Carmen: Habanera on solo classical guitar by Da Vynci (v1.0)
- Classical music Version 2.0: www.youtube.com (improved playing and audio quality) This is the first ever classical guitar video that I have recorded! Habanera from Georges Bizet's 1875 opera Carmen, also known by its first 2 lines of the lyric "L'amour est un oiseau rebelle que nul ne peut apprivoiser". It is said that Habanera was originally composed by Sebastián Yradier, and Bizet incorporated this into his magnum opus.
Related Videos
Carmen: Habanera on solo classical guitar by Da Vynci (v2.0)
Habanera (L'amour est un oiseau rebelle) from the opera Carmen, composed by Georges Bizet / Sebastian Yradier, on classical guitar. v1.0: www.youtube.com Carmen is probably one of the first works that attracted me into the world of classical music. I remember when I was still in primary school, I once heard a recording of Anne-Sophie Mutters performance of Pablo de Sarasate's Carmen Fantasy on RTHK Radio 4, and it was remarkable. Since then I have also listened to many other renditions, but something always draw me back to Mutters legendary recording. I remember I often listened to this track when I went to Urban Councils music library. Eventually, I bought the CD of that recording in year 8 and this remains as one of my favourites to date.
Habanera (L'amour est un oiseau rebelle) from the opera Carmen, composed by Georges Bizet / Sebastian Yradier, on classical guitar. v1.0: www.youtube.com Carmen is probably one of the first works that attracted me into the world of classical music. I remember when I was still in primary school, I once heard a recording of Anne-Sophie Mutters performance of Pablo de Sarasate's Carmen Fantasy on RTHK Radio 4, and it was remarkable. Since then I have also listened to many other renditions, but something always draw me back to Mutters legendary recording. I remember I often listened to this track when I went to Urban Councils music library. Eventually, I bought the CD of that recording in year 8 and this remains as one of my favourites to date.
Elina Garanca Habanera (Carmen) by Georges Bizet
German Echo Klassik 2009 (Classical) awards - Elina Garanca was awarded the Female Singer of the Year Award.
German Echo Klassik 2009 (Classical) awards - Elina Garanca was awarded the Female Singer of the Year Award.
Habanera from Carmen, Violetta Villas
The biggest star of popular and classical music. Born in Poland, "made" in France, stolen by USA. "Violetta Villas sings"
The biggest star of popular and classical music. Born in Poland, "made" in France, stolen by USA. "Violetta Villas sings"
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
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...
Summertime - Piano Improvisation
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.
Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer.Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting.
About the composer:
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public.
Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Early life
Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.)
George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
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.
Romance - classical guitar tremolo solo
http://nylonguitarist.com
The classic Spanish Ballad played tremolo style.
http://nylonguitarist.comThe classic Spanish Ballad played tremolo style.
Pachelbels Canon for Solo Bass Zander Zon
My solo album - Sonorous - is now available on CD Baby:
http://www.cdbaby.com/cd/ZanderZon
(Also available on iTunes.)
Well, I decided to give my favorite classical piece a try. And it's safe to say that, after coming up with this arrangement and practicing it every day for two weeks, there is a 60% chance I will never be able to use my left hand again. : )
Copyright 2009, all rights reserved.
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My solo album - Sonorous - is now available on CD Baby:http://www.cdbaby.com/cd/ZanderZon
(Also available on iTunes.)
Well, I decided to give my favorite classical piece a try. And it's safe to say that, after coming up with this arrangement and practicing it every day for two weeks, there is a 60% chance I will never be able to use my left hand again. : )
Copyright 2009, all rights reserved.
FACEBOOK:
http://www.facebook.com/pages/Zander-Zon/406208269151
MYSPACE:
http://www.myspace.com/zanderzonmusic
Romance - classical guitar tremolo solo
nylonguitarist.com The classic Spanish Ballad played tremolo style.
nylonguitarist.com The classic Spanish Ballad played tremolo style.
Jack Gibbons plays Alkan Concerto for solo piano (1st mvt)
Jack Gibbons plays the first movement (complete) of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands (the entry of the solo pianist, following the 'orchestral' exposition, is obvious from the rising sweep of a pianistic scale). The gigantic proportions of the first movement are superbly controlled in Alkans masterly construction, the contrasting mixture of excitement and tenderness, ferocity and lyricism being held together in a model of coherence and logical progression. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Jack Gibbons plays the first movement (complete) of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands (the entry of the solo pianist, following the 'orchestral' exposition, is obvious from the rising sweep of a pianistic scale). The gigantic proportions of the first movement are superbly controlled in Alkans masterly construction, the contrasting mixture of excitement and tenderness, ferocity and lyricism being held together in a model of coherence and logical progression. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Edgar Cruz - Bohemian Rhapsody classical guitar
http://videoprogressions.tv/downloads/product_info.php?products_id=35
"Bohemian Rhapsody" arranged for solo guitar by Edgar Cruz. Performance and Teaching excerpts.
http://videoprogressions.tv/downloads/product_info.php?products_id=35"Bohemian Rhapsody" arranged for solo guitar by Edgar Cruz. Performance and Teaching excerpts.
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.
Guitar Impossible stop motion music short by MysteryGuitarMan
Over 1000 cuts. 6 hours of guitar tabbing. 1 hour of shooting. Only God knows how much editing.
I know. I was bored.
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Song is Mozart - Marriage of Figaro
Over 1000 cuts. 6 hours of guitar tabbing. 1 hour of shooting. Only God knows how much editing.I know. I was bored.
Like this video? Tweet about it!
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Get my t-shirts:
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Watch my other videos:
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Song is Mozart - Marriage of Figaro
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
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.
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.
Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.
A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989
Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.
It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.
1. Allegro, in E flat major and common (C) time
2. Andantino, in C minor and 3/4 time
3. Rondo (Presto), in E flat major and 2/2 time
Dawn Chan notes:
Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."
update--
thanks to Laemmerhirt, I moved past my old sources and got some new info!
Christopher H. Gibbs wrote in 2005:
WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.
Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"
In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989
Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.
It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.
1. Allegro, in E flat major and common (C) time
2. Andantino, in C minor and 3/4 time
3. Rondo (Presto), in E flat major and 2/2 time
Dawn Chan notes:
Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."
update--
thanks to Laemmerhirt, I moved past my old sources and got some new info!
Christopher H. Gibbs wrote in 2005:
WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.
Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"
In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
David Oistrakh Debussy - Clair de lune
David Oistrakh plays beautifuly Claire de lune. Recorded in Paris, 1962, with Frida Bauer in piano.
For whoever is wondering, you may have heard this music on:
Frankie and Johnny
The Game
Ocean's Eleven
Ocean's Thirteen
Seven Years in Tibet
Twilight
... and many other movies
David Oistrakh plays beautifuly Claire de lune. Recorded in Paris, 1962, with Frida Bauer in piano.For whoever is wondering, you may have heard this music on:
Frankie and Johnny
The Game
Ocean's Eleven
Ocean's Thirteen
Seven Years in Tibet
Twilight
... and many other movies
Chopin Valse Op.64 No2, classical guitar-Da Vynci
revver.com This is my humble version of Frédéric Chopin's Valse Opus 64 Number 2, originally in C# minor, composed in 1846-47, published in 1847-48, and dedicated to Baroness de Rothschild. Transcribed to classical guitar by Richard Yates, published in 2001. I was really impressed by Virginia Luque's rendition,so I decided to have a try on the piece too. This is a different version from Virginia Luque's, but it is, still, quite a fun piece to play. It is not an easy piece, but a fun one! Enjoy!
revver.com This is my humble version of Frédéric Chopin's Valse Opus 64 Number 2, originally in C# minor, composed in 1846-47, published in 1847-48, and dedicated to Baroness de Rothschild. Transcribed to classical guitar by Richard Yates, published in 2001. I was really impressed by Virginia Luque's rendition,so I decided to have a try on the piece too. This is a different version from Virginia Luque's, but it is, still, quite a fun piece to play. It is not an easy piece, but a fun one! Enjoy!
Recuerdos de la Alhambra ( Waterhouse da Vynci )
revver.com Recuerdos de la Alhambra (Memories of the Alhambra) , by Spanish composer Francisco Tárrega in 1899. [Classical Guitarist Youtube Group] www.youtube.com (Will be) the most comprehensive collection of quality classical guitar performance by youtubers on youtube. additional tags: 古典吉他音樂西班牙演奏結他獨奏弦樂樂器水屋藍色ギタークラシックsolo tremolo romantic blue nylon string
revver.com Recuerdos de la Alhambra (Memories of the Alhambra) , by Spanish composer Francisco Tárrega in 1899. [Classical Guitarist Youtube Group] www.youtube.com (Will be) the most comprehensive collection of quality classical guitar performance by youtubers on youtube. additional tags: 古典吉他音樂西班牙演奏結他獨奏弦樂樂器水屋藍色ギタークラシックsolo tremolo romantic blue nylon string
Greensleeves, on solo classical guitar by Da Vynci
More of my guitar videos: revver.com A request from my friend Pokki, so here it is. My simple arrangement and rendition of Greensleeves, less known as "A New Northern Dittye of the Lady Greene Sleeves", an English folk song from the 16th century. Rumour has it, the songs was written by King Henry VIII to woo the young, beautiful Ann Boleyn. LOL Poor Catherine of Aragon XD I have been watching the Tudors on Showtime. :P
More of my guitar videos: revver.com A request from my friend Pokki, so here it is. My simple arrangement and rendition of Greensleeves, less known as "A New Northern Dittye of the Lady Greene Sleeves", an English folk song from the 16th century. Rumour has it, the songs was written by King Henry VIII to woo the young, beautiful Ann Boleyn. LOL Poor Catherine of Aragon XD I have been watching the Tudors on Showtime. :P
