WILHELM FURTWÄNGLER THE MOLDAU (Smetana)
- Classical music composed by Bedřich Smetana Wilhelm Furtwängler conducts The Moldau by Bedrich Smetana Wiener Philharmoniker recorded: 24.01.1951
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Fauré, Nocturne No 6 in D-flat played by Wilhelm Kempff
Wilhelm Kempff specialised mainly in the German Classical and Romantic repertoires, sometimes branching into Chopin and Liszt. To my knowledge, this is his one foray into Fauré - indeed into any French repertoire. In this 1945 radio broadcast Kempff plays spaciously, creating a delicately perfumed sound world. The recording level is quite low.
Wilhelm Kempff specialised mainly in the German Classical and Romantic repertoires, sometimes branching into Chopin and Liszt. To my knowledge, this is his one foray into Fauré - indeed into any French repertoire. In this 1945 radio broadcast Kempff plays spaciously, creating a delicately perfumed sound world. The recording level is quite low.
Beethoven Piano Concert No 4 - 1.mov part 1 - Wilhelm Backhaus - Kar
GOOD QUALITY WILHELM BACKHAUS & KARL BÖHM Concerto for Piano no 4 in G major, Op. 58 by Ludwig van Beethoven Performer: Wilhelm Backhaus (Piano) Conductor: Karl Böhm Orchestra/Ensemble: Vienna Symphony Orchestra Date of Recording: 3-9/4/1967 Venue: Studio Rosenhügel, Vienna Period: Classical Written: 1806; Vienna, Austria * Backhaus was regarded by many as the greatest interpreter of Beethoven. * Backhaus and Böhm were friends of nearly forty years' standing and collaborated in concertos by both these composers on many occasions. * The present performance was among their last. Two years later, Backhaus died, aged 85, after a career of some seventy years. * Both men were technicians of exceptional brilliance. * Böhm's command of orchestral ensemble, sonority, textural clarity and subtlety of rhythm was legendary. His musicianship was impeccable, his authority unquestioned. * A marvellous testament to great Brahms conducting! Perhaps this DVD will act as a reminder of the power of the medium. These are two fine performances by two great artists - and here we have the opportunity to study their most intimate movements in performance. Piano students will surely glean volumes from Backhaus's sovereign technique; conducting students may find less to admire in Böhm's rather staid manner and gestures, but nevertheless can observe a major podium figure of the past at close quarters. The set-up in the studio is typical for the period, with the conductor rather isolated from his <b>...</b>
GOOD QUALITY WILHELM BACKHAUS & KARL BÖHM Concerto for Piano no 4 in G major, Op. 58 by Ludwig van Beethoven Performer: Wilhelm Backhaus (Piano) Conductor: Karl Böhm Orchestra/Ensemble: Vienna Symphony Orchestra Date of Recording: 3-9/4/1967 Venue: Studio Rosenhügel, Vienna Period: Classical Written: 1806; Vienna, Austria * Backhaus was regarded by many as the greatest interpreter of Beethoven. * Backhaus and Böhm were friends of nearly forty years' standing and collaborated in concertos by both these composers on many occasions. * The present performance was among their last. Two years later, Backhaus died, aged 85, after a career of some seventy years. * Both men were technicians of exceptional brilliance. * Böhm's command of orchestral ensemble, sonority, textural clarity and subtlety of rhythm was legendary. His musicianship was impeccable, his authority unquestioned. * A marvellous testament to great Brahms conducting! Perhaps this DVD will act as a reminder of the power of the medium. These are two fine performances by two great artists - and here we have the opportunity to study their most intimate movements in performance. Piano students will surely glean volumes from Backhaus's sovereign technique; conducting students may find less to admire in Böhm's rather staid manner and gestures, but nevertheless can observe a major podium figure of the past at close quarters. The set-up in the studio is typical for the period, with the conductor rather isolated from his <b>...</b>
Princesses of Violin - Wilhelm Tell Ouvertüre 2007
Princesses of Violin - Wilhelm Tell Ouvertüre 2007 Ouvertüre zur Oper 'Wilhelm Tell' von Gioacchino Rossini Ouverture de l'opéra Guillaume Tell de Gioacchino Rossini
Princesses of Violin - Wilhelm Tell Ouvertüre 2007 Ouvertüre zur Oper 'Wilhelm Tell' von Gioacchino Rossini Ouverture de l'opéra Guillaume Tell de Gioacchino Rossini
Wagner - RIDE OF THE VALKYRIES - Furtwangler
The Ride of the Valkyries, by Richard Wagner, in a classic recording with Wilhelm Furtwangler and the Vienna Philharmonic. Illustrations are by Arthur Rackham. "One golden summer in adolescence...I heard the 'Ride of the Valkyries' on a gramophone and saw Arthur Rackham's illustrations to The Ring." (CSLewis) The music: probably the most famous and instantly identifiable of Wagner's works is this short orchestral prelude from Die Walkure, the second opera in the monumental Der Ring des Nibelungen. It has gone on to enter popular culture, being used in many films, most notably the helicopter attack sequence in Apocalypse Now. In terms of composition it perfectly demonstrates Wagner's epic sense of drama, and also his masterful orchestration. The conductor: Wilhelm Furtwangler is probably unrivalled as an interpreter of the core Austro-German Romantic repertoire, setting benchmarks in the performance of Beethoven, Schubert, Brahms, Wagner, Bruckner and others. His recordings include two complete Ring Cycles, both of them classics. The illustrations: Arthur Rackham was one of the greatest illustrators at the turn of the 19th century, creating classic visions for fairy tales and fantasies (Alice, Peter Pan, etc.). His work on Der Ring des Nibelungen is often considered one of the finest visual depictions of Wagner's epic. Sound: sorry the quality isn't first class - the recording is nearly sixty years old! (Imagine what Furtwangler could do with digital surround sound <b>...</b>
The Ride of the Valkyries, by Richard Wagner, in a classic recording with Wilhelm Furtwangler and the Vienna Philharmonic. Illustrations are by Arthur Rackham. "One golden summer in adolescence...I heard the 'Ride of the Valkyries' on a gramophone and saw Arthur Rackham's illustrations to The Ring." (CSLewis) The music: probably the most famous and instantly identifiable of Wagner's works is this short orchestral prelude from Die Walkure, the second opera in the monumental Der Ring des Nibelungen. It has gone on to enter popular culture, being used in many films, most notably the helicopter attack sequence in Apocalypse Now. In terms of composition it perfectly demonstrates Wagner's epic sense of drama, and also his masterful orchestration. The conductor: Wilhelm Furtwangler is probably unrivalled as an interpreter of the core Austro-German Romantic repertoire, setting benchmarks in the performance of Beethoven, Schubert, Brahms, Wagner, Bruckner and others. His recordings include two complete Ring Cycles, both of them classics. The illustrations: Arthur Rackham was one of the greatest illustrators at the turn of the 19th century, creating classic visions for fairy tales and fantasies (Alice, Peter Pan, etc.). His work on Der Ring des Nibelungen is often considered one of the finest visual depictions of Wagner's epic. Sound: sorry the quality isn't first class - the recording is nearly sixty years old! (Imagine what Furtwangler could do with digital surround sound <b>...</b>
Mendelssohn A Midsummer Night's Dream - Furtwangler -(part1)
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
Mendelssohn A Midsummer Night's Dream (part1) Orchestra: Berlin Orchestra Director: Wilhelm Furtwangler --- (part1) www.youtube.com (part2) www.youtube.com --- Listen to radio stations from your browser www.toolbar-radio.com World version --- Digital Remastering of 78 RPM Records Only Classical Music Public Domain PromoClassical Copyright reserved
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
Toscanini Conducts Bedrich Smetana's Ma Vlast No 2 Vltava Moldau
Ma Vlast (My Fatherland): No. 2. Vltava (Moldau)
Composer: Bedrich Smetana (1824-1884)
Conductor: Arturo Toscanini (1867-1957)
Performer: NBC Symphony Orchestra
Ma Vlast (My Fatherland): No. 2. Vltava (Moldau)Composer: Bedrich Smetana (1824-1884)
Conductor: Arturo Toscanini (1867-1957)
Performer: NBC Symphony Orchestra
Die Moldau (Smetana)
Der stille Bach zur Moldaumusik ! Das komplette Video gibt es auf meinem NatureandClassic Kanal ! (Hier ist nur die gekürzte Version): www.youtube.com Hier sehen sie Aufnahmen vom Stillen Bach in Weingarten. (bei Ravensburg) Oberschwaben) Für die Musik habe ich eine Lizenz ! Leider...
Der stille Bach zur Moldaumusik ! Das komplette Video gibt es auf meinem NatureandClassic Kanal ! (Hier ist nur die gekürzte Version): www.youtube.com Hier sehen sie Aufnahmen vom Stillen Bach in Weingarten. (bei Ravensburg) Oberschwaben) Für die Musik habe ich eine Lizenz ! Leider...
Bedřich Smetana: Má Vlast Moldau (Vltava) [City of Prague Philharm
A TRIP TO PRAGUE, including Ma Vlast -- Download for $9.99 at: emhclassicalmusic.bandcamp.com EPIC ORCHESTRA, including Ma Vlast -- Download for $8.99 at: emhclassicalmusic.bandcamp.com Facebook.com/EMHClassicalMusic -- Like us! Listen to more incredible works and download albums! *** The EMH Classical Music Library was created with the belief that there could be better recordings of the world's classical music. The result is a collection of over 200 cuts featuring the great classical works such as Vivaldi's Four Seasons, Tchaikovsky's 1812 Overture, Mozart's Eine Kleine Nachtmusik, and Symphony 40 as well as excerpts from Dvorak's New World Symphony and Handel's Messiah, just to name a few. The EMH Classical Music Library is adding brand new recordings all the time. Listen to the audio CDs or find a way to hear it in Surround. Classical music never sounded like this! -------------------------- Listen online, purchase and download via www.EMHClassicalMusic.com. Sunday Morning Classics Series available via Deseret Book at www.DeseretBook.com. Inspirational Classics for a Peaceful Day: Sunday Morning with Bach, Sunday Morning with Beethoven, Sunday Morning with Classical Piano, Sunday Morning With Handel, Sunday Morning With Mozart, Sunday Morning With String Quartet. All pieces available in 24bit/96k 5.1 Surround and Stereo, wet and dry. Follow EMH on YouTube, Twitter and Facebook: Twitter.com/EMHClassical and Facebook.com/EMHClassicalMusic
A TRIP TO PRAGUE, including Ma Vlast -- Download for $9.99 at: emhclassicalmusic.bandcamp.com EPIC ORCHESTRA, including Ma Vlast -- Download for $8.99 at: emhclassicalmusic.bandcamp.com Facebook.com/EMHClassicalMusic -- Like us! Listen to more incredible works and download albums! *** The EMH Classical Music Library was created with the belief that there could be better recordings of the world's classical music. The result is a collection of over 200 cuts featuring the great classical works such as Vivaldi's Four Seasons, Tchaikovsky's 1812 Overture, Mozart's Eine Kleine Nachtmusik, and Symphony 40 as well as excerpts from Dvorak's New World Symphony and Handel's Messiah, just to name a few. The EMH Classical Music Library is adding brand new recordings all the time. Listen to the audio CDs or find a way to hear it in Surround. Classical music never sounded like this! -------------------------- Listen online, purchase and download via www.EMHClassicalMusic.com. Sunday Morning Classics Series available via Deseret Book at www.DeseretBook.com. Inspirational Classics for a Peaceful Day: Sunday Morning with Bach, Sunday Morning with Beethoven, Sunday Morning with Classical Piano, Sunday Morning With Handel, Sunday Morning With Mozart, Sunday Morning With String Quartet. All pieces available in 24bit/96k 5.1 Surround and Stereo, wet and dry. Follow EMH on YouTube, Twitter and Facebook: Twitter.com/EMHClassical and Facebook.com/EMHClassicalMusic
8-bit Classical: Smetana, Vltava (Moldau) from Ma Vlast
I don't know what it is about 19th century nationalist composers, but there's something in their music that just makes me fell all warm and patriotic on the inside. I did not make the Midi file used for this. (I might upload the rest if the small amount of people that watch my videos want them, the other movements weren't arranged in Midi very well, so they're not that great.)
I don't know what it is about 19th century nationalist composers, but there's something in their music that just makes me fell all warm and patriotic on the inside. I did not make the Midi file used for this. (I might upload the rest if the small amount of people that watch my videos want them, the other movements weren't arranged in Midi very well, so they're not that great.)
