Dvorak Slavonic Dance No.1 - Wiener Philharmoniker -S. Ozawa
- Classical music composed by Antonín Dvořák Dvorak's Slavonic Dance No.1 In c..Live Performance with Vienna Philharmonic conducted by Seiji Ozawa
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Ragtime Piano Player- Humoresque- A. Dvorak- Ragtime Style
This is me playing a ragtime piano version of the classic piece Humoresque by Antonin Dvorak. Hope you enjoy it. If you like ragtime and jazz piano please see my other videos too. Mark Chang- solo piano Recorded Feb. 15, 2008 in Davis, CA.
This is me playing a ragtime piano version of the classic piece Humoresque by Antonin Dvorak. Hope you enjoy it. If you like ragtime and jazz piano please see my other videos too. Mark Chang- solo piano Recorded Feb. 15, 2008 in Davis, CA.
Dvořák: Slavonic Dance, Op. 46/8 / Rattle · Berliner Philharmonik
Full-length concert at www.digitalconcerthall.com Antonín Dvořák: Slavonic Dance in G minor, Op. 46 No. 8 / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 6 January 2009. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Full-length concert at www.digitalconcerthall.com Antonín Dvořák: Slavonic Dance in G minor, Op. 46 No. 8 / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 6 January 2009. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Dvorak Slavonic Dance Op. 72, No. 2. with pictures of Prague
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Jascha Heifetz plays Brahms Hungarian Dance No. 7
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Wine Glass Duo - Anitras Dance Peer Gynt
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The Chamber Orchestra of S.Joao da Madeira Music Academy directed by Richard Tomes plays 'Anitras' Dance' from Peer Gynt by Grieg during a concert at the Music Academy SJM.
in June 2006.
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Chopin - Polonaise in A, Op.40 No.1, ' Military '
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Erik Satie - Gymnopédie No.1
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies <b>...</b>
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies <b>...</b>
Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (1/3)
Director : Bernard Haitink. Concertgebouworkest Amsterdam. Johannes Brahms's Piano Concerto No. 1 in D minor (Op. 15) is one of Brahms' most famous and frequently performed pieces. A concerto on nearly every major pianist's repertoire, it presents considerable technical challenges to the performer. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way", adding sadly, "all the same, the hissing was rather too much!" Brahms originally conceived the work as a sonata for two pianos. Seeking a grander and fuller sound, Brahms later orchestrated the work in an attempt to transform it into a four-movement symphony. However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral color to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were <b>...</b>
Director : Bernard Haitink. Concertgebouworkest Amsterdam. Johannes Brahms's Piano Concerto No. 1 in D minor (Op. 15) is one of Brahms' most famous and frequently performed pieces. A concerto on nearly every major pianist's repertoire, it presents considerable technical challenges to the performer. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way", adding sadly, "all the same, the hissing was rather too much!" Brahms originally conceived the work as a sonata for two pianos. Seeking a grander and fuller sound, Brahms later orchestrated the work in an attempt to transform it into a four-movement symphony. However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral color to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were <b>...</b>
J.S. Bach's Cello Suite No.1 - Prelude in G Major
Audio only - Prelude from Bach's Suite No. 1 for Unaccompanied Cello.
Audio only - Prelude from Bach's Suite No. 1 for Unaccompanied Cello.
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
Johann Strauss II. - Geschichten aus dem Wiener Wald (Walzer, op.325
Get mp3 at www.planet-vienna.com This is my personal favourite orchestral version of this terrific masterpiece. Played by Vienna Symphony Orchestra, Conductor: Robert Stolz (!) Robert Stolz himself is known as the last composer of the classical viennese aera. He was the one who knew best how a Strauss waltz has to be arranged and how the orchestra has to play it. That's why I adore this recording so much! It's 100% authentic and even the Vienna Philharmonics won't do it better. I had to shorten the track coz it was longer than 10 minutes. The intro has been removed. But never mind, the zither theme of the intro is played again at the end of the waltz. ___________________ Tales from the Vienna woods ウィーンの森の物語小约翰·施特劳斯योहान स्ट्रॉस दुसरा ヨハン・シュトラウス2世
Get mp3 at www.planet-vienna.com This is my personal favourite orchestral version of this terrific masterpiece. Played by Vienna Symphony Orchestra, Conductor: Robert Stolz (!) Robert Stolz himself is known as the last composer of the classical viennese aera. He was the one who knew best how a Strauss waltz has to be arranged and how the orchestra has to play it. That's why I adore this recording so much! It's 100% authentic and even the Vienna Philharmonics won't do it better. I had to shorten the track coz it was longer than 10 minutes. The intro has been removed. But never mind, the zither theme of the intro is played again at the end of the waltz. ___________________ Tales from the Vienna woods ウィーンの森の物語小约翰·施特劳斯योहान स्ट्रॉस दुसरा ヨハン・シュトラウス2世
Wiener Blut
Sights of beautiful Vienna, Austria, both classic and modern, (except images from 0:10 up to 0:30), to Johann Strauss II's classic masterpiece waltz. en.wikipedia.org Enjoy!
Sights of beautiful Vienna, Austria, both classic and modern, (except images from 0:10 up to 0:30), to Johann Strauss II's classic masterpiece waltz. en.wikipedia.org Enjoy!
Wiener Sängerknaben: Blue Danube
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 1866. Originally performed 13 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 Beautiful Blue Danube" was first written as a song for a carnival's choir (for bass and tenor), with rather satirical lyrics (Austria having just lost the war with Germany). The original title was also referring to a poem about the Danube in the poet Karl Beck's hometown, Baja in Hungary, and not in Vienna. Later Franz von Gernerth wrote new, more "official-sounding" lyrics: en.wikipedia.org
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 1866. Originally performed 13 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 Beautiful Blue Danube" was first written as a song for a carnival's choir (for bass and tenor), with rather satirical lyrics (Austria having just lost the war with Germany). The original title was also referring to a poem about the Danube in the poet Karl Beck's hometown, Baja in Hungary, and not in Vienna. Later Franz von Gernerth wrote new, more "official-sounding" lyrics: en.wikipedia.org
Wiener Philharmoniker - Maurice Ravel Bolero
Die Wiener Philharmoniker mit Maurice Ravels Bolero anläßlich des Luzern Festival 2010. Dirigent: Gustavo Dudamel Konzertmeisterin: Albena Danailova
Die Wiener Philharmoniker mit Maurice Ravels Bolero anläßlich des Luzern Festival 2010. Dirigent: Gustavo Dudamel Konzertmeisterin: Albena Danailova
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...
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...
Berliner Philharmoniker Master Class - 1st Violin
Violinist Helmut Mebert gives a master class for the YouTube Symphony Orchestra 2011 introducing the part of the 1st violin in Mendelssohn's Symphony No. 4 "Italian". Learn more at www.youtube.com Working with young musicians and making classical music available to a worldwide audience on the Internet are main objectives of the Berliner Philharmoniker. The orchestra is therefore delighted to support the unique project of a YouTube Symphony Orchestra. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Website of the Berliner Philharmoniker www.berliner-philharmoniker.de Subscribe to our newsletter www.digitalconcerthall.com
Violinist Helmut Mebert gives a master class for the YouTube Symphony Orchestra 2011 introducing the part of the 1st violin in Mendelssohn's Symphony No. 4 "Italian". Learn more at www.youtube.com Working with young musicians and making classical music available to a worldwide audience on the Internet are main objectives of the Berliner Philharmoniker. The orchestra is therefore delighted to support the unique project of a YouTube Symphony Orchestra. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Website of the Berliner Philharmoniker www.berliner-philharmoniker.de Subscribe to our newsletter www.digitalconcerthall.com
Brahms: Symphony No. 1 / Rattle · Berliner Philharmoniker
Full-length concert at www.digitalconcerthall.com Johannes Brahms: Symphony No. 1 / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 1 November 2008. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Full-length concert at www.digitalconcerthall.com Johannes Brahms: Symphony No. 1 / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 1 November 2008. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Mahler: Symphony No. 3 / Mehta · Berliner Philharmoniker
Full-length concert at www.digitalconcerthall.com Gustav Mahler: Symphony No. 3 / Zubin Mehta, conductor · Berliner Philharmoniker · Lioba Braun, contralto · Rundfunkchor Berlin · Tölzer Knabenchor / Recorded at the Berlin Philharmonie, 21 December 2008. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Full-length concert at www.digitalconcerthall.com Gustav Mahler: Symphony No. 3 / Zubin Mehta, conductor · Berliner Philharmoniker · Lioba Braun, contralto · Rundfunkchor Berlin · Tölzer Knabenchor / Recorded at the Berlin Philharmonie, 21 December 2008. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Donal Fox: Sound Check Rehearsal at Ozawa Concert Hall, Tang
Donal Fox at the Boston Symphony Orchestra's (BSO) Ozawa Concert Hall for sound check and rehearsal for his Scarlatti Jazz Suite Project performance at the 2008 Tanglewood Jazz Festival; Donal Fox: Scarlatti Jazz Suite Project with Donal Fox, piano, Christian Scott, trumpet, Warren Wolf, vibraphone, John Lockwood, bass, Terri Lyne Carrington, drums; Tanglewood Jazz Festival, Ozawa Concert Hall, Saturday, August 31, 2008. <br /><br />Donal Fox Quartet Live: Scarlatti Jazz Suite Project CD, selected in AllAboutJazz for The 10 Best New Jazz Releases for 2008, is available at www.cdbaby.com, Amazon.com, and other various online stores.
Donal Fox at the Boston Symphony Orchestra's (BSO) Ozawa Concert Hall for sound check and rehearsal for his Scarlatti Jazz Suite Project performance at the 2008 Tanglewood Jazz Festival; Donal Fox: Scarlatti Jazz Suite Project with Donal Fox, piano, Christian Scott, trumpet, Warren Wolf, vibraphone, John Lockwood, bass, Terri Lyne Carrington, drums; Tanglewood Jazz Festival, Ozawa Concert Hall, Saturday, August 31, 2008. <br /><br />Donal Fox Quartet Live: Scarlatti Jazz Suite Project CD, selected in AllAboutJazz for The 10 Best New Jazz Releases for 2008, is available at www.cdbaby.com, Amazon.com, and other various online stores.
[EuroArts 2053098] GERSHWIN: Seiji Ozawa - A Gershwin Night
![[EuroArts 2053098] GERSHWIN: Seiji Ozawa - A Gershwin Night](http://img.classicalclips.com/VdGUFb024LgJ2FgW.jpg "[EuroArts 2053098] GERSHWIN: Seiji Ozawa - A Gershwin Night")
Marcus Roberts, piano; Roland Guerin, bass; Jason Marsalis, drums Berliner Philharmoniker Seiji Ozawa Recorded at the annual summer concert of the Berlin Philharmonic at the Waldbühne in Berlin 2003, this DVD captures the atmosphere of an open-air Gershwin night in full while also allowing a closer look at the musicians and the conductor. With an audience of over 20000 one of the worlds best orchestras played the popular music of George Gershwin, including the famous Rhapsody in Blue and the popular film music suite An American in Paris. Conducted by Seiji Ozawa one of the longstanding stars in the classical world - the Berlin Philharmonic was joined by jazz pianist Marcus Roberts and his Trio, whose album Gershwin For Lovers stayed in the Top 10 on Billboards jazz chart for half a year. Together they created a magical fusion of classical music and jazz bringing an imaginative mix of styles into the swing of Gershwins music. In the bonus film Seiji Ozawa and Marcus Roberts talk about Gershwin and their music making. www.naxos.com
Marcus Roberts, piano; Roland Guerin, bass; Jason Marsalis, drums Berliner Philharmoniker Seiji Ozawa Recorded at the annual summer concert of the Berlin Philharmonic at the Waldbühne in Berlin 2003, this DVD captures the atmosphere of an open-air Gershwin night in full while also allowing a closer look at the musicians and the conductor. With an audience of over 20000 one of the worlds best orchestras played the popular music of George Gershwin, including the famous Rhapsody in Blue and the popular film music suite An American in Paris. Conducted by Seiji Ozawa one of the longstanding stars in the classical world - the Berlin Philharmonic was joined by jazz pianist Marcus Roberts and his Trio, whose album Gershwin For Lovers stayed in the Top 10 on Billboards jazz chart for half a year. Together they created a magical fusion of classical music and jazz bringing an imaginative mix of styles into the swing of Gershwins music. In the bonus film Seiji Ozawa and Marcus Roberts talk about Gershwin and their music making. www.naxos.com
