Capriccio Espagnol (I,II,III) Orquesta Sinfónica de Puerto Rico
- Classical music composed by Nikolai Rimsky-Korsakov Roselín Pabón: Director / Conductor Written by Nikolai Rimsky-Korsakov in 1887. The work has five movements. The first movement, Alborada, is a festive and exciting dance, typical from traditional asturian music to celebrate the rising of the sun. The second movement, Variazioni, begins with a melody in the horn section. Variations of this melody are then repeated by other instruments and sections of the orchestra. The third movement, Alborada, presents the same asturian dance as the first movement. The two movements are nearly identical, in fact, except that this movement has a different instrumentation and key. The fourth movement, Scena e canto gitano ("Scene and gypsy song") opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments. It is then followed by a dance in triple time leading attacca into the final movement. The fifth and final movement, Fandango asturiano, is also an energetic dance from the Asturias region of northern Spain. The piece ends with an even more rousing statement of the Alborada theme. A complete performance of the Capriccio takes around 16 minutes. www.myspace.com
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Vieuxtemps - Capriccio - Joyalene, Viola
Pacific Union College Music Department presents: Violist Joyalene Ng; "Music for the 20th Century Romantic," Sunday, Nov. 16, 2008. Paulin Hall Auditorium. <br /><br />"Henri Vieuxtemps (1820-1881) was a great Belgium Violinist. Vieuxtemps wrote this piece as homage to Niccolo Paganini. It was not published until after his death. Although this song is really beautiful, it is very tiring to play, especially at the end. Fortunately for my sake, the piece is quite short."--Joyalene Ng
Pacific Union College Music Department presents: Violist Joyalene Ng; "Music for the 20th Century Romantic," Sunday, Nov. 16, 2008. Paulin Hall Auditorium. <br /><br />"Henri Vieuxtemps (1820-1881) was a great Belgium Violinist. Vieuxtemps wrote this piece as homage to Niccolo Paganini. It was not published until after his death. Although this song is really beautiful, it is very tiring to play, especially at the end. Fortunately for my sake, the piece is quite short."--Joyalene Ng
Leopold - Capriccio
Georg Goltermanns Capriccio Cello by Leopold Inkapool at Eesti Maja, Stockholm. Receiving scholarship from Eesti kultuuri koondis. Piano by Klaarika Kuusk.
Georg Goltermanns Capriccio Cello by Leopold Inkapool at Eesti Maja, Stockholm. Receiving scholarship from Eesti kultuuri koondis. Piano by Klaarika Kuusk.
Brahms, Capriccio, opus 76 no 2, piano solo
Johannes Brahms, Capriccio in B minor, opus 76 #2,accompanied by a scrolling bar-graph score. FAQ Q: Where can I get free sheet music for this piece? A: Here: www.musanim.com Q: Who is performing this piece? A: This rendition was made by Stephen Malinowski (smalin on YouTube), using his version of the conductor program: www.musanim.com www.musanim.com Q: Who is this Brahms person? A: You can read about him here en.wikipedia.org Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com Q: Could you please do a MAM video of ______? A: First, check my "to do" list: www.musanim.com ... If the piece isn't listed, read the "Could you please do a MAM video of ______?" item on my main FAQ: www.musanim.com ... and if you think I'd consider doing it, email me (stephen at musanim dot com). Q: What do the colors in the bar-graph score mean? A: The colors indicate the "pitch class" of the notes; that is, every B is a certain color (blue), every E is a certain color (violet), etc. The choice of colors is based on the "circle of fifths," which you can read about here: en.wikipedia.org This method of coloring notes is described more here: www.musanim.com .
Johannes Brahms, Capriccio in B minor, opus 76 #2,accompanied by a scrolling bar-graph score. FAQ Q: Where can I get free sheet music for this piece? A: Here: www.musanim.com Q: Who is performing this piece? A: This rendition was made by Stephen Malinowski (smalin on YouTube), using his version of the conductor program: www.musanim.com www.musanim.com Q: Who is this Brahms person? A: You can read about him here en.wikipedia.org Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com Q: Could you please do a MAM video of ______? A: First, check my "to do" list: www.musanim.com ... If the piece isn't listed, read the "Could you please do a MAM video of ______?" item on my main FAQ: www.musanim.com ... and if you think I'd consider doing it, email me (stephen at musanim dot com). Q: What do the colors in the bar-graph score mean? A: The colors indicate the "pitch class" of the notes; that is, every B is a certain color (blue), every E is a certain color (violet), etc. The choice of colors is based on the "circle of fifths," which you can read about here: en.wikipedia.org This method of coloring notes is described more here: www.musanim.com .
Heifetz plays Lalo Symphonie Espagnole Mvt 1
Heifetz plays Lalo's superb violin concerto, 1st movement. Transcribed from BLP1029 - HMVs pressing of an RCA classic disc. Steinberg conducts. If you want to buy thr whole recording on MP3 or CD I sell it quite cheaply at: www.classical33.co.uk
Heifetz plays Lalo's superb violin concerto, 1st movement. Transcribed from BLP1029 - HMVs pressing of an RCA classic disc. Steinberg conducts. If you want to buy thr whole recording on MP3 or CD I sell it quite cheaply at: www.classical33.co.uk
Edouard Lalo: Symphonie Espagnole in D minor, Op 21
Tabea Hass-Heger (violin) plays Edouard Lalo's Symphonie Espangnole in D minor, Op 21 on 12th March at the Young Virtuosi Spring Concert, Royal Over-Seas League, Alexandra Hall, London
Tabea Hass-Heger (violin) plays Edouard Lalo's Symphonie Espangnole in D minor, Op 21 on 12th March at the Young Virtuosi Spring Concert, Royal Over-Seas League, Alexandra Hall, London
Felices Días - Orquesta Sinfónica de Puerto Rico
Roselín Pabón: Director/Conductor Lito Peña: Arreglo/Arrangement Juan Morel Campos Born in Ponce on May 16, 1857, he is without any doubt, the best exponent of the Puerto Rican danza. He was the most prolific danza composer and the one who took that form to its highest level. El Asalto, "Felices Días", "Vano Empeño", "No me toques", Un Conflicto, "Mis penas", "Tormento", "Alma Sublime", "Laura y Georgina and many others are only a small sample of his vast repertoire, which is calculated to be more than 550 compositions of which more than 300 are danzas. He began his musical studies at the tender age of eight under Prof. Antonio Egipciaco. During his youth he learned how to play almost all brass instruments and for some time he conducted the Municipal Band of Ponce and was the church's organist. He later became the most advanced student of Manuel G. Tavarez, considered The Father of the Danza, whose influence can be perceived in some of his first creating new danzas in which he incorporated all the rythms and styles of his time, plus many of his own, developing the form to what it is today. Many of Morel's danzas were not originally written for the piano. In its origins danzas were for dancing, as its name implies. Morel had his own dance orchestra, "La Lira Ponceña" for which he wrote most of his compositions. Later he transcribed them for the piano, so they could be played by everyone at home and not be forgotten. Morel's inspiration came from many sources, but most of <b>...</b>
Roselín Pabón: Director/Conductor Lito Peña: Arreglo/Arrangement Juan Morel Campos Born in Ponce on May 16, 1857, he is without any doubt, the best exponent of the Puerto Rican danza. He was the most prolific danza composer and the one who took that form to its highest level. El Asalto, "Felices Días", "Vano Empeño", "No me toques", Un Conflicto, "Mis penas", "Tormento", "Alma Sublime", "Laura y Georgina and many others are only a small sample of his vast repertoire, which is calculated to be more than 550 compositions of which more than 300 are danzas. He began his musical studies at the tender age of eight under Prof. Antonio Egipciaco. During his youth he learned how to play almost all brass instruments and for some time he conducted the Municipal Band of Ponce and was the church's organist. He later became the most advanced student of Manuel G. Tavarez, considered The Father of the Danza, whose influence can be perceived in some of his first creating new danzas in which he incorporated all the rythms and styles of his time, plus many of his own, developing the form to what it is today. Many of Morel's danzas were not originally written for the piano. In its origins danzas were for dancing, as its name implies. Morel had his own dance orchestra, "La Lira Ponceña" for which he wrote most of his compositions. Later he transcribed them for the piano, so they could be played by everyone at home and not be forgotten. Morel's inspiration came from many sources, but most of <b>...</b>
orquesta de guitarras- Capuletos y montescos by Prokofiev
Classical guitar. orquesta de guitarras de la Universidad Nacional de Colombia interpretando un arreglo de Jean Carlo Espíndola de la obra de Prokofiev Romeo y Julieta.
Classical guitar. orquesta de guitarras de la Universidad Nacional de Colombia interpretando un arreglo de Jean Carlo Espíndola de la obra de Prokofiev Romeo y Julieta.
Orquesta Athanor. Pedro y el Lobo de Sergei Prokofiev. 1/4
Concierto de la Orquesta Athanor interpretando Pedro y el Lobo, de Sergei Prokofiev, en el auditorio Pilar Bardém de Rivas Vaciamadrid. Junio de 2009
Concierto de la Orquesta Athanor interpretando Pedro y el Lobo, de Sergei Prokofiev, en el auditorio Pilar Bardém de Rivas Vaciamadrid. Junio de 2009
Fauré - Pavana (Pavane) - Orquesta y coro - With choir
La pavana de Gabriel Fauré, una de las obras más bellas de la música occidental. Orquesta y coro. Desconozco los intérpretes. Gabriel Faure's Pavane for orchestra & choir. IMHO this is one of the most beatiful works in western music. Performers are unknown to me. Letra / Lyrics: C'est Lindor, c'est Tircis et c'est tous nos vainqueurs! C'est Myrtille, c'est Lydé! Les reines de nos coeurs! Comme ils sont provocants! Comme ils sont fiers toujours! Comme on ose régner sur nos sorts et nos jours! Faites attention! Observez la mesure! Ô la mortelle injure! La cadence est moins lente! Et la chute plus sûre! Nous rabattrons bien leur caquets! Nous serons bientôt leurs laquais! Qu'ils sont laids! Chers minois! Qu'ils sont fols! (Airs coquets!) Et c'est toujours de même, et c'est ainsi toujours! On s'adore! On se hait! On maudit ses amours! On s'adore! On se hait! On maudit ses amours! Adieu Myrtille, Eglé, Chloé, démons moqueurs! Adieu donc et bons jours aux tyrans de nos coeurs! Et bons jours! Partitura / Sheet: www.cpdl.org
La pavana de Gabriel Fauré, una de las obras más bellas de la música occidental. Orquesta y coro. Desconozco los intérpretes. Gabriel Faure's Pavane for orchestra & choir. IMHO this is one of the most beatiful works in western music. Performers are unknown to me. Letra / Lyrics: C'est Lindor, c'est Tircis et c'est tous nos vainqueurs! C'est Myrtille, c'est Lydé! Les reines de nos coeurs! Comme ils sont provocants! Comme ils sont fiers toujours! Comme on ose régner sur nos sorts et nos jours! Faites attention! Observez la mesure! Ô la mortelle injure! La cadence est moins lente! Et la chute plus sûre! Nous rabattrons bien leur caquets! Nous serons bientôt leurs laquais! Qu'ils sont laids! Chers minois! Qu'ils sont fols! (Airs coquets!) Et c'est toujours de même, et c'est ainsi toujours! On s'adore! On se hait! On maudit ses amours! On s'adore! On se hait! On maudit ses amours! Adieu Myrtille, Eglé, Chloé, démons moqueurs! Adieu donc et bons jours aux tyrans de nos coeurs! Et bons jours! Partitura / Sheet: www.cpdl.org
Wedding March from A Midsummer Nights Dream Mendelssohn
WSU Brass and Organ Recital
Organized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
WSU Brass and Organ RecitalOrganized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
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
Claude Debussy - Prelude to the Afternoon of a Faun
Painting - On the Hudson Artist - Thomas Doughty
Painting - On the Hudson Artist - Thomas Doughty
Handel - Messiah - Hallelujah Chorus
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.
Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
From Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir.Though heavily romanticized, it is one of the best renditions of this magnificent piece, in this one's opinion.
LYRICS:
Hallelujah hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
Hallelujah hallelujah hallelujah hallelujah
(For the lord God omnipotent reigneth)
Hallelujah hallelujah hallelujah hallelujah
For the lord God omnipotent reigneth
(Hallelujah hallelujah hallelujah hallelujah)
Hallelujah
The kingdom of this world;
is become
the kingdom of our Lord,
and of His Christ
and of His Christ
And He shall reign for ever and ever
And he shall reign forever and ever
And he shall reign forever and ever
And he shall reign forever and ever
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords forever and ever hallelujah hallelujah
King of kings forever and ever hallelujah hallelujah
and lord of lords
King of kings and lord of lords
And he shall reign
And he shall reign
And he shall reign
He shall reign
And he shall reign forever and ever
King of kings forever and ever
and lord of lords hallelujah hallelujah
And he shall reign forever and ever
King of kings and lord of lords
King of kings and lord of lords
And he shall reign forever and ever
Forever and ever and ever and ever
(King of kings and lord of lords)
Hallelujah hallelujah hallelujah hallelujah
Hallelujah
Cinema Paradiso: Main Title (Ennio Morricone)
"Cinema Paradiso" by Ennio Morricone My arrangement No tabs or scores available from me. I don't have anything written down! Taylor NS54-CE, hybrid classical
"Cinema Paradiso" by Ennio Morricone My arrangement No tabs or scores available from me. I don't have anything written down! Taylor NS54-CE, hybrid classical
Giorgio Federico Ghedini: Marinaresca e Baccanale (1933)
Giorgio Federico Ghedini (1892-1965): Marinaresca e Baccanale, per orchestra (1933) -- New York Philharmonic diretta da Victor De Sabata (dal vivo: New York 5 marzo 1950) -- painting by Felice Casorati ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Giorgio Federico Ghedini (1892-1965): Marinaresca e Baccanale, per orchestra (1933) -- New York Philharmonic diretta da Victor De Sabata (dal vivo: New York 5 marzo 1950) -- painting by Felice Casorati ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Una Furtiva Lagrima - Enrico Caruso 1904
Digitally remastered version of a recording from the 1st of February 1904 (room 826, Carnegie Hall, NY). You may want to look at my non-profit website for more Caruso info: www.enricocaruso.dk (English). I have uploaded all of Caruso's recordings (in different versions there. Una furtiva lagrima (A furtive tear) is the romanza from Act II, Scene 2 of the Italian opera, L'elisir d'amore (The Elixir of Love) by Gaetano Donizetti. It is sung by Nemorino (Caruso) when he finds that the love potion he bought to win his dream lady's heart, Adina, works. Nemorino is in love with Adina, but she isn't interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a "love potion" with all the money he has in his pocket. The "love potion" is actually a cheap red wine sold by a con business traveler. But when he sees Adina weeping, he knows that she has fallen in love with him and the "Elixir" works. Caruso created the role of Nemorino the first time in February 1901 at La Scala in Milan. The conductor was the famous Toscanini, but the notoriously critical and reserved audience of La Scala did not react at all ... until Caruso started singing - and he basically turned the performance from failure to success. The audience went wild and Caruso was compelled to repeat "Una furtiva lagrima" three times. When Toscanini came back stage to go before the curtain with the artists, he embraced Caruso, then turned to the manager of La Scala, Giulio Gatti-Casazza, and <b>...</b>
Digitally remastered version of a recording from the 1st of February 1904 (room 826, Carnegie Hall, NY). You may want to look at my non-profit website for more Caruso info: www.enricocaruso.dk (English). I have uploaded all of Caruso's recordings (in different versions there. Una furtiva lagrima (A furtive tear) is the romanza from Act II, Scene 2 of the Italian opera, L'elisir d'amore (The Elixir of Love) by Gaetano Donizetti. It is sung by Nemorino (Caruso) when he finds that the love potion he bought to win his dream lady's heart, Adina, works. Nemorino is in love with Adina, but she isn't interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a "love potion" with all the money he has in his pocket. The "love potion" is actually a cheap red wine sold by a con business traveler. But when he sees Adina weeping, he knows that she has fallen in love with him and the "Elixir" works. Caruso created the role of Nemorino the first time in February 1901 at La Scala in Milan. The conductor was the famous Toscanini, but the notoriously critical and reserved audience of La Scala did not react at all ... until Caruso started singing - and he basically turned the performance from failure to success. The audience went wild and Caruso was compelled to repeat "Una furtiva lagrima" three times. When Toscanini came back stage to go before the curtain with the artists, he embraced Caruso, then turned to the manager of La Scala, Giulio Gatti-Casazza, and <b>...</b>
Cesar Rico - Antonio Lauro - Concierto para Guitarra N°1
Primer Movimiento del Concierto N°1 para Guitarra y Orquesta del Compositor Venezolano Antonio Lauro, en reducción para Guitarra y Piano Ejecutada por el Guitarrista Venezolano Cesar Rico y la Pianista Marisabel Sánchez en la Ciudad de los Teques el 8 de Agosto de 2009. Cesar Rico cursó estudios de Guitarra Académica con el insigne Maestro Venezolano Leopoldo Igarza.
Primer Movimiento del Concierto N°1 para Guitarra y Orquesta del Compositor Venezolano Antonio Lauro, en reducción para Guitarra y Piano Ejecutada por el Guitarrista Venezolano Cesar Rico y la Pianista Marisabel Sánchez en la Ciudad de los Teques el 8 de Agosto de 2009. Cesar Rico cursó estudios de Guitarra Académica con el insigne Maestro Venezolano Leopoldo Igarza.
