Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
- Classical music composed by Pyotr Ilyich Tchaikovsky Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
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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.
Swan Lake Ballet Tchaikovsky Act 1 part 1
Academical Orchestra St. Petersburg Conductur : W. Fedotov Choreography: Marius Petipa/Leonid Ivanov Ballet of the Kirov Theatre St. Petersburg Odette/Odile : Yelena Yevteyeva Siegfried : John Markovsky Rothbart : Makhmud Esambayev The Fool : Valery Panov The Prince´s Mother : Alla Kabarova Servant : Viktor Ryazanov Historical Recording from 1968 Screen Adaption : Konstantin Sergeyev Director : Appollinary Dudko The four-act ballet Swan Lake,based on a German fairy tale and with music by Peter Ilyich Tchaikovsky,was first produced in Moscow in 1877 at the Bolshoi Theatre with a choreography by Julius Reisinger and was a total failure.After Tchaikovsky´s death in 1893,a memorial to the composer presented the second act,succesfully recoreographed by Lev Ivanov.In 1895 a completely new version of the ballet,choreographed by Ivanov and Marius Petipa was staged at the Mariinsky Theatre in St. Petersburg and this time the ballet received the appreciation that it had rightfully deserved.The new choreography fulfilled the expectations of the Russian public as it added an element of "pressure" to the copmosition. This recording presents a "classical" staging of the ballet from 1968 which based on the Ivanov/Petipa choreography.This Russian screen version of Swan Lake is a colourful and magnificent version of one of the ballet classics of all time,performed by the world.famous Kirov ensemble.
Academical Orchestra St. Petersburg Conductur : W. Fedotov Choreography: Marius Petipa/Leonid Ivanov Ballet of the Kirov Theatre St. Petersburg Odette/Odile : Yelena Yevteyeva Siegfried : John Markovsky Rothbart : Makhmud Esambayev The Fool : Valery Panov The Prince´s Mother : Alla Kabarova Servant : Viktor Ryazanov Historical Recording from 1968 Screen Adaption : Konstantin Sergeyev Director : Appollinary Dudko The four-act ballet Swan Lake,based on a German fairy tale and with music by Peter Ilyich Tchaikovsky,was first produced in Moscow in 1877 at the Bolshoi Theatre with a choreography by Julius Reisinger and was a total failure.After Tchaikovsky´s death in 1893,a memorial to the composer presented the second act,succesfully recoreographed by Lev Ivanov.In 1895 a completely new version of the ballet,choreographed by Ivanov and Marius Petipa was staged at the Mariinsky Theatre in St. Petersburg and this time the ballet received the appreciation that it had rightfully deserved.The new choreography fulfilled the expectations of the Russian public as it added an element of "pressure" to the copmosition. This recording presents a "classical" staging of the ballet from 1968 which based on the Ivanov/Petipa choreography.This Russian screen version of Swan Lake is a colourful and magnificent version of one of the ballet classics of all time,performed by the world.famous Kirov ensemble.
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.
Sarah Chang Mendelssohn Violin Concerto Mvt2
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Sarah Chang Mendelssohn Violin Concerto Mvt1 Part2
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Mendelssohn Violin Concerto Movement 1 Allegro, molto appassionato: PART 1 OF 2
SARAH CHANG, NEW YORK
PHILHARMONIC and KURT MASUR - AVERY FISHER HALL 1995
PART2 HERE: http://youtube.com/watch?v=0_3PJf4lAj0
***SPECIAL THANKS TO YOUTUBE USER belgradegeneve FOR THE VIDEOS!***
Mendelssohn Violin Concerto Movement 1 Allegro, molto appassionato: PART 1 OF 2SARAH CHANG, NEW YORK
PHILHARMONIC and KURT MASUR - AVERY FISHER HALL 1995
PART2 HERE: http://youtube.com/watch?v=0_3PJf4lAj0
***SPECIAL THANKS TO YOUTUBE USER belgradegeneve FOR THE VIDEOS!***
Moonlight Sonata, 1st Movement - Ludwig van Beethoven
Adagio Sostenuto from Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2.
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Dublin Philharmonic Dvorak New World Symphony - 1st Mvt
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
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Elgar Cello Concerto 1st mov
First Movement (Adagio - Moderato)
Cello: Jacqueline Du Pre
Conducer: Daniel Barenboim
First Movement (Adagio - Moderato)Cello: Jacqueline Du Pre
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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.
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First Movement from Piano Sonata in E-flat minor - Samuel Barber
Visual score with Vladimir Horowitz' recording of the first movement from Samuel Barber's Piano Sonata in E-flat minor.
Visual score with Vladimir Horowitz' recording of the first movement from Samuel Barber's Piano Sonata in E-flat minor.
