Papagena/Papageno Duet - Montserrat Caballé y Thomas Quasthoff
- Classical music composed by Wolfgang Amadeus Mozart Wonderful rendition of Papagena/Papageno's duet from Die Zauberflöte. Wolfgang Amadeus Mozart Montserrat Caballé, soprano Thomas Quasthoff, baritone SWR Rundfunkorchester Kaiserslautern Chor des Staatstheater Karlsruhe José Collado
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Anderson & Roe Piano Duet play "BLUE DANUBE FANTASY"
www.andersonroe.com | "A New Account of the Blue Danube Waltzes," composed and performed by the Anderson & Roe Piano Duo Camera work Estelle Choi, Yalin Chi, Greg Anderson, Elizabeth Roe Watch the outtakes in the video response section below! In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-) Be sure to watch for: * The choreography of our hands. We wanted to show the similarity between four hands playing together on a piano and four feet on a dance floor. Be sure to listen for: * The musical combining of themes. At times, melodies are layered atop one another, most notably at the climax. Believe it or not, seven melodies from throughout the piece are being played simultaneously (7:49 - 8:10), a real compositional feat! The sheet music for this arrangement is for sale. Visit www.andersonroe.com to instantly purchase a PDF of the score! Or you can purchase the sheet music on amazon.com : www.amazon.com Both the piece and the video are featured on the Anderson & Roe Piano Duo's debut album, "Reimagine." Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of <b>...</b>
www.andersonroe.com | "A New Account of the Blue Danube Waltzes," composed and performed by the Anderson & Roe Piano Duo Camera work Estelle Choi, Yalin Chi, Greg Anderson, Elizabeth Roe Watch the outtakes in the video response section below! In composing this work, we sought to emphasize the emotions that hide beneath the surface of the typically restrained Viennese Waltz. Note: the narrative is not a representation of reality. Yes, we're really playing the piano, but no, we didn't actually meet over a lost mitten, and no, we're not actually romantic lovers. :-) Be sure to watch for: * The choreography of our hands. We wanted to show the similarity between four hands playing together on a piano and four feet on a dance floor. Be sure to listen for: * The musical combining of themes. At times, melodies are layered atop one another, most notably at the climax. Believe it or not, seven melodies from throughout the piece are being played simultaneously (7:49 - 8:10), a real compositional feat! The sheet music for this arrangement is for sale. Visit www.andersonroe.com to instantly purchase a PDF of the score! Or you can purchase the sheet music on amazon.com : www.amazon.com Both the piece and the video are featured on the Anderson & Roe Piano Duo's debut album, "Reimagine." Greg Anderson & Elizabeth Joy Roe showcase their unique approach to classical music and the piano duo genre in this adrenalized album, featuring breathtaking music, a hard-core performance of <b>...</b>
Mozart Piano Concerto No. 5 Four Hands Duet
Alan Uy and Theo Alvarez playing Mozart's Piano Concerto No. 5 in D Major K.175 (Allegro) originally for Orchestra and Piano. The Schirmer piano score edition reduced orchestra part to separate piano. Original rendition further reduced to "one & a half" pianos by Theo & Alan. "Classical comedy" inspiration from Victor Borge. Played at the El Camino Talent Show 2007
Alan Uy and Theo Alvarez playing Mozart's Piano Concerto No. 5 in D Major K.175 (Allegro) originally for Orchestra and Piano. The Schirmer piano score edition reduced orchestra part to separate piano. Original rendition further reduced to "one & a half" pianos by Theo & Alan. "Classical comedy" inspiration from Victor Borge. Played at the El Camino Talent Show 2007
Saverio Mercadante - Il Bravo, ossia La veneziana (1839) - Duet/Scen
Mercadante composed "Il bravo" between 1838 and 1839, not without difficulty, as he had problems with finding a reliable librettist, going through Bindocci, soon replaced with Gaetano Rossi and later on with Marcelliano who, on the composer's demand, was supervised by Felice Romani. The work was written for Domenico Donzelli (nearing the end of an illustrious career) and premiered with an excellent cast (headed by Schoberlechner, the first Elaisa). The success of the opening night at la Scala on the 9th of March, 1839, was complete. No. 4. Duet for Pisani and Carlo. The present piece is one of the most unstraightforward of the whole opera, developing in a style of an intense dialogue between the two characters, interspersed with passionate ariosos and only two actual concentrated passages. The scene opens with a narrative verse for Pisani who recounts to a skeptical Carlo the story of his love for Violetta. Carlo, in a perfect dramatic touch, does not answer the young man in the same melody. Instead, a hurried discussion breaks between the two men, as Carlo finally realizes that Pisani is searching for Il Bravo, in hope of attaining his help in saving Violetta, a desire that Carlo tries to denounce but an affecting appeal by Pisani, asking the older man if had ever lost someone ("a lover, a mother, a father"), leads to a sudden break in the musical flow, as Carlo is reminded of the reason for his tormented soul; however, he tries to hide his sorrow and turns to Pisani <b>...</b>
Mercadante composed "Il bravo" between 1838 and 1839, not without difficulty, as he had problems with finding a reliable librettist, going through Bindocci, soon replaced with Gaetano Rossi and later on with Marcelliano who, on the composer's demand, was supervised by Felice Romani. The work was written for Domenico Donzelli (nearing the end of an illustrious career) and premiered with an excellent cast (headed by Schoberlechner, the first Elaisa). The success of the opening night at la Scala on the 9th of March, 1839, was complete. No. 4. Duet for Pisani and Carlo. The present piece is one of the most unstraightforward of the whole opera, developing in a style of an intense dialogue between the two characters, interspersed with passionate ariosos and only two actual concentrated passages. The scene opens with a narrative verse for Pisani who recounts to a skeptical Carlo the story of his love for Violetta. Carlo, in a perfect dramatic touch, does not answer the young man in the same melody. Instead, a hurried discussion breaks between the two men, as Carlo finally realizes that Pisani is searching for Il Bravo, in hope of attaining his help in saving Violetta, a desire that Carlo tries to denounce but an affecting appeal by Pisani, asking the older man if had ever lost someone ("a lover, a mother, a father"), leads to a sudden break in the musical flow, as Carlo is reminded of the reason for his tormented soul; however, he tries to hide his sorrow and turns to Pisani <b>...</b>
Live: Moonlight - Classical Guitar Duet
download, www.joeno1.net contact Joe, www.joeno1.net Donate: j.mp
download, www.joeno1.net contact Joe, www.joeno1.net Donate: j.mp
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
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
Jung Lin Performing Liszts Hungarian Rhapsody no 2
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization
Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
-----
"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_CivilizationConcert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
-----
"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Handel - Water Music Suite No. 2 in D Mayor Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.
Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
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.
Thomas and Patrick Demenga Perform Barrière's Sonata No. 10 for Two Cellos
Excellent performance of Jean-Baptiste Barrière's Sonata No.10 for two Cellos, by Thomas and Patrick Demenga. Recorded in Zurich on March 16, 2007.
Excellent performance of Jean-Baptiste Barrière's Sonata No.10 for two Cellos, by Thomas and Patrick Demenga. Recorded in Zurich on March 16, 2007.
Thomas und Patrick Demenga: Solo per due
Thomas und Patrick Demenga: "Solo per due" by Thomas Demenga Recorded at Jazzclub Moods, Zurich, March 16, 2007 Cameras: Marianne and Juerg Rufer Audio Engineering: Willy Strehler, Klangdach Editing and DVD-Production: Juerg Rufer A Dingo and Fox Production ©2008, Thomas and Patrick Demenga, Barry Guy Thomas Demenga - Cellist and Composer Thomas Demenga, born 1954 in Berne, Switzerland, studied with Walter Grimmer, Antonio Janigro, Leonard Rose and Mstislav Rostropovich, among others. Important chamber-musical influences were Claus Adam, Felix Galimir and Robert Mann at the Juilliard School in New York. As an internationally renowned soloist, composer and teacher, Thomas Demenga counts among the most outstanding cellists and musicians of our time. He has performed at important festivals and musical centres around the globe and shared the stage with fellow musicians such as Heinz Holliger, Gidon Kremer, Thomas Larcher, Paul Meyer, Aurèle Nicolet, Hansheinz Schneeberger, Thomas Zehetmair and Tabea Zimmermann. He works with conductors such as Moshe Atzmon, Myung-Whun Chung, Charles Dutoit, Claus Peter Flor, Howard Griffiths, Heinz Holliger, Armon Jordan, Okko Kamu, Mstislav Rostropovich, Dennis Russell Davies, Wolfgang Sawallisch, Sándor Végh, Mario Venzago, and Hiroshi Wakasugi. Thomas Demengas artistic work is determined by intensive confron-tation with different historical eras and styles of interpretation and composition. He dedicates himself with particular intensity to <b>...</b>
Thomas und Patrick Demenga: "Solo per due" by Thomas Demenga Recorded at Jazzclub Moods, Zurich, March 16, 2007 Cameras: Marianne and Juerg Rufer Audio Engineering: Willy Strehler, Klangdach Editing and DVD-Production: Juerg Rufer A Dingo and Fox Production ©2008, Thomas and Patrick Demenga, Barry Guy Thomas Demenga - Cellist and Composer Thomas Demenga, born 1954 in Berne, Switzerland, studied with Walter Grimmer, Antonio Janigro, Leonard Rose and Mstislav Rostropovich, among others. Important chamber-musical influences were Claus Adam, Felix Galimir and Robert Mann at the Juilliard School in New York. As an internationally renowned soloist, composer and teacher, Thomas Demenga counts among the most outstanding cellists and musicians of our time. He has performed at important festivals and musical centres around the globe and shared the stage with fellow musicians such as Heinz Holliger, Gidon Kremer, Thomas Larcher, Paul Meyer, Aurèle Nicolet, Hansheinz Schneeberger, Thomas Zehetmair and Tabea Zimmermann. He works with conductors such as Moshe Atzmon, Myung-Whun Chung, Charles Dutoit, Claus Peter Flor, Howard Griffiths, Heinz Holliger, Armon Jordan, Okko Kamu, Mstislav Rostropovich, Dennis Russell Davies, Wolfgang Sawallisch, Sándor Végh, Mario Venzago, and Hiroshi Wakasugi. Thomas Demengas artistic work is determined by intensive confron-tation with different historical eras and styles of interpretation and composition. He dedicates himself with particular intensity to <b>...</b>
Ondes Martenot /virtuosistic Formule by Thomas Bloch-TV 1999
Thomas Bloch: www.thomasbloch.net - "Formule" is one of the most virtuosistic piece written for solo ondes Martenot, composed by and played here by the French multi-instrumentalist Thomas Bloch himself (ondes Martenot, glassharmonica, cristal Baschet, waterphone...) who has played as well with Radiohead, Gorillaz, John Cage as with most prestigious classical soloists and orchestras in the world (Milano Scala, Paris opera...). A short excerpt of the piece taken from a TV program recorded in Paris Musée de la Musique. June 8, 1999. To hear and see the complete work, a more recent version played live at the Barbican Center (London) was added recently on youtube www.youtube.com Other names : Ones Martenot (Catalan), Ondas Martenot (Spain, Portugal), Martenot waves (English), Onde Martenot (Italy), Fale Martenota (Poland), 0™0Û0...0˚0fi0Î0»0Œ (Japan) - wrong name : Martinot
Thomas Bloch: www.thomasbloch.net - "Formule" is one of the most virtuosistic piece written for solo ondes Martenot, composed by and played here by the French multi-instrumentalist Thomas Bloch himself (ondes Martenot, glassharmonica, cristal Baschet, waterphone...) who has played as well with Radiohead, Gorillaz, John Cage as with most prestigious classical soloists and orchestras in the world (Milano Scala, Paris opera...). A short excerpt of the piece taken from a TV program recorded in Paris Musée de la Musique. June 8, 1999. To hear and see the complete work, a more recent version played live at the Barbican Center (London) was added recently on youtube www.youtube.com Other names : Ones Martenot (Catalan), Ondas Martenot (Spain, Portugal), Martenot waves (English), Onde Martenot (Italy), Fale Martenota (Poland), 0™0Û0...0˚0fi0Î0»0Œ (Japan) - wrong name : Martinot
Thomas Hampson - Copland: The Little Horses / At the River (Tsunami
Tsunami Gala Royal Opera House, 27 March 2005 "The Little Horses" / "At the River" Aaron Copland's arrangements of two American folksongs Thomas Hampson Piano: Antonio Pappano
Tsunami Gala Royal Opera House, 27 March 2005 "The Little Horses" / "At the River" Aaron Copland's arrangements of two American folksongs Thomas Hampson Piano: Antonio Pappano
