Kol Nidrei, by Max Bruch, Melanie Ellison cello, Kasia Sokol
- Classical music composed by Max Bruch The sound will come in at 0:09 - just keep watching! Melanie Ellison, cello; Kasia Sokol, conductor; Durango Youth Symphony April 2008. Max Bruch took the mournful "Kol Nidrei" theme for this concerto from the Jewish Kol Nidrei service that takes place at the start of Yom Kippur. The second, more hopeful theme (5:34) comes from a tune called "Oh Weep for Those That Wept on Babel's Stream."
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Cello Journey #27, Kol Nidrei (Part 1)
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org
Cello Journey #27, Kol Nidrei (Part 2)
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org
Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org
Kol Nidrei, singing Galina Grossmann
Max Bruch, Kol Nidre. sites.google.com Soprano Galina Grossmann, piano Tatjana Tsitovitch, camera Viktor Kostygov. Production of Grossmann Centre. Max Bruch 1838-1920, German romantic composer and conductor. His conservatively structured works, in the German romantic musical tradition, placed him in the camp of Romantic classicism exemplified by Johannes Brahms, rather than the opposing "New Music" of Franz Liszt and Richard Wagner. In his time, he was known primarily as a choral composer.
Max Bruch, Kol Nidre. sites.google.com Soprano Galina Grossmann, piano Tatjana Tsitovitch, camera Viktor Kostygov. Production of Grossmann Centre. Max Bruch 1838-1920, German romantic composer and conductor. His conservatively structured works, in the German romantic musical tradition, placed him in the camp of Romantic classicism exemplified by Johannes Brahms, rather than the opposing "New Music" of Franz Liszt and Richard Wagner. In his time, he was known primarily as a choral composer.
Joshua Bell Stop and Hear the Music by the Washington Post
From the Washington Post:
Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
From the Washington Post:Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
Classical Medley by Buddy Greene on the Harmonica
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:
1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
Jascha Heifetz Plays Rondo by Mozart
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Jascha Heifetz plays Rondo (from Serenade No. 7 "Haffner", K. 250) by Mozart.
Sarajevo by Max Richter
last.fm/music/Max+Richter Composer Max Richter was born in Germany in 1966 and grew up in the UK. He studied composition and piano at Edinburgh University, the Royal Academy of Music and in Florence with Luciano Berio. He then co-founded Piano Circus, a contemporary classical ensemble, where he stayed for ten years. His influences include both classical artists—Terry Riley, Steve Reich, Philip Glass, Arvo Pärt, Iannis Xenakis, Brian Eno, Henry Purcell, John Taverner, Henryk Górecki, Michael Nyman—and electronica, early dance music, punk, psychedelia—The Clash, The Beatles, Pink Floyd, Kraftwerk, Autechre, Boards of Canada.
last.fm/music/Max+Richter Composer Max Richter was born in Germany in 1966 and grew up in the UK. He studied composition and piano at Edinburgh University, the Royal Academy of Music and in Florence with Luciano Berio. He then co-founded Piano Circus, a contemporary classical ensemble, where he stayed for ten years. His influences include both classical artists—Terry Riley, Steve Reich, Philip Glass, Arvo Pärt, Iannis Xenakis, Brian Eno, Henry Purcell, John Taverner, Henryk Górecki, Michael Nyman—and electronica, early dance music, punk, psychedelia—The Clash, The Beatles, Pink Floyd, Kraftwerk, Autechre, Boards of Canada.
Max Bruch-Allegro con Moto, Op. 83--clarinet, viola & piano
Max Bruch-Eight Pieces for Clarinet, Viola & Piano, II. Allegro con Moto in B Minor, Op. 83--Jonathan Garza, clarinet; Joyalene Ng, viola; Cynthia Westerbeck, piano. <br /><br />Pacific Union College Music Department presents: Violist Joyalene Ng; "Music for the 20th Century Romantic," Sunday, Nov. 16, 2008. Paulin Hall Auditorium. <br /><br />"Max Bruch (1838-1920) a German composer, was a hard core romantic - at least from the way this composition sounds. This piece is the second out of eight short pieces for clarinet, viola, and piano, and I picked it because of the luscious sweeping piano lines."--Joyalene Ng.
Max Bruch-Eight Pieces for Clarinet, Viola & Piano, II. Allegro con Moto in B Minor, Op. 83--Jonathan Garza, clarinet; Joyalene Ng, viola; Cynthia Westerbeck, piano. <br /><br />Pacific Union College Music Department presents: Violist Joyalene Ng; "Music for the 20th Century Romantic," Sunday, Nov. 16, 2008. Paulin Hall Auditorium. <br /><br />"Max Bruch (1838-1920) a German composer, was a hard core romantic - at least from the way this composition sounds. This piece is the second out of eight short pieces for clarinet, viola, and piano, and I picked it because of the luscious sweeping piano lines."--Joyalene Ng.
Max Kayser , violin 1955 Tchaikovsky: Serenade Melancolique
Max Kayser , violin ; FFB Sinfonieorchester Berlin , Wilhelm Schüchter, dirigent. Peter Ilyich Tchaikovsky: Serenade Melancolique, Op. 26 for Violin and Orchestra . Imperial 45 RPM record. I've transferred it myself. Imperial was a budget sub-label of EMI, marketed at the European continent, Germany especially. They started ambitiously in 1954, and recorded the core repertoire in rapid succession. Kayser, later in his live the violinist in the Gobel trio Berlin, was one of the young artists recording for Imperial. His 10# LP of Bruch's violin concerto is a well sought item among record collectors, This Serenade was recorded around 1955. For three years I have a website, where I post "out-of-copyright" (in the Netherlands) classical lp's and 78rpm's. It is updated every Friday: homepages.ipact.nl Enjoy!
Max Kayser , violin ; FFB Sinfonieorchester Berlin , Wilhelm Schüchter, dirigent. Peter Ilyich Tchaikovsky: Serenade Melancolique, Op. 26 for Violin and Orchestra . Imperial 45 RPM record. I've transferred it myself. Imperial was a budget sub-label of EMI, marketed at the European continent, Germany especially. They started ambitiously in 1954, and recorded the core repertoire in rapid succession. Kayser, later in his live the violinist in the Gobel trio Berlin, was one of the young artists recording for Imperial. His 10# LP of Bruch's violin concerto is a well sought item among record collectors, This Serenade was recorded around 1955. For three years I have a website, where I post "out-of-copyright" (in the Netherlands) classical lp's and 78rpm's. It is updated every Friday: homepages.ipact.nl Enjoy!
Hausmann Quartet: Hindemith's "Minimax" I
Review by Paul M. Somers, Classical New Jersey German Dada Uninhibited playing The movement titles of the string quartet, even for those whose knowledge of German was sketchy at best, were redolent of Dada and Satie: (translated) "Army March 606, the Hohenfürstenberger"; The Two Merry Dirty Birds (for two piccolos); and "Overture to Water Poet and Bird Peasant." When the string quartet came on stage, having left a few minutes before after playing Barber's serious op. 11 quartet, they were dressed quite oddly. Wigs, including one which was a cone suggesting both Saturday Night Live cone heads and one of those Star Trek "races" differentiated from Earthlings only by having strange hair styles. Clothing was far from normal including strange glasses. At one point first violinist Isaac Allen fell off his chair quite spectacularly. Yes, this was Dada. Comedy is not easy to pull off, but the Hausmann Quartet (and Hindemith, of course) had the large audience in stitches. The music is a cross between Mozart's "Musical Joke" and one of Ives' pieces using multiple marches in multiple tempi at the same time. The viola "rushed", "bad" entrances found the players "not together," and the performance was riddled with "wrong notes." The oddly costumed characters were by turns bemused and oblivious but always distinct, each operating with his or her own "logic." The piece is devilishly difficult to play. The two violins playing the "piccolos" duet in harmonics was quite a remarkable feat <b>...</b>
Review by Paul M. Somers, Classical New Jersey German Dada Uninhibited playing The movement titles of the string quartet, even for those whose knowledge of German was sketchy at best, were redolent of Dada and Satie: (translated) "Army March 606, the Hohenfürstenberger"; The Two Merry Dirty Birds (for two piccolos); and "Overture to Water Poet and Bird Peasant." When the string quartet came on stage, having left a few minutes before after playing Barber's serious op. 11 quartet, they were dressed quite oddly. Wigs, including one which was a cone suggesting both Saturday Night Live cone heads and one of those Star Trek "races" differentiated from Earthlings only by having strange hair styles. Clothing was far from normal including strange glasses. At one point first violinist Isaac Allen fell off his chair quite spectacularly. Yes, this was Dada. Comedy is not easy to pull off, but the Hausmann Quartet (and Hindemith, of course) had the large audience in stitches. The music is a cross between Mozart's "Musical Joke" and one of Ives' pieces using multiple marches in multiple tempi at the same time. The viola "rushed", "bad" entrances found the players "not together," and the performance was riddled with "wrong notes." The oddly costumed characters were by turns bemused and oblivious but always distinct, each operating with his or her own "logic." The piece is devilishly difficult to play. The two violins playing the "piccolos" duet in harmonics was quite a remarkable feat <b>...</b>
Max Bruch, Violin Concerto in G Minor, Opus 26, 1st mvt
Max Bruch, Violin Concerto in G Minor, Opus 26, 1st mvt May 16 ,2006 Caeli Smith; Olney Symphony Orchestra
Max Bruch, Violin Concerto in G Minor, Opus 26, 1st mvt May 16 ,2006 Caeli Smith; Olney Symphony Orchestra
Max Bruch, Violin Concerto in G Minor, Opus 26, 2nd mvt
Max Bruch, Violin Concerto in G Minor, Opus 26, 2nd mvt
Max Bruch, Violin Concerto in G Minor, Opus 26, 2nd mvt
Bruch, Max mvt4 Scottisch Fantasy Finale (Allegro guerriero)
Max Bruch (1838-1920) Scottisch Fantasy opus 46 movement 4 : Finale (Allegro guerriero) BRUCH , Max (1838-1920) 1st violin concerto Mvt1+2(begin) www.youtube.com Mvt2(end)+3 www.youtube.com BRUCH , Max (1838-1920) 2th violin concerto mvt1 www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com BRUCH , Max (1838-1920) 3th violin concerto mvt1(begin) www.youtube.com mvt1(end)www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com BRUCH , Max (1838-1920) Scottish Fantasy for violin+ orchestra Intro + mvt1 www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com mvt4 www.youtube.com
Max Bruch (1838-1920) Scottisch Fantasy opus 46 movement 4 : Finale (Allegro guerriero) BRUCH , Max (1838-1920) 1st violin concerto Mvt1+2(begin) www.youtube.com Mvt2(end)+3 www.youtube.com BRUCH , Max (1838-1920) 2th violin concerto mvt1 www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com BRUCH , Max (1838-1920) 3th violin concerto mvt1(begin) www.youtube.com mvt1(end)www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com BRUCH , Max (1838-1920) Scottish Fantasy for violin+ orchestra Intro + mvt1 www.youtube.com mvt2 www.youtube.com mvt3 www.youtube.com mvt4 www.youtube.com
Romanze für Viola, Max Bruch, opus 85 - Roisber Ricardo Narvaez
Viola and Piano recital Viola und Klavier-Recital Recital de Viola y Piano Roisber Ricardo Narváez (viola) Vilma Sánchez (piano)
Viola and Piano recital Viola und Klavier-Recital Recital de Viola y Piano Roisber Ricardo Narváez (viola) Vilma Sánchez (piano)
Joyce Geeting, on Cello, Performs the Kodaly Solo Sonata on her 220-
Joyce, World Class Cellist and author of Janos Starker: King of Cellists, performin the Kodaoly Solo Sonata, written by Zoltan Kodaily and considered one of the most difficult cello pieces to play. It made Janos Starker, Joyce Geeting's teacher and mentor, famous as a teenage protege in Hungary in the 1930s. Geeting performs the piece on her 220-year old cello. She performs all over the world and teaches at the Cal Lutheran Conservatory in Thousand Oaks, California. For more about Joyce Geeting go to www.joycegeeting.com<br /><br />Here is a description of the Kodaily Sonata from Kevin O'Donnell:<br />What makes the Sonata a great work? Firstly, and indispensably, inspired thematic invention. Consider the opening melody: a b-dorian, Hungarian-flavoured span of melody that makes you sense what it must have been like to hear Cicero in person launch the Phillipics against Mark Antony. You cannot strictly say that the first movement develops this theme, for it is never not there: the first movement is the theme. Yet there is no sense of redundant repetition either, such is the compositional technique.<br /><br />The slow movement extends cello technique into realms not previously imagined. Consider the extraordinary double stop trills on page 8 of the score, or the haunting deployment of left-hand pizzicati.<br /><br />The finale’s czardas will save you ever having to listen to another. The sound of the instrument is orchestral with its grinding open-string drones. At the extraordinary page 16, this orchestral timbre assumes a kind of Sibelian intensity and transcendence. Even in live performance you cannot believe one player and one instrument are doing it all. The rush to the end is breath-taking<br /><br />It has been truly said that this work by itself makes Kodaly one of Hungary’s greatest composers.
Joyce, World Class Cellist and author of Janos Starker: King of Cellists, performin the Kodaoly Solo Sonata, written by Zoltan Kodaily and considered one of the most difficult cello pieces to play. It made Janos Starker, Joyce Geeting's teacher and mentor, famous as a teenage protege in Hungary in the 1930s. Geeting performs the piece on her 220-year old cello. She performs all over the world and teaches at the Cal Lutheran Conservatory in Thousand Oaks, California. For more about Joyce Geeting go to www.joycegeeting.com<br /><br />Here is a description of the Kodaily Sonata from Kevin O'Donnell:<br />What makes the Sonata a great work? Firstly, and indispensably, inspired thematic invention. Consider the opening melody: a b-dorian, Hungarian-flavoured span of melody that makes you sense what it must have been like to hear Cicero in person launch the Phillipics against Mark Antony. You cannot strictly say that the first movement develops this theme, for it is never not there: the first movement is the theme. Yet there is no sense of redundant repetition either, such is the compositional technique.<br /><br />The slow movement extends cello technique into realms not previously imagined. Consider the extraordinary double stop trills on page 8 of the score, or the haunting deployment of left-hand pizzicati.<br /><br />The finale’s czardas will save you ever having to listen to another. The sound of the instrument is orchestral with its grinding open-string drones. At the extraordinary page 16, this orchestral timbre assumes a kind of Sibelian intensity and transcendence. Even in live performance you cannot believe one player and one instrument are doing it all. The rush to the end is breath-taking<br /><br />It has been truly said that this work by itself makes Kodaly one of Hungary’s greatest composers.
Joyce Geeting, on Cello, Performing Haydn's Concerto in C Major for
Joyce Geeting, World Class Cellist and author of Janos Starker: King of Cellists, performing Franz Joseph Haydn's Concerto on C Major for Cello and Orchestra at Cal Lutheran University Conservatory. Geeting, who has performed all over the world, was a student of Janos Starker, the subject of her book, who is most influential person in the history of that instrument. A teacher at Cal Lutheran Conservatory, Joyce Geeting performs on her 220-year old cello and she will be performing a number of different pieces throughout the world in 2011 and 2012. For more about Joyce Geeting go to www.joycegeeting.com.
Joyce Geeting, World Class Cellist and author of Janos Starker: King of Cellists, performing Franz Joseph Haydn's Concerto on C Major for Cello and Orchestra at Cal Lutheran University Conservatory. Geeting, who has performed all over the world, was a student of Janos Starker, the subject of her book, who is most influential person in the history of that instrument. A teacher at Cal Lutheran Conservatory, Joyce Geeting performs on her 220-year old cello and she will be performing a number of different pieces throughout the world in 2011 and 2012. For more about Joyce Geeting go to www.joycegeeting.com.
Suite for Cello, Gaspar Gassado Teodora Miteva Cello
Suite for Cello Teodora Miteva Cellist Composer Gaspar Gassado Soloist Vienna Philharmonic Women´s Orchestra St. Thekla Church CLASSICAL MUSIC
Suite for Cello Teodora Miteva Cellist Composer Gaspar Gassado Soloist Vienna Philharmonic Women´s Orchestra St. Thekla Church CLASSICAL MUSIC
Anna Sliva, cello, plays Boccherini - live
Anna Sliva, cello, plays Luigi Boccherini (1743-1805): Andante grazioso from Concerto No. 9 in B-Flat Major, G. 482 accompanied by Nariaki Sugiura, piano, at Indiana University on Feb. 29, 2008. See also www.psliva.com for more music played by Anna and also by her siblings. Sample from Anna's latest performance: Bartok www.youtube.com
Anna Sliva, cello, plays Luigi Boccherini (1743-1805): Andante grazioso from Concerto No. 9 in B-Flat Major, G. 482 accompanied by Nariaki Sugiura, piano, at Indiana University on Feb. 29, 2008. See also www.psliva.com for more music played by Anna and also by her siblings. Sample from Anna's latest performance: Bartok www.youtube.com
O Del Mio Dolce Ardor - Julia Sokolov
www.juliasokolov.com O Del Mio Dolce Ardor - Julia Sokolov Enlarge "O del mio dolce ardor". Classic in new sounding. This clip by Oleg Shapiro created on motives of opera by Christoph Willibald Von Glück "Paride ed Elena". Elena's aria in this clip Yulia Sokolovskaya has sung a soprano. An idea of creation of this clip was a beautiful aria from an opera of this great German composer. We have permitted ourselves to reproduce his product in a way of modern musical perception and have tried to plunge into a sever atmosphere and nevertheless a fine antique epoch. May Great Von Glück forgive us! Created and compiled in 2007
www.juliasokolov.com O Del Mio Dolce Ardor - Julia Sokolov Enlarge "O del mio dolce ardor". Classic in new sounding. This clip by Oleg Shapiro created on motives of opera by Christoph Willibald Von Glück "Paride ed Elena". Elena's aria in this clip Yulia Sokolovskaya has sung a soprano. An idea of creation of this clip was a beautiful aria from an opera of this great German composer. We have permitted ourselves to reproduce his product in a way of modern musical perception and have tried to plunge into a sever atmosphere and nevertheless a fine antique epoch. May Great Von Glück forgive us! Created and compiled in 2007
Grigory Sokolov Rameau's "La Poule"
"La Poule" from Jean-Philippe Rameau Pieces de Clavecin Live at Madrid, Spain.
"La Poule" from Jean-Philippe Rameau Pieces de Clavecin Live at Madrid, Spain.
