1997 also making the top ten on Billboard New Age charts <b>...</b>
Transcendental Etude No. 8 (Wilde Jagd) by Franz Liszt 720P
After playing some basketball on a cool day in Chicago, I thought it would be appropriate to record some Liszt at home. Actually, it's always a good idea to record some Liszt, no matter what the hell you were doing before. I did this in a couple of takes without warmup, i'll probably have more versions of this pretty soon. Thanks for checking it out, it took more attempts to upload it than to record it... I should have the 1080P version up soon hopefully
After playing some basketball on a cool day in Chicago, I thought it would be appropriate to record some Liszt at home. Actually, it's always a good idea to record some Liszt, no matter what the hell you were doing before. I did this in a couple of takes without warmup, i'll probably have more versions of this pretty soon. Thanks for checking it out, it took more attempts to upload it than to record it... I should have the 1080P version up soon hopefully
Dvorak Slavonic Dance No.1 - Wiener Philharmoniker -S. Ozawa
Dvorak's Slavonic Dance No.1 In c..Live Performance with Vienna Philharmonic conducted by Seiji Ozawa
Dvorak's Slavonic Dance No.1 In c..Live Performance with Vienna Philharmonic conducted by Seiji Ozawa
Jean Sibelius, Valse Triste (orch.Herbert von Karajan)
(R)*.... ,Great Music,Great Orchestra!!!! "Valse Triste" stupenda e nello stesso tempo rilassante musica classica- Beautiful and relaxing classic music video edited by a.vullo
(R)*.... ,Great Music,Great Orchestra!!!! "Valse Triste" stupenda e nello stesso tempo rilassante musica classica- Beautiful and relaxing classic music video edited by a.vullo
Carl Maria von Weber : Der Freischutz - Overture
Title : Carl Maria von Weber , Der Freischutz - Overture Date : 1820
Title : Carl Maria von Weber , Der Freischutz - Overture Date : 1820
"Concertino Op. 26" by Carl Maria von Weber
"Concertino Op. 26" by Carl Maria von Weber. More videos in www.jorgevariego.com
"Concertino Op. 26" by Carl Maria von Weber. More videos in www.jorgevariego.com
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
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 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 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.
Title : Johann Strauss II , The Blue Danube WaltzDate : 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 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.
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
Root Beer Mozart
For Mozart's birthday... this is the Overture of "Die Zauberflöte" by Mozart. Played on root beer bottles.
Get my t-shirts:
http://bit.ly/MGMshirts
Like this video? Click the link to tweet about it!
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Follow me on Twitter:
http://www.twitter.com/MysteryGuitarM
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http://www.facebook.com/MysteryGuitarMan
Portuguese subtitles by:
http://sleepneverwakeup.wordpress.com
For Mozart's birthday... this is the Overture of "Die Zauberflöte" by Mozart. Played on root beer bottles.Get my t-shirts:
http://bit.ly/MGMshirts
Like this video? Click the link to tweet about it!
http://bit.ly/RootBeerMozartTweet
Watch my other videos:
http://www.youtube.com/MysteryGuitarMan
Follow me on Twitter:
http://www.twitter.com/MysteryGuitarM
...and Facebook:
http://www.facebook.com/MysteryGuitarMan
Portuguese subtitles by:
http://sleepneverwakeup.wordpress.com
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 Théodore 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 Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
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 Théodore 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 Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
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.
Mozart Requiem
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343
A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
What should I do?
No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
What should I do?
No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
Goffredo Petrassi (1904 - 2003) - Fanfare per tre trombe in do
Goffredo Petrassi (1904 - 2003) - Fanfare per tre trombe in do (1944, rev. 1976) www.antoniofaillaci.com trumpets: Kelley Corbett, Franc Kosem, Antonio Faillaci en.wikipedia.org Goffredo Petrassi (16 July 1904 -- 3 March 2003) was an Italian composer of modern classical music, conductor, and teacher. He is considered one of the most influential Italian composers of the twentieth century. Petrassi was born at Zagarolo, near Rome. At the age of 15 he began to work at a music shop to supply his family's financial needs, and became fascinated by music. In 1928, he entered the Santa Cecilia Conservatory in Rome to study organ and composition. In 1934, composer Alfredo Casella conducted Petrassi's Partita for orchestra at the ISCM festival in Amsterdam. Later, Petrassi became musical director of the opera house La Fenice, and from 1959 taught composition at the Santa Cecilia Conservatory and at the Salzburg Mozarteum. Petrassi had many famous students, including Franco Donatoni, Aldo Clementi, Cornelius Cardew, Ennio Morricone, Karl Korte, Norma Beecroft, Mario Bertoncini, Ernesto Rubin de Cervin, Eric Salzman, Kenneth Leighton, Peter Maxwell Davies, Michael Dellaira, Armando Santiago, and Richard Teitelbaum. Petrassi died in Rome at the age of 98. [edit] Music Petrassi's early work was part of an attempt by several Italian composers to create a national "Italian" revival in classical music, corresponding to the romantic work of Germans such as Richard Wagner. During this time <b>...</b>
Goffredo Petrassi (1904 - 2003) - Fanfare per tre trombe in do (1944, rev. 1976) www.antoniofaillaci.com trumpets: Kelley Corbett, Franc Kosem, Antonio Faillaci en.wikipedia.org Goffredo Petrassi (16 July 1904 -- 3 March 2003) was an Italian composer of modern classical music, conductor, and teacher. He is considered one of the most influential Italian composers of the twentieth century. Petrassi was born at Zagarolo, near Rome. At the age of 15 he began to work at a music shop to supply his family's financial needs, and became fascinated by music. In 1928, he entered the Santa Cecilia Conservatory in Rome to study organ and composition. In 1934, composer Alfredo Casella conducted Petrassi's Partita for orchestra at the ISCM festival in Amsterdam. Later, Petrassi became musical director of the opera house La Fenice, and from 1959 taught composition at the Santa Cecilia Conservatory and at the Salzburg Mozarteum. Petrassi had many famous students, including Franco Donatoni, Aldo Clementi, Cornelius Cardew, Ennio Morricone, Karl Korte, Norma Beecroft, Mario Bertoncini, Ernesto Rubin de Cervin, Eric Salzman, Kenneth Leighton, Peter Maxwell Davies, Michael Dellaira, Armando Santiago, and Richard Teitelbaum. Petrassi died in Rome at the age of 98. [edit] Music Petrassi's early work was part of an attempt by several Italian composers to create a national "Italian" revival in classical music, corresponding to the romantic work of Germans such as Richard Wagner. During this time <b>...</b>
