A. Dvorak, Rusalka, Song to the moon / Bicentennial Man
- Classical music composed by Antonín Dvořák Classical music in movies. The music is used in Columbus movie (see : www.naxos.com but not necessarily in the scenes of the clip. Watch the video in its context (see : users.telenet.be
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Mozart Piano Concerto 27, A. Madžar, piano - mvt 1, part 1
Aleksandar Madžar (Bösendorfer piano) Royal Philharmonic Orchestra conducted by André Previn first movement, part one part two of the first movement is here: www.youtube.com Wolfgang Amadeus Mozart - Piano Concerto In B-Flat Major, K.595 No.27 [31.37 total time] Recorded At The Imperial Palace of Schönbrunn, Vienna, Austria, 29 November 1990 Isobel Wield writes on Aleksandar Madžar: "The imagination that goes into his playing is reflected in his programming too -- this all suggested an artist whose horizons are far wider than those of many of his peers...quite remarkable." The Guardian Born in Belgrade in 1968, Aleksandar Madžar began his piano studies with Gordana Matinovic, later becoming a student of Arbo Valdma at the Belgrade Academy of Music. From 1987 to 1989 he studied with Eliso Virsaladze in Moscow, subsequently with Edouard Mirzoian at the Strasbourg Conservatory and in Brussels with Daniel Blumenthal. Today, he holds professorships at the Royal Flemish Conservatoire, Brussels and the Hochschule für Musik und Theater Bern. In 2007/08 Madžar maintains his schedule of diverse performance activities: celebrating the 250th anniversary of Scarlatti, he focuses on this composer in a recital programme in Manchester's Royal Northern College of Music. He also returns to the Wigmore Hall in recital, and the BBC Philharmonic under the baton of Andris Nelsons, with whom he additionally performs with the Nordwestdeutsche Philharmonie. Following a remarkable recital in Paris <b>...</b>
Aleksandar Madžar (Bösendorfer piano) Royal Philharmonic Orchestra conducted by André Previn first movement, part one part two of the first movement is here: www.youtube.com Wolfgang Amadeus Mozart - Piano Concerto In B-Flat Major, K.595 No.27 [31.37 total time] Recorded At The Imperial Palace of Schönbrunn, Vienna, Austria, 29 November 1990 Isobel Wield writes on Aleksandar Madžar: "The imagination that goes into his playing is reflected in his programming too -- this all suggested an artist whose horizons are far wider than those of many of his peers...quite remarkable." The Guardian Born in Belgrade in 1968, Aleksandar Madžar began his piano studies with Gordana Matinovic, later becoming a student of Arbo Valdma at the Belgrade Academy of Music. From 1987 to 1989 he studied with Eliso Virsaladze in Moscow, subsequently with Edouard Mirzoian at the Strasbourg Conservatory and in Brussels with Daniel Blumenthal. Today, he holds professorships at the Royal Flemish Conservatoire, Brussels and the Hochschule für Musik und Theater Bern. In 2007/08 Madžar maintains his schedule of diverse performance activities: celebrating the 250th anniversary of Scarlatti, he focuses on this composer in a recital programme in Manchester's Royal Northern College of Music. He also returns to the Wigmore Hall in recital, and the BBC Philharmonic under the baton of Andris Nelsons, with whom he additionally performs with the Nordwestdeutsche Philharmonie. Following a remarkable recital in Paris <b>...</b>
A. Vivaldi, Guitar Concerto in D, 2nd Mvt, Boris Bagger Guitar Orche
Antonio Vivaldi, Guitar Concerto in D, 2nd Mvt, played and arranged by Prof. Boris Björn Bagger, classical guitar - www.borisbagger.de, Prof. Boris Björn Bagger is teaching guitar at the University of Music in Karlsruhe Germany, www.hfm-karlsruhe.de live concert in Tallinn Estonia, 30.9.2005, conductor: Leslie B. Dunner (USA), Estonian National Symphony Orchestra (www.erso.ee ), sheet music & CD available here www.edition49.de (arrangements for several instruments are available) Musikhochschule Karlsruhe Hochschule Musik
Antonio Vivaldi, Guitar Concerto in D, 2nd Mvt, played and arranged by Prof. Boris Björn Bagger, classical guitar - www.borisbagger.de, Prof. Boris Björn Bagger is teaching guitar at the University of Music in Karlsruhe Germany, www.hfm-karlsruhe.de live concert in Tallinn Estonia, 30.9.2005, conductor: Leslie B. Dunner (USA), Estonian National Symphony Orchestra (www.erso.ee ), sheet music & CD available here www.edition49.de (arrangements for several instruments are available) Musikhochschule Karlsruhe Hochschule Musik
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.
A. Marcello - Oboe Concerto in D Minor - Mov. 2-3/3
ALESSANDRO MARCELLO (1684-1750) Concerto for oboe, strings and basso continuo in D minor 2. Adagio 3. Presto Performed by Concerto Italiano Directed by Rinaldo Alessandrini *Alessandro Marcello was an Italian nobleman and dilettante who dabbled in various areas, including poetry, philosophy, mathematics and, perhaps most notably, music. A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are "unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style," according to Grove, "placing them as a last outpost of the classic Venetian Baroque concerto." Alessandro's brother was Benedetto Marcello, also a composer. **This concerto is part of Marcello's "concerti a cinque" published in 1716. It is one of the most performed oboe concertos in the oboe repertory. In the past, and continuing to the present, it has been mistakenly attributed to both Benedetto Marcello and Antonio Vivaldi. JS Bach made the piece famous by writing a transcription of <b>...</b>
ALESSANDRO MARCELLO (1684-1750) Concerto for oboe, strings and basso continuo in D minor 2. Adagio 3. Presto Performed by Concerto Italiano Directed by Rinaldo Alessandrini *Alessandro Marcello was an Italian nobleman and dilettante who dabbled in various areas, including poetry, philosophy, mathematics and, perhaps most notably, music. A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are "unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style," according to Grove, "placing them as a last outpost of the classic Venetian Baroque concerto." Alessandro's brother was Benedetto Marcello, also a composer. **This concerto is part of Marcello's "concerti a cinque" published in 1716. It is one of the most performed oboe concertos in the oboe repertory. In the past, and continuing to the present, it has been mistakenly attributed to both Benedetto Marcello and Antonio Vivaldi. JS Bach made the piece famous by writing a transcription of <b>...</b>
Antonin Dvorak, Tempo di valse (Serenade for strings in E Major, Op
Wonderful piece of music, best version in my opinion, you can hear the violins crying
Wonderful piece of music, best version in my opinion, you can hear the violins crying
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
Happy Birthday To You (Song + Variations) Classical Piano
**** HAPPYBIRTHDAY **** These are my Happy Birthday Variations. I improvise a new rendition every time I get a birthday request when entertaining on piano. Quite often people sing, and there's often a cake and candles as well! Inspired by sir Mozart and his piano sonata in A major. subscribe if you want to hear more music! visit my webpage www.joolsscott.co.uk Happy Birthday Song!! happybirthdaytoyou. "Happy Birthday to You," also known more simply as "Happy Birthday," is a traditional American song that is sung with joy to celebrate and commemorate the anniversary of a person's birth. Per the Guinness Book of World Records, "Happy Birthday to You" is presently noted as the most well recognized song in the English language, followed by, yet just as well liked, "For He's a Jolly Good Fellow" and "Auld Lang Syne. In spite of it's lyrics, the basic melody of "Happy Birthday to You" comes from the roundelay song "Good Morning to All," which was written and simply composed by the two American sisters Patty Hill and Mildred J. Hill in 1893 In 1935 "Happy Birthday to You" was copyrighted as a work for hire by Preston Ware Orem for the Summy Company, the publisher of "Good Morning to All". The Rocky Horror Picture Show The Zucker brothers learned about the copyright issue unwittingly when they decided to include a gag in The Kentucky Fried Movie that had made them laugh growing up A man sings "Happy Birthday" to remind himself of his own name. King of the Hill uses a song written <b>...</b>
**** HAPPYBIRTHDAY **** These are my Happy Birthday Variations. I improvise a new rendition every time I get a birthday request when entertaining on piano. Quite often people sing, and there's often a cake and candles as well! Inspired by sir Mozart and his piano sonata in A major. subscribe if you want to hear more music! visit my webpage www.joolsscott.co.uk Happy Birthday Song!! happybirthdaytoyou. "Happy Birthday to You," also known more simply as "Happy Birthday," is a traditional American song that is sung with joy to celebrate and commemorate the anniversary of a person's birth. Per the Guinness Book of World Records, "Happy Birthday to You" is presently noted as the most well recognized song in the English language, followed by, yet just as well liked, "For He's a Jolly Good Fellow" and "Auld Lang Syne. In spite of it's lyrics, the basic melody of "Happy Birthday to You" comes from the roundelay song "Good Morning to All," which was written and simply composed by the two American sisters Patty Hill and Mildred J. Hill in 1893 In 1935 "Happy Birthday to You" was copyrighted as a work for hire by Preston Ware Orem for the Summy Company, the publisher of "Good Morning to All". The Rocky Horror Picture Show The Zucker brothers learned about the copyright issue unwittingly when they decided to include a gag in The Kentucky Fried Movie that had made them laugh growing up A man sings "Happy Birthday" to remind himself of his own name. King of the Hill uses a song written <b>...</b>
Spanish Love Song | Spanish Guitar Music | Beautiful Music
FREE SONG DOWNLOAD AT: http://ReverbNation.com/dglas The music of D. Glas (Douglas Stambler)
FREE SONG DOWNLOAD AT: http://ReverbNation.com/dglas The music of D. Glas (Douglas Stambler)
Bed Intruder Song by Schmoyoho Arranged for Tsugaru Shamisen!
Available on Itunes (in cooperation with the Gregory Bros. and Soulspazm Digital): itunes.apple.com Couldn't help it. Another instant classic by the Gregory Brothers. The shamisen makes me do these. The shamisen is the name of the instrument I'm playing. It comes from Japan, has three strings and no frets. I strike the strings with a big plectrum called a bachi! Woo! More on the Tsugaru shamisen here: en.wikipedia.org More of my own shamisen music here: themikepennyorchestra.bandcamp.com Tsugaru shamisen - Mike Penny
Available on Itunes (in cooperation with the Gregory Bros. and Soulspazm Digital): itunes.apple.com Couldn't help it. Another instant classic by the Gregory Brothers. The shamisen makes me do these. The shamisen is the name of the instrument I'm playing. It comes from Japan, has three strings and no frets. I strike the strings with a big plectrum called a bachi! Woo! More on the Tsugaru shamisen here: en.wikipedia.org More of my own shamisen music here: themikepennyorchestra.bandcamp.com Tsugaru shamisen - Mike Penny
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Luciano Pavarotti - La Donna è Mobile Rigoletto
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).
La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
Toccata and Fugue - J.S. Bach
Vanessa-Mae plays a rare version of Toccata and Fugue with her acoustic violin, accompanied by the Bratislava Radio Symphony Orchestra. This was during her classical tour in 1996.
Vanessa-Mae plays a rare version of Toccata and Fugue with her acoustic violin, accompanied by the Bratislava Radio Symphony Orchestra. This was during her classical tour in 1996.
Argerich plays Tchaikovsky Piano Concerto Part 1
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Tchaikovsky - None But The Lonely Hearts
Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart.
This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic.
Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.
Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart.This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic.
Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.
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.
Claude Debussy - Prelude to the Afternoon of a Faun
Painting - On the Hudson Artist - Thomas Doughty
Painting - On the Hudson Artist - Thomas Doughty
Moonlight Sonata, 3rd Movement - Beethoven
Wilhelm Kempff plays Presto Agitato from Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2.
Wilhelm Kempff plays Presto Agitato from Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2.
Moonlight Sonata, 1st Movement - Ludwig van Beethoven
Adagio Sostenuto from Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2.
Adagio Sostenuto from Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2.
Adagio from Moonlight Sonata - Ludwig van Beethoven
Michael Lucarelli plays the first movement from Beethoven's Moonlight Sonata.
Michael Lucarelli plays the first movement from Beethoven's Moonlight Sonata.
Beethoven's Moonlight Sonata - Adagio sostenuto
Audio only - The first movement of Beethoven's Sonata No. 14 in C-sharp minor.
Audio only - The first movement of Beethoven's Sonata No. 14 in C-sharp minor.
Vitaly Pisarenko plays Standchen (Serenade) by Schubert/Liszt
Vitaly Pisarenko, Winner of the 8th International Franz Liszt Piano Competition of Utrecht, The Netherlands plays Standchen (Serenade) by Schubert/Liszt. This was his encore after recieving the First Prize during the Final Gala evening of the Liszt Competition in April 2008 in Utrecht. Recording by NPS television.
Vitaly Pisarenko, Winner of the 8th International Franz Liszt Piano Competition of Utrecht, The Netherlands plays Standchen (Serenade) by Schubert/Liszt. This was his encore after recieving the First Prize during the Final Gala evening of the Liszt Competition in April 2008 in Utrecht. Recording by NPS television.
Classical Music at 180 MPH (O Fortuna Carmina Burana) Piano/Cello
Want to become a Piano Guys founder? Click link for all the exciting details www.thepianoguys.com Be first to receive our Limited Edition PianoGuys album! (Youtube hits) here: www.thepianoguys.com Download on iTunes here itunes.apple.com Download on Amazon.com here: www.amazon.com We're on facebook now!! :) www.facebook.com Don't forget to add our Twitter! :) www.twitter.com It was impossible to turn down an invitation from one of our fans (Brad and Andrea Harker) to visit a private race track in the middle of the Nevada desert just outside of Las Vegas. We took our cameras with us and a new tune that we created just for the occasion. Thanks to a number of subscribers for the suggestion to remake this epic classical piece by Carl Orff! It was one of three possibilities we were considering when writing with the race track in mind. In the end it was no contest; especially when we read the English transition of the Latin lyrics in the piece -- which speak of fate like a "wheel" and a "driving force!" Our version of O Fortuna was so much fun to create that it was done in a matter of three days (we couldn't let ourselves do anything else until it was finished). It consists of 6 piano tracks, 43 acoustic cello tracks, 3 percussion tracks, and 48 vocal tracks. A special thanks to Orin Harker (He owns the white car) , along with his wife Val, who hosted us, gave us all the ride of our lives, and taught us about the coolness of Radical Racing! They definitely went the "extra mile <b>...</b>
Want to become a Piano Guys founder? Click link for all the exciting details www.thepianoguys.com Be first to receive our Limited Edition PianoGuys album! (Youtube hits) here: www.thepianoguys.com Download on iTunes here itunes.apple.com Download on Amazon.com here: www.amazon.com We're on facebook now!! :) www.facebook.com Don't forget to add our Twitter! :) www.twitter.com It was impossible to turn down an invitation from one of our fans (Brad and Andrea Harker) to visit a private race track in the middle of the Nevada desert just outside of Las Vegas. We took our cameras with us and a new tune that we created just for the occasion. Thanks to a number of subscribers for the suggestion to remake this epic classical piece by Carl Orff! It was one of three possibilities we were considering when writing with the race track in mind. In the end it was no contest; especially when we read the English transition of the Latin lyrics in the piece -- which speak of fate like a "wheel" and a "driving force!" Our version of O Fortuna was so much fun to create that it was done in a matter of three days (we couldn't let ourselves do anything else until it was finished). It consists of 6 piano tracks, 43 acoustic cello tracks, 3 percussion tracks, and 48 vocal tracks. A special thanks to Orin Harker (He owns the white car) , along with his wife Val, who hosted us, gave us all the ride of our lives, and taught us about the coolness of Radical Racing! They definitely went the "extra mile <b>...</b>
Classical/guitar, Jim Greeninger, Recuerdos de la Alhambra
www.jimgreeninger.com - Guitar/classical, Recuerdos de la Alhambra, by Francisco Tarrega. Jim studied for several years with Maestro Andres Segovia. The guitar Jim is playing was built by himself and was recorded directly from the Baggs pickup via wireless transmitter and a live performance mic in the hall. This is because of the number of children and noise in the theater. It seemed to be the best way to accomplish a good recording, however, it does often sound like you are directly next to the guitar. Also hear this great piece by Pepe Romaro, Christopher Parkening, John Williams, and Julian Bream.
www.jimgreeninger.com - Guitar/classical, Recuerdos de la Alhambra, by Francisco Tarrega. Jim studied for several years with Maestro Andres Segovia. The guitar Jim is playing was built by himself and was recorded directly from the Baggs pickup via wireless transmitter and a live performance mic in the hall. This is because of the number of children and noise in the theater. It seemed to be the best way to accomplish a good recording, however, it does often sound like you are directly next to the guitar. Also hear this great piece by Pepe Romaro, Christopher Parkening, John Williams, and Julian Bream.
Mozart-Symphony No. 41 "Jupiter"/Leibowitz/Pt. 1 (of 3)
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 2 www.youtube.com
Rare. Rene Leibowitz conducts The Royal Philharmonic Orchestra (1962) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire. Here's Part 2 www.youtube.com
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.
Chopin Mazurka op17 No 4 - Michel Mananes Live
Michel Mananes plays one of the most beautiful Chopin Mazurka No 4 op.17 A minor 13 .All this pieces are played in an "Antique Bosendorfer". With recitals for europa and suramerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Chopin Mazurca.classical concert pianist.
http://www.geocities.com/pianistmananes/index.html
Frederic Chopin - March 1, 1810[1] -- October 17, 1849) was a Polish[2][3] composer and virtuoso pianist of the Romantic period. He is widely regarded as the greatest Polish composer, and ranks as one of music's greatest tone poets.[4]
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830--31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,[5][6] in France he used the French versions of his names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen.[7][8][9] After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he conducted a turbulent relationship with the French writer George Sand (Aurore Dudevant). Always in frail health, in 1849 he died in Paris, at the age of 39, of chronic pulmonary tuberculosis.[10][11]
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade[12] and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
Chopin composed 58 Mazurkas (there seem to be at least another 2 unfinished sketches) and many of his other works of different genres are either inspired by the Mazurka or have parts of Mazurkas within them. Chopin did, of course, not invent the Mazurka form. However, it was he alone who put the Mazurka on the public stage and refined it into the highest art of music. In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle.
Michel Mananes plays one of the most beautiful Chopin Mazurka No 4 op.17 A minor 13 .All this pieces are played in an "Antique Bosendorfer". With recitals for europa and suramerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Chopin Mazurca.classical concert pianist.http://www.geocities.com/pianistmananes/index.html
Frederic Chopin - March 1, 1810[1] -- October 17, 1849) was a Polish[2][3] composer and virtuoso pianist of the Romantic period. He is widely regarded as the greatest Polish composer, and ranks as one of music's greatest tone poets.[4]
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830--31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,[5][6] in France he used the French versions of his names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen.[7][8][9] After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he conducted a turbulent relationship with the French writer George Sand (Aurore Dudevant). Always in frail health, in 1849 he died in Paris, at the age of 39, of chronic pulmonary tuberculosis.[10][11]
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade[12] and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
Chopin composed 58 Mazurkas (there seem to be at least another 2 unfinished sketches) and many of his other works of different genres are either inspired by the Mazurka or have parts of Mazurkas within them. Chopin did, of course, not invent the Mazurka form. However, it was he alone who put the Mazurka on the public stage and refined it into the highest art of music. In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle.
Romance - classical guitar tremolo solo
http://nylonguitarist.com
The classic Spanish Ballad played tremolo style.
http://nylonguitarist.comThe classic Spanish Ballad played tremolo style.
Rachmaninoff Plays Chopin Nocturne Op 9 No 2
Nocturne In E-Flat, Op. 9, No. 2 Sergei Rachmaninov, piano
Nocturne In E-Flat, Op. 9, No. 2 Sergei Rachmaninov, piano
