Maurice Béjart, Ballet, Le Sacre du Printemps, Stravinsky
- Classical music composed by Igor Stravinsky bjazz.unblog.fr Extract from "The Rite of Spring" by Igor Stravinsky. 2005 Ballet by choregrapher Maurice Bejart, with dancers Kateryna Shalkina and Julien Favreau. Gilles Amado is film director.
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Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
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An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
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Richter - Maurice Ravels Alborada del Gracioso
Sviatoslav Richter plays Alborada del gracioso by Maurice Ravel (Recorded in black and white for telecast in 1964)
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[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)
![[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)](http://img.classicalclips.com/DcVgraeCOo9GHQ29.jpg "[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)")
From the Bolshoi Theatre 1989. Swan Lake is the very essence of classical ballet and has a rather venerable history of its own. First choreographed in 1877 by the great Marius Petipa for the Bolshoi, this original choreography has since been tweaked by almost every choreographer to get hold of it down through the years. Yuri Grigorovich keeps the general outline of the story of a prince who falls in love with the mythic half-woman, half-swan Odette (only to betray her when she appears to him in disguise as Odile). Grigorovich however added a controversial twist with his inclusion of a psychological dimension to the proceedings: the evil sorcerer cast as the dark twin of the hero-prince. The pearl of this production is undoubtedly Alla Mikhalchenko as Odette-Odile. Her impressive technique and brilliant acting gives the character a new expressive dimension. (Arthaus 100713) More Info.: www.naxos.com
From the Bolshoi Theatre 1989. Swan Lake is the very essence of classical ballet and has a rather venerable history of its own. First choreographed in 1877 by the great Marius Petipa for the Bolshoi, this original choreography has since been tweaked by almost every choreographer to get hold of it down through the years. Yuri Grigorovich keeps the general outline of the story of a prince who falls in love with the mythic half-woman, half-swan Odette (only to betray her when she appears to him in disguise as Odile). Grigorovich however added a controversial twist with his inclusion of a psychological dimension to the proceedings: the evil sorcerer cast as the dark twin of the hero-prince. The pearl of this production is undoubtedly Alla Mikhalchenko as Odette-Odile. Her impressive technique and brilliant acting gives the character a new expressive dimension. (Arthaus 100713) More Info.: www.naxos.com
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.
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...
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
Handel - Messiah - Hallelujah Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.
Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
Stravinsky conducts "Sacre du Printemps" - 1929 - part 4
Stravinsky conducts "Sacre du Printemps" - 1929 - part 4 Second part : Le Sacrifice ( The Exalted Sacrifice ) - Action rituelle des ancêtres ( ritual action of the ancestors ) - Dance sacrale - l'élue ( sacrificial dance (the chosen one)) - Dance sacrale - fin This is a legendary recording of Stravinsky conducting "The rite of spring" with the "Orchestre Symfonique de Paris" . It could be the premiere recording, but I'm not sure, as there's also the Pierre Monteux recording of the same year. (Pierre Monteux having conducted the premiere performance) The Rite of Spring was a ballet, created in 1913, with a choreography by Vaslav Nijisky, set and costume designs by Nicholas Roerich, and Stravinsky as composer. The premiere performance in Paris caused a total scandal and riot, as audiences at that time, being used to the classical ballet were shocked by the primitive, chaotic nature of the performance and composition. Stravinsky clarified the subject when he wrote in 1910 : "... there arose a picture of a sacred pagan ritual: the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence." Leonard Bernstein once said about a passage :"That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms..." It's remarkable how clear the different instruments come out in this recording, which is amazing considering the <b>...</b>
Stravinsky conducts "Sacre du Printemps" - 1929 - part 4 Second part : Le Sacrifice ( The Exalted Sacrifice ) - Action rituelle des ancêtres ( ritual action of the ancestors ) - Dance sacrale - l'élue ( sacrificial dance (the chosen one)) - Dance sacrale - fin This is a legendary recording of Stravinsky conducting "The rite of spring" with the "Orchestre Symfonique de Paris" . It could be the premiere recording, but I'm not sure, as there's also the Pierre Monteux recording of the same year. (Pierre Monteux having conducted the premiere performance) The Rite of Spring was a ballet, created in 1913, with a choreography by Vaslav Nijisky, set and costume designs by Nicholas Roerich, and Stravinsky as composer. The premiere performance in Paris caused a total scandal and riot, as audiences at that time, being used to the classical ballet were shocked by the primitive, chaotic nature of the performance and composition. Stravinsky clarified the subject when he wrote in 1910 : "... there arose a picture of a sacred pagan ritual: the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence." Leonard Bernstein once said about a passage :"That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms..." It's remarkable how clear the different instruments come out in this recording, which is amazing considering the <b>...</b>
Stravinsky conducts "Sacre du Printemps" - 1929 - part 1
Stravinsky conducts "Sacre du Printemps" - 1929 - part 1 First part : L'adoration de la Terre (A Kiss of the Earth ) - Prelude (introduction) - Les augurs printanier (The Augurs of Spring) This is a legendary recording of Stravinsky conducting "The rite of spring" with the "Orchestre Symfonique de Paris" . It could be the premiere recording, but I'm not sure, as there's also the Pierre Monteux recording of the same year. (Pierre Monteux having conducted the premiere performance) The Rite of Spring was a ballet, created in 1913, with a choreography by Vaslav Nijisky, set and costume designs by Nicholas Roerich, and Stravinsky as composer. The premiere performance in Paris caused a total scandal and riot, as audiences at that time, being used to the classical ballet were shocked by the primitive, chaotic nature of the performance and composition. Stravinsky clarified the subject when he wrote in 1910 : "... there arose a picture of a sacred pagan ritual: the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence." Leonard Bernstein once said about a passage :"That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms..." It's remarkable how clear the different instruments come out in this recording, which is amazing considering the limited technical possibilities in 1929. I've added some original pictures <b>...</b>
Stravinsky conducts "Sacre du Printemps" - 1929 - part 1 First part : L'adoration de la Terre (A Kiss of the Earth ) - Prelude (introduction) - Les augurs printanier (The Augurs of Spring) This is a legendary recording of Stravinsky conducting "The rite of spring" with the "Orchestre Symfonique de Paris" . It could be the premiere recording, but I'm not sure, as there's also the Pierre Monteux recording of the same year. (Pierre Monteux having conducted the premiere performance) The Rite of Spring was a ballet, created in 1913, with a choreography by Vaslav Nijisky, set and costume designs by Nicholas Roerich, and Stravinsky as composer. The premiere performance in Paris caused a total scandal and riot, as audiences at that time, being used to the classical ballet were shocked by the primitive, chaotic nature of the performance and composition. Stravinsky clarified the subject when he wrote in 1910 : "... there arose a picture of a sacred pagan ritual: the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence." Leonard Bernstein once said about a passage :"That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms..." It's remarkable how clear the different instruments come out in this recording, which is amazing considering the limited technical possibilities in 1929. I've added some original pictures <b>...</b>
O Sacred Head, Now Wounded - J.S. Bach
"O Sacred Head, Now Wounded", a Christian hymn using the melody by J.S. Bach.
"O Sacred Head, Now Wounded", a Christian hymn using the melody by J.S. Bach.
Le Sacre du Sacre - Lionel Ziblat
The Ricciotti Ensemble, performing 'Le Sacre du Sacre'. A piece with a few original idea's. Conductor: Bas Wiegers. Oboe: Esther Kurtz Trumpet: Michael Inofuentes Concert Master: Vera van der Bie Piano: Laura Holzenspies Filmed by Floris van Bergeijk. 17th of March 2003, Fentener van Vlissingenzaal, The Utrecht Conservatory (HKU) * The score is now available for purchase at www.lionelziblat.com This piece was originaly composed solemnly for one purpose; namely as a closing piece of my graduation exam. The usual norm in the contemporary conservatory holds that you will not be regarded as a serious and valued composer unless you compose a-tonaly. In the fifties, pupils like Penderecki would be pushed to compose classical and romantic pieces almost every day. During the same period a new stream came up led by people like John Cage, who almost offensively tried to break all the classical rules, demanded artistic freedom and an (arguably) justified discussion. The days in which you were practicaly forced to compose 'conservative classical' music are over. Now you are forced to compose conservative avant guarde. As a pupil you will hardly ever dare use a cantabile line or a diatonic harmonic progression. You are constantly under a lot of pressure of composing music which is not too attractive, not cantabile, not tonal and in many cases you are literaly obliged to neglect any emotion. This occurs while quoting Ligeti and Stravinksy who according to many teachers are the pure <b>...</b>
The Ricciotti Ensemble, performing 'Le Sacre du Sacre'. A piece with a few original idea's. Conductor: Bas Wiegers. Oboe: Esther Kurtz Trumpet: Michael Inofuentes Concert Master: Vera van der Bie Piano: Laura Holzenspies Filmed by Floris van Bergeijk. 17th of March 2003, Fentener van Vlissingenzaal, The Utrecht Conservatory (HKU) * The score is now available for purchase at www.lionelziblat.com This piece was originaly composed solemnly for one purpose; namely as a closing piece of my graduation exam. The usual norm in the contemporary conservatory holds that you will not be regarded as a serious and valued composer unless you compose a-tonaly. In the fifties, pupils like Penderecki would be pushed to compose classical and romantic pieces almost every day. During the same period a new stream came up led by people like John Cage, who almost offensively tried to break all the classical rules, demanded artistic freedom and an (arguably) justified discussion. The days in which you were practicaly forced to compose 'conservative classical' music are over. Now you are forced to compose conservative avant guarde. As a pupil you will hardly ever dare use a cantabile line or a diatonic harmonic progression. You are constantly under a lot of pressure of composing music which is not too attractive, not cantabile, not tonal and in many cases you are literaly obliged to neglect any emotion. This occurs while quoting Ligeti and Stravinksy who according to many teachers are the pure <b>...</b>
Jacqueline du Pré - Mendelssohn Song without words
F.Mendelssohn - Song without words in D major, Op.109
Jacqueline du Pré (1945-1987) and Iris du Pré
F.Mendelssohn - Song without words in D major, Op.109Jacqueline du Pré (1945-1987) and Iris du Pré
Dublin Philharmonic Dvorak New World Symphony - 1st Mvt
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Aaron Copland Duo for Flute and Piano mvt 1
Nina Perlove, flute and Toni Sheffer, piano in recital at Northern Kentucky University. Visit my channel and subscribe for more flute videos. To study with Nina Perlove, visit www.nku.edu or send me a message.
Nina Perlove, flute and Toni Sheffer, piano in recital at Northern Kentucky University. Visit my channel and subscribe for more flute videos. To study with Nina Perlove, visit www.nku.edu or send me a message.
Wine Glass Duo - Anitras Dance Peer Gynt
That's amazing... Professional concert played just on wine glasses. The instrument is called glass harp or musical glasses. E.Grieg - Anitra's Dance (Peer Gynt)
That's amazing... Professional concert played just on wine glasses. The instrument is called glass harp or musical glasses. E.Grieg - Anitra's Dance (Peer Gynt)
Claude Debussy : Printemps, suite symphonique (1887) - Homage to gre
Homage to great Youtubers : cmlwhcl Claude Debussy (1862-1918) (France) : « Printemps », suite symphonique (1887) Dir : Louis de Froment 1- Très modéré (9.22) 2- Modéré (5.49) Créé le 4 novembre 2010, la chaîne « cmlwhcl » a cessé son activité cinq mois après sa création, son animateur ayant réussi à mettre en ligne toute sa collection de vinyles, soit un total de 493 vidéos. Tous les styles classiques, romantiques et post-romantiques sont représentés, d'Adrian Le Roy (1520-1598) à Dmitri Chostakovitch (1906-1975), en passant par Mozart, Vivaldi, Hindemith ou Villa-Lobos. Dans ce répertoire équilibré nous vous recommandons tout particulièrement : la « Symphony n° 40 » (1788) de Wolfgang Amadeus Mozart ; La « Symphonie Inachevée » (1822) de Franz Schubert ; La « Rhapsodie hongroise n°2 pour orchestre » (1847) de Franz Liszt ; La « Symphonie n°3 pour orgue et orchestre » (1886) de Camille Saint-Saens ; « Scheherazade » (1888) de Nikolas Rimski-Korsakov ; « Finlandia » (1899) de Jean Sibelius ; Les « Trois Nocturnes pour orchestre » (1899) de Claude Debussy ; Le « Concerto pour piano et orchestre n°2 » (1901) de Sergei Rachmaninov ; Le « Cygne de Tuonela » (1895) et la « Valse triste » (1906) de Jean Sibelius ; Les « Fontaines de Rome » (1916) et les « Pins de Rome » (1924) d'Ottorino Respighi ; le « Concerto pour violon n°1 » (1917) de Karol Szymanovski ; Le « Concerto pour deux pianos » (1932) de Francis Poulenc ; La « Sinfonia da Requiem » (1940) et les « Quatre <b>...</b>
Homage to great Youtubers : cmlwhcl Claude Debussy (1862-1918) (France) : « Printemps », suite symphonique (1887) Dir : Louis de Froment 1- Très modéré (9.22) 2- Modéré (5.49) Créé le 4 novembre 2010, la chaîne « cmlwhcl » a cessé son activité cinq mois après sa création, son animateur ayant réussi à mettre en ligne toute sa collection de vinyles, soit un total de 493 vidéos. Tous les styles classiques, romantiques et post-romantiques sont représentés, d'Adrian Le Roy (1520-1598) à Dmitri Chostakovitch (1906-1975), en passant par Mozart, Vivaldi, Hindemith ou Villa-Lobos. Dans ce répertoire équilibré nous vous recommandons tout particulièrement : la « Symphony n° 40 » (1788) de Wolfgang Amadeus Mozart ; La « Symphonie Inachevée » (1822) de Franz Schubert ; La « Rhapsodie hongroise n°2 pour orchestre » (1847) de Franz Liszt ; La « Symphonie n°3 pour orgue et orchestre » (1886) de Camille Saint-Saens ; « Scheherazade » (1888) de Nikolas Rimski-Korsakov ; « Finlandia » (1899) de Jean Sibelius ; Les « Trois Nocturnes pour orchestre » (1899) de Claude Debussy ; Le « Concerto pour piano et orchestre n°2 » (1901) de Sergei Rachmaninov ; Le « Cygne de Tuonela » (1895) et la « Valse triste » (1906) de Jean Sibelius ; Les « Fontaines de Rome » (1916) et les « Pins de Rome » (1924) d'Ottorino Respighi ; le « Concerto pour violon n°1 » (1917) de Karol Szymanovski ; Le « Concerto pour deux pianos » (1932) de Francis Poulenc ; La « Sinfonia da Requiem » (1940) et les « Quatre <b>...</b>
Stravinsky - The Rite of Spring - Sacrificial Dance
Title :Igor Stravinsky ,The Rite of Spring - Sacrificial Dance From Wikipedia,The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps (Russian: Весна священная, Vesna svjaščennaja) is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impressario Serge Diaghilev. The music is widely acknowledged as one of the greatest, most influential, and reproduced compositions in history. It is iconic for 20th century classical or avant garde European music, with innovative complex rhythmic structures, timbres, and use of dissonance. The scandal of a riot at its 1913 premier, caused by its innovative technique and content, made it one of the most internationally well known and controversial works in performance historyThe music for Le Sacre du Printemps is regarded as one of the pinnacles of human intellectual achievement. Composer and conductor Leonard Bernstein, in his Six Talks at Harvard, said of one passage, That page is sixty years old, but its never been topped for sophisticated handling of primitive rhythms, and of the work as a whole, its also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name.The Rite of Spring is a series of episodes depicting a wild pagan spring ritual: "... the wise elders are seated <b>...</b>
Title :Igor Stravinsky ,The Rite of Spring - Sacrificial Dance From Wikipedia,The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps (Russian: Весна священная, Vesna svjaščennaja) is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impressario Serge Diaghilev. The music is widely acknowledged as one of the greatest, most influential, and reproduced compositions in history. It is iconic for 20th century classical or avant garde European music, with innovative complex rhythmic structures, timbres, and use of dissonance. The scandal of a riot at its 1913 premier, caused by its innovative technique and content, made it one of the most internationally well known and controversial works in performance historyThe music for Le Sacre du Printemps is regarded as one of the pinnacles of human intellectual achievement. Composer and conductor Leonard Bernstein, in his Six Talks at Harvard, said of one passage, That page is sixty years old, but its never been topped for sophisticated handling of primitive rhythms, and of the work as a whole, its also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name.The Rite of Spring is a series of episodes depicting a wild pagan spring ritual: "... the wise elders are seated <b>...</b>
Igor Stravinsky "The Rite of Spring"
Ballet Choreography: Maurice Béjart Wikipedia Links: 1) Igor Stravinsky en.wikipedia.org 2) The Rite of Spring en.wikipedia.org 3) Maurice Béjart en.wikipedia.org
Ballet Choreography: Maurice Béjart Wikipedia Links: 1) Igor Stravinsky en.wikipedia.org 2) The Rite of Spring en.wikipedia.org 3) Maurice Béjart en.wikipedia.org
Igor Stravinsky conducts final of Firebird
Igor Stravinsky's visit to New Zealand in 1961, conducting the National Orchestra followed by Susan Maelki in rehearsal with the NZSO, 2006
Igor Stravinsky's visit to New Zealand in 1961, conducting the National Orchestra followed by Susan Maelki in rehearsal with the NZSO, 2006
