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Playlist of List of Belgian classical composers

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  • 50 Most Famous Pieces of Classical Music

    4:33:44

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    50 MOST FAMOUS PIECES OF CLASSICAL MUSIC

    01 Strauss II – Voices of Spring 00:00
    02 Bizet – Carmen: Les Toreadors 07:33
    03 Tchaikovsky – Lo Schiaccianoci: Danza Russa 09:38
    04 Mendelssohn – A Midsummer Night’s Dream: Wedding March 10:51
    05 Mozart – Symphony No. 40: I. Molto allegro 15:18
    06 Vivaldi – The Four Seasons. “Summer”: III. Presto 23:29
    07 Mozart – Requiem: Dies Irae 26:07
    08 Rossini – The Barber of Seville: Overture 27:48
    09 Strauss I – Radetzky March 34:43
    10 Tchaikovsky – Lo Schiaccianoci - Valzer dei fiori 37:08
    11 Strauss II – On the Beautiful Blue Danube 44:12
    12 Mozart – Le Nozze di Figaro: Non Più Andrai Farfallone Amoroso 55:36
    13 Grieg – Holberg Suite: I. Praeludium 58:53
    14 Bach – Brandenburg Concerto No. 3: III. Allegro 1:01:38
    15 Beethoven – Symphony No. 6 “Pastoral”: I. Allegro ma non troppo 1:06:22
    16 Vivaldi – The Four Seasons. “Spring”: I. Allegro 1:17:14
    17 Mozart – Eine Kleine Nachtmusik: I. Allegro 1:20:30
    18 Haydn – Cello Concerto No. 1: I. Moderato 1:26:29
    19 Boccherini – String Quintet Op. 11 No. 5: Minuetto 1:35:13
    20 Tchaikovsky – Serenade for Strings Op. 48: II. Valse 1:38:38
    21 Dvorak – Serenade for Strings Op. 22: II. Minuet 1:42:34
    22 Tchaikovsky – Symphony No. 6 “Pathetique”: II. Allegro con grazia 1:49:14
    23 Sibelius – Andante Festivo 1:57:10
    24 Bach – Orchestral Suite No. 2: III. Sarabande 2:01:16
    25 Puccini – Vissi d’Arte (instrumental) 2:04:15
    26 Saint-Saens – The Carnival of the Animals: The Swan 2:06:53
    27 Satie – Trois Gymnopedies: No. 1, Lent et douloureux 2:09:32
    28 Chopin – Nocturnes, Op. 9: No. 2 2:12:19
    29 Bach – Orchestral Suite No. 3: II. Air 2:17:50
    30 Beethoven – Piano Sonata No. 14 “Moonlight Sonata”: I. Adagio sostenuto 2:24:12
    31 Debussy – Suite Bergamasque: No. 3, Clair de Lune 2:30:52
    32 Ravel – Pavane pour une Infante Defunte 2:36:43
    33 Grieg – Lyric Pieces, Op. 54: No. 4, Nocturne 2:43:43
    34 Beethoven – Fur Elise 2:47:14
    35 Debussy – The Girl with the Flaxen Hair 2:51:03
    36 Mendelssohn – Lieder ohne Worte Op. 19b: No. 1 2:54:02
    37 Bach-Gounoud – Ave Maria 2:56:47
    38 Beethoven – Piano Sonata Op. 8 No. 13 “Pathetique”: III. Rondò 2:58:31
    39 Chopin – Fantaisie Impromptu 3:02:38
    40 Mozart – Piano Sonata No. 11: III. Turkish March 3:06:46
    41 Ravel – Bolero 3:10:25
    42 Tchaikovsky – Lo Schiaccianoci: Danza della Fata Confetto 3:24:07
    43 Brahms – Symphony No. 1: II. Andante sostenuto 3:26:16
    44 Barber – Adagio for strings 3:34:40
    45 Mozart – The Magic Flute: Overture 3:41:44
    46 Beethoven – Symphony No. 7: II. Allegretto 3:48:57
    47 Schubert – Symphony No. 8 “Unfinished Symphony”: I. Allegro moderato 3:57:55
    48 Brahms – Tragic Overture 4:08:52
    49 Dvorak – Symphony No. 9 “From the New World”: IV. Allegro con fuoco 4:22:56
    50 Verdi – La Traviata: Addio del passato 4:34:05

    Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it and subscribe to our channel

    All the best classical music ever on Halidon Music Youtube Channel. The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Dvorák…

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  • How Frédéric Chopin Played J.S.Bach

    17:43

    If tomorrow, Frédéric Chopin would play J.S.Bach's Well-Tempered Klavier in Carnegie Hall, would you go? Would you die of curiosity how the genius player Chopin must have been, would deliver that music?
    I would...
    Unfortunately that'll never happen in reality... but here is some good news to cover up for that: we do have information, very concrete, almost tangible information that tells us a lot of how the musician Chopin shaped the music of Bach.
    The answer to that is kind of astonishing, it puts us immediately back in a context that is very different from ours.
    So let me guide you in this episode to some interesting perspectives, all based on a 19th century score and... some pencil markings!
    Love to read your reactions and thoughts in the comment section.
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    The book of Eigeldinger Chopin: Pianist and Teacher: As Seen by his Pupils
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    The Facsimile of Bach's Well-Tempered Klavier with annotations in Chopin's hand:

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  • Lalo: Symphonie Espagnole In D Minor, Op.21 - 1. Allegro non troppo

    7:59

    Provided to YouTube by Universal Music Group

    Lalo: Symphonie Espagnole In D Minor, Op.21 - 1. Allegro non troppo · Itzhak Perlman · Orchestre de Paris · Daniel Barenboim

    Lalo: Symphony espagnole Op.21 / Saint-Saens: Concerto For Violin And Orchestra No. 3 In B Minor, Op. 61 / Berlioz: Reverie et Caprice Op. 8 For Violin And Orchestra

    ℗ 1981 Deutsche Grammophon GmbH, Berlin

    Released on: 1981-01-01

    Producer: Dr. Steven Paul
    Producer, Recording Producer: Rainer Brock
    Studio Personnel, Balance Engineer: Klaus Scheibe
    Studio Personnel, Recording Engineer: Klaus Behrens
    Studio Personnel, Recording Engineer: Hans-Rudolf Müller
    Studio Personnel, Editor: Joachim Niss
    Studio Personnel, Editor: Christopher Alder
    Studio Personnel, Editor: Reinhard Karwatky
    Composer: Edouard Victor Antoine Lalo

    Auto-generated by YouTube.

  • 50 Greatest Pieces of Classical Music - Mozart, Beethoven, Bach, Chopin...

    4:40:37

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    50 GREATEST PIECES OF CLASSICAL MUSIC
    MOZART, BEETHOVEN, BACH, CHOPIN...

    1 Tchaikovsky - Lo Schiaccianoci: Valzer dei fiori 00:00
    2 Strauss - An der schönen blauen Donau, Op. 314 07:04
    3 Mozart - Eine Kleine Nachtmusik, K. 525: I. Allegro 18:30
    4 Vivaldi - The Four Seasons, Spring: I. Allegro 24:31
    5 Bach - Brandenburg Concerto No. 3: I. Allegro 27:48
    6 Beethoven - Symphony No. 3 “Heroic”: I. Allegro con brio 33:38
    7 Strauss - Frühlingsstimmen, Op. 410 48:29
    8 Bizet - Carmen Suite No. 1: VI. Les Toréadors 56:03
    9 Strauss - Radetzky March, Op. 228 58:08
    10 Mendelssohn - A Midsummer Night’s Dream: Wedding March 1:00:34
    11 Mozart - Die Zauberflöte, K. 620: Ouverture 1:05:02
    12 Beethoven - Coriolan: Ouverture 1:12:16
    13 Mussorgsky - Night on Bald Mountain 1:20:15
    14 Haydn - Cello Concerto No. 2: II. Andante 1:31:31
    15 Sibelius - Andante Festivo 1:35:58
    16 Tchaikovsky - Serenade for Strings, Op. 48: II. Valse 1:40:05
    17 Saint-Saens - The Carnival of the Animals: XIII, The Swan 1:43:51
    18 Debussy - 2 Arabesques: No. 1, Andantino con moto 1:46:29
    19 Chopin - Nocturnes, Op. 9: No. 2 in E-Flat Major 1:50:36
    20 Liszt - Consolations, S. 172: No. 3, Lento placido 1:55:18
    21 Satie - Trois Gymnopedies: No. 1, Lent et doloreux 1:59:20
    22 Beethoven - Moonlight Sonata: I. Adagio sostenuto 2:02:08
    23 Mozart - Symphony No. 40: I. Molto allegro 2:07:01
    24 Rossini - Il Barbiere di Siviglia: Ouverture 2:15:14
    25 Vivaldi - The Four Seasons, Summer: III. Presto 2:22:09
    26 Mozart - Requiem, K. 626: Sequentia. Dies Irae 2:24:47
    27 Beethoven - Symphony No. 7: II. Allegretto 2:26:31
    28 Verdi - La Traviata: Addio del passato 2:35:31
    29 Puccini - Tosca: Vissi d'arte 2:42:12
    30 Tchaikovsky - Symphony No. 6 Pathétique: II. Allegro con grazia 2:44:51
    31 Grieg - Holberg Suite, Op. 40: I. Praeludium 2:52:48
    32 Mozart - Don Giovanni: Madamina il catalogo è questo 2:55:35
    33 Mozart - Le nozze di Figaro, K. 492, Act I: Non più andrai 3:00:56
    34 Mozart - Symphony No. 41Jupiter: IV. Molto Allegro 3:04:14
    35 Strauss - Kaiser Walzer, Op. 437 3:13:11
    36 Mozart - Piano Sonata No. 11: III. Alla Turca 3:25:04
    37 Chopin - Fantaisie-impromptu 3:28:44
    38 Rachmaninoff - Rhapsody on a Theme by Paganini: Var. XVIII 3:32:52
    39 Chopin - Ballade No. 4 in F Minor, Op. 52 (Live recording) 3:35:51
    40 Schubert - Four Impromptus, Op. 90, D. 899: No. 3 in G-Flat Major (Live recording) 3:48:38
    41 Mendelssohn - Songs Without Words, Book 1, Op. 19b: No. 1, Andante con moto 3:54:46
    42 Debussy - Suite Bergamasque, L. 75: III. Clair de Lune 3:58:35
    43 Grieg - Lyric Pieces, Book I, Op. 12: No. 1, Arietta 4:03:20
    44 Tchaikovsky - The Seasons, Op. 37b: No. 6, June. Barcarolle 4:04:50
    45 Chopin - 24 Préludes, Op. 28 Raindrop: No. 15 in D-Flat Major 4:10:05
    46 Liszt - Liebesträume, S. 541: No. 3 in A-Flat Major 4:16:37
    47 Schumann - Kinderszenen (Scenes from Childhood), Op. 15: No. 7, Träumerei 4:22:23
    48 Chopin - Nocturne in C-Sharp Minor 4:25:39
    49 Beethoven - Bagatelle No. 25 Für Elise 4:30:25
    50 Bach - Orchestral Suite No. 3: II. Air on the G string 4:34:13

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  • Baroque Music - Classical Music from the Baroque Period

    2:33:55

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    BAROQUE MUSIC

    BACH - BRANDENBURG CONCERTO NO. 3 IN G MAJOR, BWV 1048
    I. — 00:00
    II. Adagio 05:55
    III. Allegro 06:21
    Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    VIVALDI - SINFONIA IN C MAJOR, RV 112
    I. Allegro 11:06
    II. Andante 13:04
    III. Presto 14:56
    Kaunas Chamber Orchestra conducted by Silvano Frontalini

    TELEMANN - VIOLA CONCERTO IN G MAJOR, TWV 51:G9
    I. Largo 15:39
    II. Allegro 19:12
    III. Andante 22:20
    IV. Presto 27:02
    Giovanni Antonioni, Warmia Symphonic Orchestra conducted by Silvano Frontalini

    CORELLI - CONCERTO GROSSO NO. 9 IN F MAJOR, OP. 6
    Preludio. Largo 30:07
    II. Corrente. Vivace 32:13
    III. Gavotta. Allegro 34:05
    IV. Minuetto. Vivace 35:10
    Kiev Camera Orchestra conducted by Liviu Buiuc

    VIVALDI - THE FOUR SEASONS, CONCERTO NO. 1 IN E MAJOR, RV 269 SPRING
    I. Allegro 38:25
    II. Largo 41:42
    III. Allegro pastorale 44:50
    Christiane Edinger, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - BRANDENBURG CONCERTO NO. 5 IN D MAJOR, BWV 1050
    I. Allegro 49:07
    II. Affettuoso 59:48
    III. Allegro 1:05:26
    Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    VIVALDI - STRINGS CONCERTO IN B-FLAT MINOR, RV 164
    I. Allegro 1:10:55
    II. Adagio 1:12:55
    III. Allegro 1:13:53
    Kaunas Chamber Orchestra conducted by Marek Tracz

    CORELLI - CONCERTO GROSSO NO. 10 IN C MAJOR, OP. 6
    Preludio. Largo 1:15:14
    II. Adagio 1:17:54
    III. Allegro 1:21:44
    IV. Minuetto. Vivace 1:24:42
    Kiev Camera Orchestra conducted by Liviu Buiuc

    VIVALDI - THE FOUR SEASONS, CONCERTO NO. 4 IN F MINOR, RV 297 WINTER
    I. Allegro non molto 1:26:28
    II. Largo 1:29:56
    III. Allegro, Lento 1:32:08
    Christiane Edinger, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - SUITE NO. 2 IN B MINOR, BWV 1067
    I. Ouverture. Lentamente 1:35:46
    II. Rondeau 1:43:30
    III. Sarabande 1:45:01
    IV. Bourrée 1:48:00
    V. Double 1:50:01
    VI. Minuetto 1:53:29
    VII. Badinerie 1:54:44
    Andreas Blau, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - HARPSICHORD CONCERTO NO. 1 IN D MINOR, BWV 1052
    I. Allegro 1:56:05
    II. Adagio 2:03:52
    III. Allegro 2:09:53
    Saulis Dirvanauskas, Kaunas Chamber Orchestra conducted by Silvano Frontalini

    BACH - DAS WOHLTEMPERIERTE KLAVIER I: PRÉLUDE & FUGUE NO. 22, BWV 867 2:17:44
    Saulis Dirvanauskas (piano solo)

    BACH - ORCHESTRAL SUITE NO. 3 IN D MAJOR, BWV 1068: II. ARIA 2:20:31
    Giovanni Umberto Battel (piano solo)

    BACH - DAS WOHLTEMPERIERTE KLAVIER I: PRÉLUDE & FUGUE NO. 21, BWV 866 2:26:52
    Saulis Dirvanauskas (piano solo)

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    #baroque #baroquemusic #classicalmusic #classical

  • Till Eulenspiegels Merry Pranks by Richard Strauss

    15:00

    Watch Richard Strauss himself conduct the piece here:

    pf: New York Philharmonic Orchestra cond/ Leonard Bernstein

    Year/Date of Composition: 1894-95 (dated May 6, 1895)
    First Performance: 1895-11-05 in Cologne, Gürzenich Konzert
    Städtische Orchester, Franz Wüllner (conductor)

    There was an actual Till Eulenspiegel, born early in the fourteenth century near Braunschweig and gone to his reward—in bed, not on the gallows as in Strauss’s tone poem—in 1350 at Mölln in Schleswig-Holstein. Stories about him have been in print since the beginning of the sixteenth century, the first English version coming out around 1560 under the title Here beginneth a merye Jest of a man that was called Howleglas (Eule in German means “owl” and Spiegel means “mirror” or “looking-glass”). The consistent and serious theme behind his jokes and pranks, often in themselves distinctly coarse and even brutal, is that of an individual getting back at society, specifically, the shrewd peasant more than holding his own against a stuffy bourgeoisie and a repressive clergy. The most famous version of Till Eulenspiegel was published in 1866 by the Belgian novelist Charles de Coster.

    Richard Strauss knew de Coster’s book, and it seems also that in 1899 in Würzburg he saw an opera called Eulenspiegel by Cyrill Kistler, a Bavarian composer whose earlier opera Kunihild had a certain currency in the 1880s and early 1890s, and for which he was proclaimed Wagner’s heir. Strauss’s first idea was to compose an Eulenspiegel opera. He sketched a scenario and later commissioned another, but somehow the project never got into gear. “I have already put together a very pretty scenario,” he wrote in a letter, “but the figure of Master Till does not quite appear before my eyes.”

    But if Strauss could not see Master Till, he could hear him, and before 1894 was out, he had begun the tone poem that he finished the following May. As always, he could not make up his mind whether he was engaged in tone painting or “just music.” To Franz Wüllner, who conducted the first performance, he wrote: “I really cannot provide a program for Eulenspiegel. Any words into which I might put the thoughts that the several incidents suggested to me would hardly suffice; they might even offend. Let me leave it, therefore, to my listeners to crack the hard nut the Rogue has offered them. By way of helping them to a better understanding, it seems enough to point out the two Eulenspiegel motifs [Strauss jots down the opening of the work and the virtuosic horn theme], which, in the most diverse disguises, moods, and situations, pervade the whole up to the catastrophe when, after being condemned to death, Till is strung up on the gibbet. For the rest, let them guess at the musical joke a Rogue has offered them.”

    On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exegetes, the composer was willing to offer a more detailed scenario—Till among the market-women, Till disguised as a priest, Till paying court to pretty girls, and so forth—the sort of thing guaranteed to have the audience anxiously reading the program book instead of listening to the music, probably confusing priesthood and courtship anyway, wondering which theme represents “Till confounding the Philistine pedagogues,” and missing most of Strauss’s dazzling invention in the process. It is probably useful to identify the two Till themes, the very first violin melody and what the horn plays about fifteen seconds later, and to say that the opening music is intended as a “once-upon-a-time” prologue that returns after the graphic trial and hanging as a charmingly formal epilogue with a rowdily humorous “kicker.” (Incidentally, if you’ve ever been shown in a music appreciation class how to “tell” rondo form, forget it now.) For the rest, Strauss’s compositional ingenuity and orchestral bravura plus your attention and fantasy will see to the telling of the tale.

    Sources:

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  • Liszt - Hungarian Rhapsody No. 2

    12:55

    Liszt - Hungarian Rhapsody No. 2
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    Ask and you shall receive - here is the long awaited Hungarian Rhapsody No. 2.

    Outro: Liszt - Hungarian Rhapsody No. 6

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!

  • Belgian National Day 2020 Cheering Celebration: National Anthem of Belgium La Brabançonne, Brussels

    1:48

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    A celebration for Belgian National Day 2020 including the Belgian National Anthem (La Brabançonne). Belgian National Day is celebrated on 21 July, and it is known as Nationale feestdag van België (Dutch); Fête nationale belge (French); Belgischer Nationalfeiertag (German). The Belgian National Anthem (La Brabançonne) is played with cheers and scenes from a great Belgian National Day celebration in Brussels!!

    Music legally obtained through Epidemic Sound.

    This channel is for sharing my joy and passion for music with the world. I love composing and performing music for the enjoyment of others, and I hope this channel brings you happiness and inspiration.

    Check out the various playlists below:

    Wonderful Music of the World - Beautiful music from all of the world, featuring some of the greatest styles of music and song ever written!!



    Classical Masterworks - The greatest classical music works of all time, by the best composers including Pyotr Ilyich Tchaikovsky, Ludwig van Beethoven, Wolfgang Amadeus Mozart, and Johann Sebastian Bach.



    Relaxing Beautiful Music - This music is for relaxing, stress relief, yoga, studying, and bringing a calm influence in your life. Reducing stress is vital for our health, and listening can bring you closer to achieving a more relaxed state of mind.



    Patriotic Songs and Music - This great American patriotic music and songs are perfect honoring our country's forefathers, our proud military, and the unwavering American spirit! This music is recommended for our great American holidays such as Independence Day, Memorial Day, Labor Day, and Veteran's Day!!



    Beautiful Spiritual Music and Hymns - These beautiful hymns and amazing spiritual music are perfect for finding peace, meditation, prayer, and reducing anxiety in your daily life. Studies have shown that listening to religious music can increase life satisfaction, self-esteem, and your sense of control. It can also be vital in promoting mental health and position mental health outcomes.



    Lullabies For Babies (And Us) - These relaxing and peaceful lullabies are perfect for babies, infants, and babies in the womb (and the rest of us) to fall asleep and bring a calming influence. This calming baby music is also great for pregnant mothers who wish to encourage early brain development in the fetus. Beautiful active nature backgrounds accompany this music for baby in the womb, adding to the relaxing aura of these videos.



    Beautiful Marimba Music - Mesmerizing music performed on the marimba, designed to bring relaxation and meditation. I have played marimba all of my life, and I absolutely love the beautiful sound of the marimba and the wonderful musical journey this music can deliver.



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  • Marin Marais - La Rêveuse / Bass Viol Pieces + Presentation

    59:25

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    Marin Marais (1656-1728) - Pièces pour la viole / Works for viol
    *Click to activate the English subtitles for the presentation* (00:00-02:38)
    Monsieur de Sainte-Colombe (XVIIe Siècle)
    Chaconne reportée à deux violes esgales (00:00)

    Composé par Monsieur de Sainte-Colombe qui aimait s’isoler l’été dans une cabane de bois au milieu de son jardin, et que Marin Marais aurait espionné quelque temps en se faufilant sous ladite cabane pour profiter un peu plus de ce maître qui ne l’ait pas gardé très longtemps, ayant considéré qu’il n’avait plus rien à lui apprendre.

    Marin Marais (1656-1728) - Pièces pour la viole
    Prélude en harpègement - rondement / Ve livre (05:15)
    Fantaisie / IIIe livre (07:53)
    Grand Ballet / IIIe livre (08:55)
    Caprice ou Sonate - lent, très légèrement / IV livre (13:28)
    Muzette / IV livre (18:07)
    Tombeau pour M. de Sainte-Colombe / IIe livre (20:27)
    La Rêveuse / IIe livre (27:42)
    Dialogue - légèrement / Ve livre (33:03)
    Plainte - lentement / IIIe livre (36:05)
    Chaconne / Ve livre (39:28)
    Couplets de Folies / IIe livre (42:41)

    Basse de Viole : Sophie Watillon
    Basse de Viole : Friederike Heumann
    Théorbe & Guitare Baroque : Xavier Diaz
    Guitare Baroque : Evangelina Mascardi
    Clavecin : Luca Guglielmi
    Recorded in 2002, at Belgium

    Aujourd'hui, comme de son vivant, Marin Maris est reconnu comme l'une des grandes figures de l'école française des interprètes de basse de viole et des compositeurs du Grand Siècle (le règne de Louis XIV étant considéré comme la période de prééminence politique et culturelle de la France).

    La vie de Marais n'a pas été particulièrement remarquable. Les temps n'étaient pas faciles pour un homme né dans les couches sociales inférieures, mais c'était un homme respectable, qui exerçait sa profession au mieux de ses capacités et qui mettait sa famille à l'abri du besoin. Sa carrière était plus impressionnante. Né fils de cordonnier, il aurait pu adopter le métier de son père ; au lieu de cela, il a gravi les échelons jusqu'à la position privilégiée et la plus enviable d'altiste du roi Louis XIV.

    La partie la plus importante de la production musicale du Marais est la série de pièces pour basse de viole, qu'il a publiée dans cinq recueils entre 1686 et 1725. Les pièces pour basse de viole de Marin Marais représentent l'apogée du genre. Et en même temps, on pourrait dire qu'elles marquent la fin de la grande période de la musique de viole française. Car aucun compositeur après lui n'a apporté une contribution aussi importante à la littérature pour viole.

    Hommage aux maître violiste par Sophie Watillon : Après tant d’années de recherche, redécouvertes, travail… un des messages merveilleux, peu abordé, car relevant de la délicatesse, fragilité, intimité… et du don de soi : faire paraître l’émotion dans l’oreille humaine… Cette émotion rendue par le grand résonateur, ce corps humain en bois creux qu’est la basse de viole qui suscitera toujours l’émerveillement qu’une seule source sonore puisse parler tant de langues et… disposer de tellement d’émotions.

    Baroque composers PLAYLIST (reference recordings)

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  • Beethoven - Piano Concertos No.1,2,3,4,5, Variations + Presentation

    3:25:45

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    Ludwig Van Beethoven (1770-1827) - Piano Concertos Nos.1,2,3,4,5 & Variations.
    *Click to activate the English subtitles for the presentation* (00:00-05:56)
    Piano Variations in C minor on an Original Theme WoO 80 (00:00)
    Piano Variations in A on a Russian Dance WoO 71 (10:47)
    from Paul Wranitzky’s Ballet ‘Das Waldmädchen’
    Piano Variations in D on a Original Theme Op.76 (22:54)
    Turkish March from ‘Die Ruinen Von Athen
    Concerto No.1 in C, Op.15
    I.Allegro con brio (30:03) II.Largo (44:30)
    III.Rondo - Allegro Scherzando (57:00)

    Concerto No.2 in B flat, Op.19
    I.Allegro con brio (1:05:48) II.Adagio (1:20:05)
    III.Rondo - Molto Allegro (1:29:08)

    Concerto No.3 in C minor, Op.37
    I.Allegro con brio (1:35:34) II.Largo (1:52:13)
    III.Rondo - Allegro (2:02:39)

    Concerto No.4 in G, Op.58
    I.Allegro Moderato (2:11:30) II.Andante con moto (2:30:21)
    III.Rondo vivace (2:36:08)

    Concerto No.5 in E-flat, Op.73 ‘Emperor’
    I.Allegro (2:46:09)
    II.Adagio un poco mosso (3:06:24)
    III.Rondo - Allegro ma non troppo (3:15:20)

    Piano : Emil Gilels
    The Cleveland Orchestra
    Conductor : George Szell
    Recorded in 1968-70, at Cleveland

    *COMMENTAIRE COMPLET : VOIR PREMIER COMMENRAIRE ÉPINGLÉ.*
    LE 4 mai 1968, George Szell offrit son portrait à Emil Gilels « en témoignage d'admiration, de gratitude et de sincère amitié après [leur] semaine inoubliable d'enregistrements d'œuvres de Beethoven à Cleveland ». En vérité, quatre jours avaient suffi à la mise en boîte des concertos et de trois compléments pour piano : Variations en ut mineur, Variations sur la marche des Ruines d'Athènes, et sur une danse russe de Paul Wranitzky. Les 29 et 30 avril, les 1er et 4 mai, le producteur Paul Myers — qui avait œuvré chez CBS pour le Quatuor Juilliard et Glenn Gould — s'était chargé de la direction artistique dans l'écrin de Severance Hall, à la tête d'une équipe formée des ingénieurs Frank Bruno, Edwin Michalski et Edward Thomas Graham. Myers supervisait depuis 1963 la réalisation de tous les pressages que l'Orchestre de Cleveland diffusait sous étiquette Columbia (majoritairement, d'ailleurs, sous celle de sa filiale Epic Records en stereorama).

    L'affiche Szell-Gilels n'était alors ni sensationnelle ni politiquement signifiante. Plusieurs délégations de musiciens soviétiques avaient été envoyées à l'étranger, et nombre d'entre eux étaient désormais bien connus du public occidental. L'époque n'était plus même celle de Khrouchtchev. Au reste, Emil Gilels avait rencontré George Szell en 1966, huit jours après son cinquantième anniversaire, alors qu'il effectuait sa sixième tournée aux États-Unis. Son itinéraire passait par Boston (solo), New York (avec Eugene Ormandy et Lorin Maazel), Chicago (Jean Martinon), Philadelphie (Ormandy), mais Cleveland en marquait I 'étape initiale, et la première collaboration du pianiste et du maestro avait été placée d'emblée sous le signe de Beethoven, dont ils proposèrent les Concertos no 3 et no 4.

    Au cours de sa carrière, Gilels se rendit à douze reprises aux États-Unis. Reportés à cause du conflit mondial, puis de la guerre froide — ils avaient été originellement programmés au pavillon de l'URSS pendant l'édition 1939 de la Foire internationale de New York —, ses débuts sur le sol américain eurent lieu le 3 octobre 1955 à Philadelphie (Premier Concerto de Tchaïkovski). Cinq ans avant la venue de Sviatoslav Richter, son aîné et condisciple dans la classe de Heinrich Neuhaus au Conservatoire de Moscou, Gilels, Artiste du Peuple, Prix Staline, Héros du travail socialiste, avait été le premier musicien officiel d'Union soviétique autorisé à voyager outreAtlantique depuis le retour en Europe de Sergueï Prokofiev. En jouant sous la férule de Konstantin Ivanov, qui dirigea à New York l'Orchestre symphonique d'État de Moscou, émanation directe du Kremlin, Gilels fut également le soliste du premier orchestre soviétique jamais invité à se faire entendre en Amérique. C'est à Carnegie Hall, près d'un quart de siècle plus tard, que le virtuose ferait son ultime apparition publique aux USA, le 16 avril 1983. Pour sa part, l'orchestre de Szell, soutenu par le Département d'État, avait été porté en triomphe au printemps 1965 à Moscou — vingt rappels au Bolchoï ! —, Leningrad, Tbilissi, Prague et Bratislava, la Pan Am opérant là son premier vol commercial pour l'URSS depuis le voyage du vice-président Nixon en 1959. FRÉDÉRIC GAUSSIN

    Beethoven - Piano Concerto No.6 + Presentation (reference recording : F.-R.Duchable / Y.Menuhin) :

    Ludwig Van Beethoven PLAYLIST (reference recordings) :

  • Tchaikovsky: Swan Lake - The Kirov Ballet

    1:55:42

    Tchaikovsky: Swan Lake - The Kirov Ballet
    Buy from Amazon:

    In this production of the best loved classical ballet 'Swan Lake' the naturally gifted Yulia Makhalina dances the challenging role of Odette/Odile while the part of Prince Siegfried is danced by Igor Zelensky. This classic Kirov production includes the familiar happy ending in the final act where Siegfried fights and ultimately defeats the evil magician von Rothbart and at dawn is reunited with Odette.

    Act I, Scene 1 - A park near Prince Siegfried's castle
    0:00 Introduction: Moderato assai - Allegro non troppo - Tempo I
    2:35 1. Scène: Allegro giusto
    5:47 2. Waltz: Tempo di valse
    11:37 3. Scène: Allegro moderato
    15:23 4. Pas de trois
    22:27 6. Pas d'action: Andantino quasi moderato - Allegro
    24:00 8. Dance with Goblets: Tempo di polacca

    Act I, Scene 2 - Beside a lake
    27:15 10. Scene: Moderato
    29:51 11. Scene: Allegro moderato, Moderato, Allegro vivo
    34:26 12. Scene: Allegro, Moderato assai quasi andante
    38:22 13. Dances of the Swans
    50:15 IV. Dance of the Little Swans
    58:06 14. Scene: Moderato

    Act II - The ballroom in Siegfried's palace
    59:55 15. Scene: March - Allegro giusto
    1:02:39 16. Ballabile: Dance of the Corps de Ballet and the Dwarves: Moderato assai, Allegro vivo
    1:04:14 17. Entrance of the Guests and Waltz: Allegro, Tempo di valse
    1:08:22 18. Scene: Allegro, Allegro giusto
    1:10:07 21. Spanish Dance: Allegro non troppo (Tempo di bolero)
    1:12:05 22. Neapolitan Dance: Allegro moderato, Andantino quasi moderato, Presto
    1:13:56 20. Hungarian Dance: Czardas – Moderato assai, Allegro moderato, Vivace
    1:16:37 23. Mazurka: Tempo di mazurka
    1:19:32 05. Grand Pas d'action (The Black Swan Pas de Deux)
    1:30:47 24. Scene: Allegro, Tempo di valse, Allegro vivo

    Act III - Beside the lake
    1:32:40 25. Entr'acte: Moderato
    1:35:15 Valse des Cygnes (a.k.a. Waltz for White and Black Swans, orch. by Drigo from Tchaikovsky's Op.72 for Piano -No.11 Valse Bluette)
    1:40:29 28. Scene: Allegro agitato, Molto meno mosso, Allegro vivace
    1:43:57 29. Scene finale: Andante
    1:45:04 Scene Dansante (orch. by Drigo from Tchaikovsky's Op.72 for Piano -No.15 Un poco di Chopin)
    1:49:03 29. Scene finale: Allegro, Alla breve, Moderato e maestoso, Moderato

    1:53:20 Credits

    __________

    Warner Classics
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    Warner Classics is the home of classical music, featuring iconic high audio quality recordings from the greatest classical legends, opera stars and orchestras of the last century.

    Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.

    Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.

    Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.

  • The Radio 1 Ibiza Prom

    1:32:12

    For the first time in its 120 year history, the BBC Proms welcomed Radio 1 to turn the hallowed Royal Albert Hall in to the euphoric madness of Ibiza.

    Pete Tong, Jules Buckley and the Heritage Orchestra transformed dance classics in to orchestral masterpieces with the help of John Newman and Ella Eyre.

  • Acid Pauli @ Garni Temple near Yerevan, Armenia for Cercle

    1:50:37

    Acid Pauli playing an exclusive live set at Garni Temple in Armenia for Cercle.
    Subscribe our channel for more videos:
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    ☞ Acid Pauli



    ☞ Viken Arman



    Video credits:

    Artists: Acid Pauli
    Venue: Garni Temple
    Produced by Cercle
    Executive producers: Philippe Tuchmann & Derek Barbolla
    Film directed by: Pol Souchier & Derek Barbolla
    Directors of photography: Mickael Fidjili & Mathieu Glissant
    Sound engineer: Narek Chakhoyan
    Sound mastering: Michel Avannier
    Drone: Jérémie Tridard
    __

    Special thanks to Guevo and Leo from The Triângûlum Community, Giorgi from Origami and to the Armenian government, specially the culture and tourism ministry for the support.

    ______

    This artistic performance has been recorded live.

    Follow us on

  • John Williams Theme from the Movie Schindlers List

    4:02

    State Youth Orchestra of Armenia (SYOA) Founded in 2005 by conductor Sergey Smbatyan, the State Youth Orchestra of Armenia (SYOA) is comprised of young musicians whose maturity to follow the right path of life, diligence and devotion to the art had a significant contribution to the establishment of the orchestra.
    Sergey Smbatyan, the artistic director and principal conductor of the orchestra, has gathered around young musicians of his age full of energy and purposefulness smoothing way for great stages and rapidly increasing international awards. Sergey Smbatyan's performing career and the musician's mastery in performing art has brought them debuts in Armenia and beyond its borders.
    SYOA has managed to enjoy popularity and high appraisal of the audience in the most prestigious concert halls in Germany, France, Russia, Belgium, Netherlands and other countries: Opera Garnier (Paris), Konzerthaus (Berlin), Dr. Anton Philipszaal (Hague), Palais des Beuax-Arts (Brussels), P.Tchaikovsky Philharmonic Concert Hall and Conservatory Great Concert Hall (Moscow), etc.
    With close-creative relations with the masters of the world stage Valery Gergiev, Krzysztof Penderecki, Vladimir Spivakov, Grigori Zhislin, Maxim Vengerov, Denis Matsuev, Vadim Repin, Vahagn Papyan, Boris Berezovsky and many others the orchestra has reached new heights in the music industry.
    Since 2007 SYOA has been the official orchestra of Aram Khachaturian International Competition.
    In 2008 on the special decision of the Government of the Republic of Armenia the orchestra was granted the title of State Orchestra for their high professionalism and expansion of contemporary music.
    The State Youth Orchestra of Armenia honorably justifies its existence. Young musicians are persistent initiators of series of charitable activities in Armenia and overseas. They always make an indivisible part of prestigious international festivals, to name a few, Moscow Easter Festival (Moscow), YOUNG.EURO.CLASSIC'' (Berlin), ''Odessa meets friends'' (Odessa), Kultursommer Nordhessen (Kassel), Young.Classic.Wratislavia (Wroclaw) and many others.
    On the 20th Anniversary of the RA Independence the Orchestra started a concert tour around Europe. Performing multi genre playlist by Armenian, Russian and west-European composers, the musicians once again inspired the audience by their professionalism.
    The wide repertoire of the orchestra ranges from classical to contemporary genre.
    Starting from 2010 the State Youth Orchestra of Armenia has been holding the Armenian Composers' Art Festival under the high patronage of the RA President.
    In 2011 the State Youth Orchestra of Armenia, headed by the artistic director and principal conductor Sergey Smbatyan, released its first CD under the title Music is the answer. Recorded at Sony DADC recording studio the CD includes works by Pyotr Tchaikovsky, Dmitri Shostakovich and Eduard Hayrapetyan.
    In 2012 the State Youth Orchestra of Armenia and the Embassy of the United States of America in Armenia implemented Youth for Youth-Hollywood Non-Stop a joint music initiative, which celebrated the 20th anniversary of U.S.-Armenian diplomatic relations.

  • A. R. Rahman, Jiya Jale

    6:57

    #berklee #berkleecollegeofmusic Jiya Jale (Dil Se) is a tribute to A. R. Rahman by the Berklee Indian Ensemble in gratitude for his immense contribution to our lives through his inspiring music and journey.

    A. R. Rahman is an Indian composer, singer-songwriter, producer, multi-instrumentalist and philanthropist. In 2009, Time Magazine placed Rahman in its list of World's Most Influential People. In a notable career spanning two decades, he has garnered particular acclaim for redefining contemporary Indian film music, and putting Indian music on the global map, in a way that no other Indian composer/performer has achieved.

    On October 24, 2014, Berklee College of Music will confer A. R. Rahman with an honorary doctor of music degree. Berklee Faculty and students from the Berklee Indian Ensemble will pay tribute to the living legend, who will join them on select pieces in a concert celebrating his music and life at Boston's Symphony Hall.

    Mr. Rahman's visit is a signature event under Berklee India Exchange, a new initiative co-founded by two Indian Berklee alums, Annette Philip (artistic director), and Clint Valladares (artist relations and strategy), as a platform for cultural conversation, through the composition, collaboration, and performance of original Indian music. Proceeds from the concert will go towards a scholarship fund in Mr. Rahman's name for students from India to attend Berklee.

    This is a huge milestone for the Berklee Indian Ensemble, one of largest and most diverse ensembles at the college, with members representing 37 countries, and counting. Founded in 2011 by faculty member, Annette Philip, the ensemble performs an expansive repertoire of Indian classical, semi-classical, folk, Sufi, and contemporary Indo-jazz music, with the ultimate goal of presenting concerts entirely consisting of original student compositions. Every year, there is at least one composition by A. R. Rahman featured in their repertoire.

    Berklee Indian Ensemble
    Jiya Jale (A. R. Rahman)
    From the film Dil Se


    Arrangement: Inna Dudukina
    Vocal arrangement, Producer: Annette Philip
    Instrumental interlude: Berklee Indian Ensemble

    Soloists
    Ishita Sinha: voice, Patna, India
    Harshitha Krishnan, voice, Chennai, India
    Nalini Krishnan, voice, Seattle, Washington
    Rohith Santosh Jayaraman, voice, morsing (jaw harp), San Jose, CA


    Instrumental Soloists
    Yazhi Guo: dizi, Hong Kong, China
    Sashank Navaladi: sarod, New Delhi, India
    Harini Srinivasa Raghavan: violin, Chennai, India
    Layth Al Rubaye: violin, Amman, Jordan
    Patrick Simard: drums, Ottowa, Canada

    Indian Ensemble Choir
    Sanjeeta Bhattacharya, New Delhi, India
    Dhruv Goel, Lucknow, India
    Vasundhara Gupta, Kolkata, India
    Rohith Santosh Jayaraman, San Jose, CA
    Harshitha Krishnan, Chennai, India
    Nalini Krishnan, Seattle, Washington
    Armeen Musa, Dhaka, Bangladesh
    Kanika Patawari, Antwerp, Belgium
    Annette Philip, Kerala, India
    Purvaa Sampath, Bangalore, India
    Ishita Sinha: Patna, India
    Harini Srinivasa Raghavan, Chennai, India
    Aseem Suri, New Delhi, India
    Adriel Tjokrosaputro, Surakarta, Indonesia
    Sanchitha Wickremesooriya, Colombo, Sri Lanka


    Strings
    Layth Al Rubaye: violin, Amman, Jordan
    Harini Srinivasa Raghavan: violin, Chennai, India
    Daniel Urbanowicz: viola, Pittsburgh, Pennsylvania
    Naseem Al Atrash: cello, Beit Sahour, Palestine
    Victor Manuel Gonzalez Quezada: double bass, Rancagua, Chile

    Rhythm Section
    Annette Philip: piano, Kerala, India
    Aleif Hamdan: electric guitar, Jakarta, Indonesia
    Shubh Saran: electric and acoustic guitar, New Delhi, India
    Achal Murthy: bass, Strassen, Luxembourg
    Ullas Rao: mridangam, Westwood, MA
    Kaushlesh Purohit: tabla, percussion, Jodhpur, India
    Ranajoy Das: cajon, New Delhi, India
    Joe A Galeota Jr.: percussion, Arlington, MA
    Patrick Simard: drums, Ottowa, Canada

    Recorded live at The Record Company
    Simon Katz: recording engineer, mixing engineer
    Chris Geller: assistant engineer
    Pietro Milanesi: second engineer

    Teo Karakolev: videographer, editor
    Kevin Greene: videographer
    Sam Harchik: videographer

    Mastered by M Works Studios
    Jonathan Wyner: engineer #berklee #berkleecollegeofmusic

  • The Paganini Project with Peter Sheppard Skærved

    1:13

    Polymathic and ever-curious British violinist Peter Sheppard Skærved delves into the Library's fascinating Niccolò Paganini collection. Examining posters, playbills, letters, manuscripts and memorabilia collected by Paganini himself, he reveals how the virtuoso created his own mystique as a violinist and musical innovator. From his Secret Red Book containing recipes, prescriptions, tour dates, a laundry list and financial notes, to clues about the virtuoso's alleged use of a steel bow, our Paganini Project deciphers some of the myths and mysteries surrounding the 19th-century icon. The Paganini Project will be featured in a lecture/demonstration on Sat. Dec. 15, 2012, at 2 p.m., in the Library's Coolidge Auditorium.

    Speaker Biography: Peter Sheppard Skærved is an award-winning and Grammy-nominated British violinist. He is the dedicatee of over two hundred works for solo violin, by composers such as George Rochberg, Judith Weir and Hans Werner Henze. He is the only British violinist to have been invited to play Paganini's violin il Cannone more than once (five times in total). He has performed at the Library of Congress' Coolidge Auditorium and is the Viotti Lecturer in Performance Studies at the Royal Academy of Music in London.

    For captions, transcripts, and more information visit

  • Ibiza Classics - Live from The O2 london - Pete Tong, Heritage Orchestra, Jules Buckley

    1:53:45

    View the 2019 show broadcast featuring Maxi Jazz from Faithless and much more here:

    Ibiza Classics - Live from The O2 london - Pete Tong, Heritage Orchestra, Jules Buckley

  • Django Reinhardt - Greatest Hits

    1:2:03

    TRACKLIST
    01- Daphne 00:11
    02- After Youve Gone 03:22
    03- Are You In The Mood 06:31
    04- Djangology 09:21
    05- I Cant Give You Anything But Love 12:16
    06- Ise a Muggin 15:41
    07- Limehouse Blues 18:49
    08- Mabel 21:37
    09- Nagasaki 25:54
    10- Nuages 28:45
    11- Oriental Shuffle 32:15
    12- Presentation Stomp 34:56
    13- Sweet Chorus 38:04
    14- Sweet Sue Just You 40:49
    15- Les yeux noirs 43:55
    16- Place de Brouckere 46:11
    17- Shine 49:08
    18- Stardust 52:06
    19- Swing Guitars 55:18
    20- Three-Fingered Lightning 57:44

    Django Reinhardt - GREATEST HITS (FULL ALBUM)
    Download on Google Play:

    Jean Django Reinhardt ( 23 January 1910 – 16 May 1953) was a Belgian-born French jazz guitarist and composer of Romani ethnicity, regarded as one of the greatest musicians of the twentieth century, having written nearly 100 songs, according to Frank Vignola. He was the first and most significant jazz talent to emerge from Europe. Despite having two of his fingers disabled from a fire, he overcame the handicap and went on to forge an entirely new style of jazz guitar technique (sometimes called 'hot' jazz guitar), which has since become a living musical tradition within French Gypsy culture. Benny Goodman asked him to travel with his band, which he never did, but he did tour the U.S. with Duke Ellington's band in 1946. He died suddenly of a stroke at age 43. With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France (Hot Club) in 1934, today considered one of the most original bands in the history of recorded jazz. Reinhardt's most popular compositions have become jazz standards, including Minor Swing, Daphne, Belleville, Djangology, Swing '42, and Nuages. According to jazz guitarist Frank Vignola, nearly every major popular-music guitarist in the world has been influenced by Django, including Paul McCartney, Keith Richards and Les Paul. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film, Django.

    Listen to the Best Music of:
    Etta James, Billie Holiday, Bill Evans, Stevie Wonder, Ray Charles, Nina Simone, Muddy Waters, Django Reinhardt, Louis Armstrong, Miles Davis, James Brown, Chet Baker, Ella Fitzgerald, Nat King Cole, Duke Ellington, Elvis Presley, Count Basie, Herbie Hancock, Edith Piaf, Aretha Franklin, Charlie Parker, Lightnin' Hopkins, B.B. King, Thelonious Monk, Howlin' Wolf, Quincy Jones, Johnny Cash, Chuck Berry, Paul Anka, John Coltrane, John Lee Hooker, Coleman Hawkins, Robert Johnson, Dean Martin, Oscar Peterson, George Gershwin, Frank Sinatra, Hank Williams, Benny Goodman, Art Tatum, Joe Turner, Bing Crosby, Dave Brubeck, Mahalia Jackson, Fats Domino, Marvin Gaye, Bud Powell, Sonny Rollins, Tony Bennett... and many others!

  • Great Composers: Wolfgang Amadeus Mozart

    32:31

    If composers were emoji ... I think we know who he'd be. #JusticeForSalieri

    This was requested by YouTubers Glen Sheppard, Wolfgang Amadeus Mozart, Michael Wu, keon, Sean Ramsdell, and E B. See all requests at

    ----------

    Classical Nerd is a weekly video series covering music history, theoretical concepts, and techniques, hosted by composer, pianist, and music history aficionado Thomas Little.

    ----------

    Music:

    - Wolfgang Amadeus Mozart: Clarinet Quintet in A major, K.581, performed by Anthony McGill with A Far Cry and Musicians from Marlboro and available on IMSLP:
    - Thomas Little: Dance! #2 in E minor, Op. 1 No. 2, performed by Rachel Fellows, Michael King, and Bruce Tippette
    - Unknown Artist: Mozart’s New Booty: [original upload: OMoyvHwPCrU]

    ----------

    Contact Information:

    Questions and comments can be directed to:
    nerdofclassical [at] gmail.com

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    All images and audio in this video are for educational purposes only and are not intended as copyright infringement. If you have a copyright concern, please contact me using the above information.

  • Jacques Chailley **MUST HEAR**

    29:17

    Jacques Chailley (1910-1999) (France)
    Symphonie n°1 en sol mineur (1945) **MUST HEAR**
    Dir : Jean Fournet
    Orchestra National de l'ORTF

    1- Allegro ritmico (6.02)
    2- Andantino (9.27)
    3- Scherzo (3.57)
    4- Finale (10.01)

    Begun in Amsterdam in 1936 where Jacques Chailley studied to become a conductor under the great Willem Mengelberg, his « String Quartet » earned him a position with the well-known composers. If he did not belong to the groupe « Jeune France » formed at time by André Jolivet, Olivier Messiaen, Daniel-Lesur and Yves Baudrier, he was nevertheless close enough to have his works represented in concerts given by this famous association of artists.
    His « Symphony No.1 » was the first great work written upon his return from the 1939 campaign as an escaped prisoner with a military medal and the military cross. This symphony was born during the dark times of the Occupation, when, together with the Director Claude Delincourt, he took on the dangerous task of defending the Academy students against the terats of both compulsory work gangs and deportation. Written between 1942 et 1945, his « Symphony No.1 » is a pure work of music which stands for itself even though certain critics declared that one could perceive within, an echo of the tragic events that this periode brings back to mind. The composer does not exclude this possibility, but maintains that if this is so, it was not done consciously.
    The first movement, the Allegro ritmico, aims primarily at asserting itself though the unity of the movement. This continue without any digression in a tighter construction from two themes of opposite nature, but of unchanging tempo. André Jolivet, who particulary appreciated this movement, admitted to the composer that he had been influenced by it at the time of writing his first symphony in 1953.
    The melodius Andante forms by contrast a peaceful element being of a classical conception and of a purposefully clear language for which the composer apologizes to those possibly offended.
    The light Scherzo is built upon an unique theme with certain ironic elements in the trio of the coda. It includes an adagio of a restrained lyricism, characteristic of Jacques Chailley's harmonic style during this period. The peroraison, dedicated to the percussion section and with the rhythm of the theme developing with a whistle solo, was met with a rapturous welcome, following the first performance in Toulouse (France).
    The Finale which freely combines the forms sonata and rondo opposes a popular theme « à 7 temps », used successively as a refrain and as a developing element, to a lyrical theme which opens out on a choral in the peroraison following the suggestions kindly given by Monsieur Croche, well-know for his views against amateurism.
    The first performance was partly given in Algers (Algeria) in 1947. This was then followed by a complete performance at the Théâtre du Capitole on March 4th, in 1948, conducted by Gaston Poulet. Presented in Paris on February 27th, 1949 at the concerts Pasdeloup and conducted by the composer, there followed the nex day the exceptional honour of an invitation for a second audition. This took place the following year on February 26th. It has since been interpreted in many countries, particulary in Belgium and Rumania. It was after having listened to it, that José Bruyr approached Jacques Chailly to ask if he would write the score of his opera « Thyl de Flandre » which completed in 1953, was performed at the Monnaie de Bruxelles.
    In a three column article in the journal « Arts », the critic Raymond Charpentier wrote that Jacques Chailley, through this work, had henceworth « fully become a part of the aristocrat family of the symphonists ». Further, in the journal « Images musicales », J. M. Grénier thus concluded his review : « Such a new works written and thought out with a rare quality, will allow the public to regain the thrill of the first performances ». Would the times have changed ? »
    UNFORTUNATELY, NO.
    Major works :
    Les Perses, incidental music (1936) ; Jeanne devant Reims, for Choir and Orchestra (1941) ; Pan and the Syrinx, opera (1946) ; Thyl de Flandre, opera (1949-54) ; Le Jeu de Robin et Marion, opera (1950) ; La Dame à la licorne, ballet (1953) ; Le Cimetière marin, for Choir and orchestra (1980) ; Symphony No. 2 (1984) ; Triptych, for organ (1984-87) ; Eloge de la sagesse, oratorio (1992).

    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2 and COLLECTIONCB3
    and
    IDEAL DISCOTHEQUE OF MORE THAN 1,300 ORCHESTRAL WORKS OF FEELINGS :

  • x
  • In Search of Mozart: Phil Grabsky Interview

    10:37



    An interview with Phil Grabsky where he speaks of the making of his award winning documentary 'In Search of Mozart'.

  • Grieg Lyric Pieces Op. 65 | Unequal Romantic Temperament | 1884 Erard grand piano

    25:08

    Grieg Lyric Pieces Op. 65


    Attached to the popular roots of his homeland, Edvard Grieg (1843-1907) is the emblematic Norwegian composer of the second half of the nineteenth century. Like many creators of the romantic era, he was attracted to both large musical forms and short compositions. The intimate, poetic, and humble character of the Lyric Pieces has always fascinated me. This lovely collection of character-pieces goes against a grandiose deployment of the piano by adopting a simple and concise structure. Each miniature offers a unique soundscape that reveals Grieg’s secret and inner personality. Inspired by Norwegian mystical creatures and folk idioms, they are a testament to his country’s soul and to the wonders of the surrounding nature.

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    Edvard Grieg Lyric Pieces Op. 65 (composed in 1896, published in 1897).
    0:05 From Early Years / De la jeunesse / Aus jungen Tagen
    5:44 Peasant’s Song / Chant du paysan / Lied des Bauern
    7:27 Melancholy / Mélancolie / Schwermut
    11:19 Salon
    14:14 Ballad / Ballade / Im Balladenton
    18:00 Wedding Day at Troldhaugen / Jour de noces à Troldhaugen / Hochzeitstag auf Troldhaugen

    1884 Erard Grand (Alexandre Theodoulides Collection - Les amis d'Erard).
    tuned to an Unequal Romantic Temperament (eight 1/8 comma tempered 5ths and four perfect 5ths: F-C, E-B, F#-C#, Eb-Bb) by Ziad Kreidy

    Recorded and filmed on November 25, 2018, at Pavillon La Rochefoucauld, Crèvecœur le Grand, France by Ziad Kreidy (Tascam dr-100 MKIII + two RØDE NT1 Kit mikes ; Huawei P9).

    Ziad Kreidy’s career led him to perform in France, Germany, Belgium, Denmark, Norway, USA, Mexico, and Lebanon

    Since 2010, he records in concert and with natural sound recording for LdN and Maguelone Music. His recording of the first four opuses of the Lyric Pieces of Grieg on an upright piano Erard from 1867 received critical acclaim

    He has authored several books and academic articles and is currently Professor of Music History and Analysis at the Conservatoire à Rayonnement Régional of Versailles

    Following his interest in ancient pianos tuning, he designed his personal 1/8 comma temperament for the romantic and impressionist repertoire

    #ErardPiano #LyricPiecesOp65 #RØDENT1kit

  • Charles Mingus feat. Charlie Parker and Dizzy Gillespie - Hot House

    9:11

    Classic Mood Experience The best masterpieces ever recorded in the music history.
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    Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz double bassist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences.
    Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, he looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players.
    Nearly as well known as his ambitious music was Mingus's often fearsome temperament, which earned him the nickname The Angry Man of Jazz. His refusal to compromise his musical integrity led to many onstage eruptions, exhortations to musicians, and dismissals. Because of his brilliant writing for midsize ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him of a young Duke, citing their shared organizational genius.
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  • The FASTEST Beethoven Hammerklavier Sonata on the Planet is NOT Fast Enough

    10:26

    Beethoven's Hammerklavier Sonata (opus 106) is often seen as one of the technical most demanding piano works ever written in the history of the piano. Part of the reason are the Metronome Markings, given by Beethoven. For scholars who refuse for whatever reason, to look back into the most likely way of metronome use (where the metronome clicks indicate the subdivision of the note value in the MM instead of the full note value), pieces like this cause a problem. Since how can they connect an historical reality that they claim to be true to a situation in which that reality is not repeatable today?
    The recording made by Stephan Möller is often taken as a 'proof' Beethoven's tempi are conceivable after all. His recording most likely is indeed the fastest opus 106 on this planet but... does it really matches Beethoven's tempi? Let's check.
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  • Jerry Lee Lewis - Whole Lotta Shakin Goin On

    2:54

    Jerry Lee Lewis (born September 29, 1935) is an American rock and roll and country music singer and pianist. An early pioneer of rock and roll music, Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. In 2004, Rolling Stone Magazine ranked him number 24 on their list of the 100 Greatest Artists of All Time. In 2003, they listed his box set All Killer, No Filler: The Anthology number 242 on their list of 500 greatest albums of all time.

    Lewis was born to the poor family of Elmo and Mamie Lewis in Ferriday in Concordia Parish in eastern Louisiana, and began playing piano in his youth with his two cousins, Mickey Gilley and Jimmy Swaggart. His parents mortgaged their farm to buy him a piano. Influenced by a piano-playing older cousin Carl McVoy (who later recorded with Bill Black 's Combo), the radio, and the sounds from the black juke joint across the tracks, Haney's Big House, Lewis created his style from black artists who were unable to play to white audiences, mixing rhythm and blues, boogie-woogie, gospel, and country music, as well as ideas from established country boogie pianists like recording artists Moon Mullican and Merrill Moore. Soon he was playing professionally.

    Lewis played at clubs in and around Ferriday and Natchez, Mississippi, becoming part of the burgeoning new rock and roll sound and cutting his first demo recording in 1954. He made a trip to Nashville around 1955 where he played clubs and attempted to drum up interest, but was turned down by the Grand Ole Opry as he had been at the Louisiana Hayride country stage and radio show in Shreveport. Recording executives in Nashville suggested he switch to playing a guitar.

    Lewis travelled to Memphis, Tennessee in November 1956, to audition for Sun Records. Label owner Sam Phillips was away on a trip to Florida, but producer and engineer Jack Clement recorded Lewis's rendition of Ray Price's Crazy Arms and his own composition End of The Road. During December 1956, Lewis began recording prolifically, both as a solo artist and as a session musician for such Sun artists as Carl Perkins and Johnny Cash. His distinctive piano playing can be heard on many tracks recorded at Sun during late 1956 and early 1957, including Carl Perkins' Matchbox, Your True Love, You Can Do No Wrong, and Put Your Cat Clothes On, and Billy Lee Riley's Flyin' Saucers Rock'n'Roll. Until this time, rockabilly had rarely featured piano, but it proved a highly influential addition and rockabilly artists on other labels soon also started working with pianists.

    Lewis's own singles advanced his career as a soloist during 1957, with hits such as Whole Lotta Shakin' Goin' On and Great Balls of Fire, his biggest hit, bringing him to national and international fame, despite criticism for the songs' overtly sexual undertones which prompted some radio stations to boycott them. In 2005, Whole Lotta Shakin' Goin' On was selected for permanent preservation in the National Recording Registry at the Library of Congress.

    Lewis would often kick the piano bench out of the way to play standing, rake his hands up and down the keyboard for dramatic accent, sit down on the keyboard and even stand on top of the instrument. His first TV appearance, in which he demonstrated some of these moves, was on The Steve Allen Show on July 28, 1957, where he played the song Whole Lotta Shakin' Goin On. He is also reputed to have set a piano on fire at the end of a live performance, in protest at being billed below Chuck Berry.

    His dynamic performance style can be seen in films such as High School Confidential and Jamboree. He has been called rock & roll's first great wild man and also rock & roll's first great eclectic. Classical composer Michael Nyman has also cited Lewis's style as the progenitor of his own aesthetic. ~ SOURCE: Wikipedia

    PLEASE NOTE: I divided my uploads among multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics. LINK:

  • Crowdfunding for 4 generations of Belgian composers

    3:04

    Old and new trumpet compositions by Flemish and Walloon composers to let those composers revive and shine and the trumpet alive.

  • Paul Gilson: Berceuse

    3:06

    Phillip Sear plays a cradle song from around 1911 by the Flemish composer Paul Gilson (1865-1942).
    ------------------------------------------------------------------------------------------------------------
    The Flemish composer Paul Gilson (1865-1942) was born in Brussels, and studied at the conservatory there - winning the Belgian Prix de Rome in 1889. He taught composition at the conservatories of Brussels and Antwerp, but after 1909 became the Belgian inspector of musical education. He wrote stage and orchestral music (for which he is best known) There are few piano works, however. This piece is headed by two extracts from the poem 'Berceuse' by the French poet and dramatist Clovis Hugues (1851-1907), the first of which is:

    Dors dans ton berceau, petite Mireille,
    Comme l'oiselet s'endort dans son nid,
    Plein d'aube vermeille;

    The second extract ends with the comment that all of the heavens can be found in the baby's blue eyes. My thumbnail shows a detail from 'By the Cradle' (1908) by the Russian artist Nicolas Tarkhoff
    (1871-1930).
    ----------------------------------------------------------------------------------------------- ------------------------------------------------------- Played by Phillip Sear
    (Email: piano4@psear.33mail.com
    WhatsApp: )

  • Alexander-Sergei Ramírez plays Minueto No. 6 by Pedro Ximénez Abrill de Tirado

    2:31

    Minuet No. 6 by Peruvian composer Pedro Ximénez de Abrill Tirado (1780, Arequipa, Perú - 1856, Sucre, Bolivia). The recently found works of this legendary and prolific composer include, among others, 40 Symphonies, 48 Masses, 226 Songs with piano accompaniment, 50 Waltzes for piano, chamber works, as well as various guitar works, and in 2013 were registered with the UNESCO “Memory of the World” list. Pedro Ximénez was certainly one of the foremost South American composers of all times. His collection of 100 Minuets for guitar solo are now published by Alexander-Sergei Ramirez for Chanterelle/Zimmermann (ZECH2707). A selection of 23 Minuets by Ximénez were recorded by Ramirez on: Guitarra Clásica del Perú on Cavi Music label, Catalog #: 553316 One of the greatest discoveries of classical guitar repertoire for several decades! ORF [Austrian Radio]
    Recorded at Ramírez Máro Institut, Hauset - Belgium;
    Production: Celia Ruiz Artacho & Stephan Salgert;
    Camera: Max Angsten, Sound: Holger Urbach (humusic.de);
    Guitar: José Ramírez; D`Addario Strings;
    Painting: Los últimos dias de Pedro Ximénez
    by Rafaél Ramírez Máro

  • René Defossez

    19:16

    René Defossez (1905-1988) (Belgium)
    Romantic Concerto for piano and orchestra (1971)
    Pianist : Diane Andersen
    Dir : René Defossez

    1- ? (8.24)
    2- ? (5.47)
    3- ? (5.04)

    This concerto exists only in manuscript and, thus, is omitted from most work lists. Written for pianist Diane Andersen, it was premiered by her in 1972 or 1973. It must not be confused with René Defossez’s better-known « Piano Concerto » from 1951.

    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2, COLLECTIONCB3, COLLECTIONCB4
    and
    IDEAL DISCOTHEQUE OF MORE THAN 1,700 ORCHESTRAL WORKS OF FEELINGS :

  • m#1 | pierre slinckx _ quatuor mp4 | Cypres CYP0612

    6:30

    Link to M#1 YouTube playlist:
    Link to streaming services:
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    M#1 for string quartet and electronics, integrates electronics into the intimate world of chamber music that requires the presence and mutual listening of each musician. The Belgian composer Pierre Slinckx thus forms an unexpected quintet with the MP4 Quartet, playing from a custom-made portable computer with two small MIDI controllers. This unusual instrument has been designed through the process of composition in a very organic way, in order to blend to the sound of the quartet.


    #slinckx #quatuormp4

  • Friedrich Gulda: Claude Debussy – La puerta del vino

    2:49

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Claude Debussy – La puerta del vino

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Eteri Lamoris. Vivaldi. Laudate Pueri. Orchestra Virtuosi Di Praga

    2:00

    Eteri Lamoris - Antonio Vivaldi. Laudate Pueri. Amen. Orchestra Virtuosi di Praga From Eteri Lamoris's CD Virtuosissimo

    From Laudate Pueri. Psalm 112, RV 601

    Sit nomen, Excelsus, Ut collocet, Sicut erat, A solis ortu, Suscitans, Gloria, Amen.

    Eteri Lamoris. Los comentarios de prensa:

    “Una verdadera perla de la lírica: por la extraordinaria calidad de su instrumento vocal y por su sentido musical. Su actuación fue practicamente redonda.”
    La Vanguardia, Barcelona.

    “Eteri Lamoris sabe como conquistar el publico. Presenta un ejemplo perfecto de belcanto y aparece como una actriz muy convincente.”
    Opera International, Milano.

    “Lamoris parece perfectamente tranquila y agradable interpretando un papel que sí contiene un riesgo. La posición alta es radiante con su técnica inmaculada, precisión y belleza.”
    Opera International, Paris.

    El 10 de marzo del 2012, la Princesa de Suecia, Cristina Magnusson, le entrego la “Orden internacional de oro – “La mejor cantante de nuestros tiempos”. La ceremonia tuvo lugar en el PALACIO REAL DE ESTOCOLMO.

    Virtuosi di Praga:

    The world renowned orchestra, Virtuosi di Praga, has been led from the very beginning by conductor and violinist Oldřich Vlček, who after 1990 built from aformerly small orchestra, an ensemble, which today is a soughtafter partner for world stars such as Plácido Domingo, Igor Oistrakh, M. Rostropovich, José Cura and others.

    The ensemble has a wide repertoire, consisting of the works of Vejvanovský, Mysliveček, J.S. Bach, Haydn, L.v. Beethoven, W.A. Mozart, Felix Mendelssohn, Rossini, Igor Stravinsky, Grieg, Edward Elgar, Albert Roussel as well as the works of 20th century world music and also has the courage to support the contemporary works of Czech composers.

    The orchestra worked under the batton of V. Neumann, A. Rahbari, Ch. Benda, A. Scarano, N. Tsouchos, N. Athinaios, Peter Schreier, P. Meyer, Howard Griffiths, Helmuth Rilling, J. Swoboda etc. The list of soloists with whom the orchestra has had the pleasure to play includes such renowned names as Plácido Domingo, José Cura, Barbara Hendricks, Mstislav Rostropovich, Igor Oistrakh, Pavel Kogan, Mario Carbota, Mario Brynello, Sergej Krylov, M. Vyskvorkina etc. The orchestra co-operates very often also with prominent Czech choirs, like Prague Philharmonic Choir or Prague Chamber Choir and performs together such compositions like Haydn’s Creation, Händel’s Messiah, Acis and Galatea, J.S. Bach’s Mass in B minor (BWV 232), St. John Passion (BWV 245) etc. The Orchestra recorded over one 170 CD's, produced for various labels including Supraphon, Orfeo, Discover, Claves and Koch International and is holder of two platinum Discs from Supraphon for the most successful recording in the field of classical music in the nineties and Gold Discs from the Discover, Lupulus and Supraphon companies.

    The orchestra has regularly 8-10 concerts per year in Prague, about 30 in Czech and Slovak Republic and about 30-40 guest performances in European countries (Germany, Italy, Spain, Greece, Austria, Belgium, Holland, France) in Japan, Australia, USA and Latin America. Orchestra is regular performer at the major Czech music festival - Prague Spring. It is the residential orchestra of Pontes International Music Festival. Since 2000 orchestra regulary performs under the baton of italian conductor Alfonso Scarano, who was appointed principal guest conductor of Virtuosi di Praga.

  • Friedrich Gulda: Frédéric Chopin – Étude Op. 25, No. 7 in C-sharp minor

    4:49

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Frédéric Chopin – Étude Op. 25, No. 7 in C-sharp minor

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Friedrich Gulda: Franz Schubert – Scherzo in D-flat major

    4:34

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Franz Schubert – Scherzo in D-flat major

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Varasiddhi Vinayaka ragam kaanada #Veena #Vocal #PunyaSrinivas

    3:36

    Punya Srinivas stromed into the carnatic instrumental music world at the tender age of 9 years on a prodigious emergence.
    Training : Grooming by Veena Vidwan Smt.Kamala Aswathama and advanced Vocal training from Sangeetha Kala Acharya Smt.Suguna Varadachari.
    Versatility :As a proof of the thrust for the versatility, she had remarkably fulfilled 5000 recordings. On this instrument , display of total command over the veena with rarest facility at play of any note from 'sa'. Her discharge of ragas and compositions reveal her sublime sensitivity for the musical expressions they deliver.Apart from Carnatic music she also experiments with different genres and styles like Hindustani and Western.Her present stint with scholarly study ensconces her as B.A.music student from University of Madras and 'Grade 5' in Western music ably guided by Mr.Augustine Paul.

    Rare Ensembles and Collaborations:
    Jugalbandhi with industrious Vocalist, Subha Mudgal and Saxophone Master Kadri Gopalnath, on a rare ensemble each, were as studs of Diamonds to emblish the record and carrer of this prodigy landing to top-ranking participations in 'Avantgarde' musical productions and rare creations.
    She has lend her mastery for a plentiful music albums collaborating with Zakkir Hussain, Sitar legend Pandit Ravishankar, Jazz musician John Mclaughlin and Mathew garrison, Illaiyaraja, A.R.Rahman, Mandolin U.Srinivas, Composer and Percussionist Ranjit Borat, Saxophone Tim Garland, Bassist Elie Afif, Pianist Aydin Esen, Ustad Rashid Khan , Singer Hariharan, Lesli Lewis and Violin legend V.S.Narasimahn are few names to mention from the list.

    Performances - India and Abroad : Besides top stardom , sabha platforms as Kamaraj Hall, Narda Gana Sabha, Indian Fine Arts Society, Sastri Hall and Music Academy - all in Chennai - the ones in Bombay, Bangalore, Culcutta, Hyderabad, Delhi and Trivandrum within India also stay thrilled by her overseas concerts and plaudits in Europe, Belgium, USA, Singapore, New York, London, Dubai, Malaysia, France, Israel and Jerusalem.

    Awards and Honors:She had affixed her stamp as an 'A Top' Grade Artiste of All India Radio .Big fm Entertainment Award for the year 2012 Carnatic Musician of the Year. ''SANGEETHA SARATHY '' Title conferred in 2013 by Sri Mata Samarpanam Trust.She is been awarded Yuva Puraskar from Sangeet Natak Academy for the year 2011.

    To predominantly mark some of Punya’s unforgettable live performances are:
    @ Solo Veena Concerto for the 50th anniversary celebrations of the United Nations Organization(UNO) in Newyork
    @ Fusion concerts at France and Paris with the world renowned London based POP Singer Suseela Raman
    @Live performance on the music written by renowned Belgian composer Hans Vermeesh at Belguim
    @The Tam-Tam festival at Jerusalem, Israel
    @ Participated in Sunaadha Pravaham-composed and conducted by the violin legend Lalgudi Sri. Jayaraman a Carnatic Classical Symphony which was premiered at famous Victoria hall, Singapore 2004.
    @Participated in the famous Earthsync music festival at Chennai as a special artiste for Veena Special Performances@ Performed along with Usthad Rashid Khan,Bombay Jayshree and Richa Sharma at Coke studio MTV as a guest atriste.
    @ Performed at Dubai World Music festival in 2013 along with Ranjit Barot, Tim Garland, Elie Afif and Aydin Esen
    @ Performed at Elephanta Caves Music Festival , the heritage of Indian music, dance, and art! Mumbai 2013.
    @ Performed at Chowmahalla Palace Hyderabad Indian Heritage Center 2013
    @ Naadaneerajanam Concert at Tirumala TTD Devastanam 2016
    @Akashvani Sangeet Sammelan , She performed her maiden concert at Shanti Niketan, Bolpur Kolkata 2016
    @SPIC MACAY 2016 Koraput Odisha, Rural school intensive concert featured along with stalwarts like Shri.T.V.Sankaranarayanan, Pandit Vishwa Mohan Bhatt and S.Rajam.
    @SPIC MACAY Yamini 2016 Bhubaneswar , featured along with legendary musicians Pt Hariprasad Chaurasia, Vidushi Sudha Ragunathan, Vidushi Ashwini Bhide, and Gundecha Brothers .

    The Band
    Punya Srinivas-LIVE is a live band set-up of Punya Srinivas who is a wonder in the field of Carnatic instrumental music industry have created a very niche up-market for herself with her matchless style of music and creations with Veena. Punya Srinivas, can directly be put in the list of performing artists who simply understands the audience undoubtedly and perform with ease.
    Veena in Vienna which was very well apprasied and gained first -rated comments. It was a perfect creation to mark a credible proof that Indian instrument can be very well attuned to the western scores. It had 7 of the best composers in the music fraternity lend their mastery to make this album a phenomenal hit.

    Solo Albums :Veena in Vienna 2011 Sound of Swan 2014
    Albums Featuring Punya Srinivas :Chants,Mozart Meets India,Companian,BadaBoom,Laya Project,Asian Muse.

  • Friedrich Gulda: Frédéric Chopin – Nocturne in F-sharp major Op. 15 No. 2

    3:34

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Frédéric Chopin – Nocturne in F-sharp major Op. 15 No. 2

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Friedrich Gulda plays Gulda: Minuet from the Cello Concerto

    3:49

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Friedrich Gulda – Minuet from the Cello Concerto

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Friedrich Gulda: J. S. Bach – Prelude and Fugue in A-flat major

    6:45

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    J. S. Bach – Prelude and Fugue in A-flat major
    (Well-Tempered Clavier, Book II)

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Friedrich Gulda plays Gulda: For Rico

    2:50

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    Friedrich Gulda – For Rico

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • La Bohème

    3:35

    Provided to YouTube by Universal Music Group

    La Bohème · Lakatos · Roby Lakatos

    Ensemble Roby Lakatos - La Bohème

    ℗ 1998 Deutsche Grammophon GmbH, Berlin

    Released on: 1998-01-01

    Producer: Francis Gavet
    Studio Personnel, Balance Engineer: Carl Schuurbiers
    Producer, Executive Producer: Tim Roggeman
    Composer Lyricist: Charles Aznavour
    Composer Lyricist: Jacques Plante

    Auto-generated by YouTube.

  • Fantaisie-Pastorale for Soprano Saxophone and Piano by Jules Demersseman

    4:44

    Johnny Selmer, saxophone ????
    Dr. Victoria Lington, piano ????

    ????SelmerSaxophone.com????

    Fantaisie-Pastorale for Soprano Saxophone & Piano by Jules Demersseman

    A compatriot and contemporary of Adolphe Sax, Belgian composer Jules Demersseman evidently greeted the invention of the saxophone with considerable enthusiasm, having composed several light solo pieces for the instrument during his short lifespan of 1833–1866. This short original work for soprano saxophone and piano is cast in the key of C (saxophone in D) and features a simple and lovely opening Andante, faster sections of moderate technical difficulty, a brief cadenza, a return of the Andante, and ends with a flourish.

    —Ethos-Publications

  • Friedrich Gulda: J. S. Bach – Prelude and Fugue No. 11 in F major, BWV 880

    3:18

    On November 19th of 1990 Friedrich Gulda gave an encompassing account of his unique art in an uninterrupted 90-minute solo performance at the Philharmonie in Munich, Germany. LOFT music is proud to have presented and recorded this memorable musical event.

    J. S. Bach – Prelude and Fugue in F major
    (Well-Tempered Clavier, Book II)

    Watch the whole concert:

    Friedrich Gulda (16 May 1930 – 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
    Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
    He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the Viennese troika.
    Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
    From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon.
    In jazz, he found the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught. He also took up playing the baritone saxophone.
    Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda my most important influence, and the conductor Claudio Abbado.
    He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.

  • Renaissance Sound - Renaissance Sound II

    18:35

    Track list:
    00:00 - 01. John Benson's Beautiful Face
    04:27 - 02. Fancy Shorts
    07:20 - 03. Beautiful Belgian Bald Chicks' Ball Chins
    12:22 - 04. Warning! Sandy Cracks

    Download this EP for free on Bandcamp:


    Their Facebook:

  • ★Grażyna Bacewicz : III. Scherzo: Molto vivace. Revelation!

    3:21

    POLAND! ★Grażyna Bacewicz (1909-1969), Violin Sonata No. 4 (1949) : III. Scherzo: Molto vivace. ... This is the real SCHERZO!!! ???? ???? ???? CAŁA WYBITNA, POSZUKUJĄCA POSTAĆ KOMPOZYTORKI znalazła się w tym finezyjnym, porywającym drobiażdżku
    ~ ???? Happy 111th Birthday to Polish composer and violinist Grażyna Bacewicz, born February 5, 1909. ????
    ----------------------
    ★Polish composers of the 20th century --
    ---------------------------
    ★Grażyna Bacewicz was a Polish composer and violinist. She is only the second Polish female composer to have achieved national and international recognition, the first being Maria Szymanowska in the early 19th century.
    *
    Grażyna Bacewicz’ father and brother Vytautas identified as Lithuanian and used the last name Bacevičius; her other brother Kiejstut identified as Polish. Her father, Wincenty Bacewicz, gave Grażyna her first piano and violin lessons. In 1928 she began studying at the Warsaw Conservatory, where she studied violin with Józef Jarzębski and piano with Józef Turczyński, and composition with Kazimierz Sikorski, graduating in 1932 as a violinist and composer.
    *
    She continued her education in Paris, having been granted a stipend by Ignacy Jan Paderewski to attend the École Normale de Musique, and studied there in 1932-1933 with Nadia Boulanger (composition) and André Touret (violin). She returned briefly to Poland to teach in Łódź, but returned to Paris in 1934 in order to study with the Hungarian violinist Carl Flesch.
    *
    After completing her studies, Grażyna Bacewicz took part in numerous events as a soloist, composer, and jury member. From 1936 to 1938 she was the principal violinist of the Polish Radio orchestra, which was directed then by Grzegorz Fitelberg. This position gave her the chance of hearing a lot of her own music. During World War II, she lived in Warsaw, continued to compose, and gave underground secret concerts (premiering her Suite for Two Violins).
    *
    Grażyna Bacewicz also dedicated time to family life. She was married in 1936, and gave birth to a daughter, Alina Biernacka, a recognized painter. After the war, she took up the position of professor at the State Conservatory of Music in Łódź. At this time she was shifting her musical activity towards composition, tempted by her many awards and commissions, and it finally became her only occupation in 1954 after serious injuries in a car accident. She died in Warsaw, Poland.
    *
    Many of her compositions feature the violin. Among them are seven violin concertos, five sonatas for violin with piano, three for violin solo (including an early, unnumbered one from 1929), a Quartet for four violins, seven string quartets, and two piano quintets. Her orchestral works include four numbered symphonies (1945, 1951, 1952, and 1953), a Symphony for Strings (1946), and two early symphonies, now lost.
    *
    He honours and awards include: First prize at the Society of Composers, Aide aux femmes libres de Professions in Paris for the Quintet for Wind Instruments (1933); Second Prize at the composition competition of the Society for Polish Music Publishing Trio For Oboe, Violin and Cello, an honorable mention for his Sinfonietta for String Orchestra (1936);
    *
    Second prize (no first awarded) in the Composition Competition. Frederick Chopin, organized by the Polish Composers' Union in Warsaw for the Piano Concerto (1949); First Prize at the International Composition Competition in Liege for String Quartet No. 4 (1951); Second Prize at the International Composition Competition in Liege for String Quartet No. 5 (1956); III deposit at the UNESCO International Rostrum of Composers in Paris for Music for strings, trumpet and percussion (1960); Prize of the Belgian Government and the gold medal at the International Competition for Composers in Brussels for Violin Concerto No. 7 (1965);
    *
    In addition, Grażyna Bacewicz received awards for lifetime achievement. These included the Order of the Banner of Work Class II (1949) and class I (1959), Order of Polonia Restituta Cavalier (1953) and Commander's Cross (1955), and the 10th Anniversary Medal of the Polish People's Republic (1955). On the centenary of her birth, Polish Post issued a stamp, with a portrait of the artist.
    ========================

  • Waltzes From Musicals - The Pink Lady by Ivan Caryl

    6:04

    For more waltzes from the musicals, check out the playlist

    Any requests for scores, please follow the instructions in my profile. Follow this link to my profile:

    Musicals or Musical Theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The music is often romantic and light-hearted. This genre came into prominence in the late 19th century beginning with the operettas of Offenbach and Johann Strauss II, to the satirical English musical comedies of Gilbert and Sullivan and then to the Romantic comedies of the roaring twenties.

    Ivan Caryl, whose real name was Félix Marie Henri Tilkin (12 May 1861 – 29 November 1921) was a Belgium composer of operettas and English language musicals. He was born in Belgium, but later moved to London where he became famous for his Edwardian Musicals. He also collaborated closely with Lionel Monckton, a British composer of musicals. He was also known for being one of the best dressers in London, and for his extravagant lifestyle. He later moved to New York to write Broadway Musicals. The Pink Lady is a Broadway Musical, premiered in 1911.

    This is a medley of waltzes based on a selection of songs from the musical.

  • Dancing Line - The Piano

    1:59

    This is a piano cover on Dancing Line The Piano level music known as Empire of Angels by Thomas Bergersen
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  • ★Grażyna Bacewicz, Suita na Orkiestrę Kameralną: ❤PIOSENKA. Jan Krenz / Polska Orkiestra Radiowa

    1:55

    Grażyna Bacewicz (WIELKI TALENT!), Suita (Mała) na Orkiestrę Kameralną / Beautiful Little Suite for Chamber Orchestra (1946).
    Wyodrębniona zaskakująca CZĘŚĆ II:❤ PIOSENKA -- CUDO! / A separate PART II: SONG.
    A MIRACLE close to the greatest symphonists of Romanticism!
    -- Jan Krenz (dyr.) / Polska Orkiestra Radiowa.
    -- (Zdjęcia wideo czarmuzyki.)
    -------------------------
    ~ Sound 1600 kbps.
    ====================
    ★Polish composers of the 20th century --
    ============================
    ★Grażyna Bacewicz was a Polish composer and violinist. She is only the second Polish female composer to have achieved national and international recognition, the first being Maria Szymanowska in the early 19th century.
    *
    Grażyna Bacewicz’ father and brother Vytautas identified as Lithuanian and used the last name Bacevičius; her other brother Kiejstut identified as Polish. Her father, Wincenty Bacewicz, gave Grażyna her first piano and violin lessons. In 1928 she began studying at the Warsaw Conservatory, where she studied violin with Józef Jarzębski and piano with Józef Turczyński, and composition with Kazimierz Sikorski, graduating in 1932 as a violinist and composer.
    *
    She continued her education in Paris, having been granted a stipend by Ignacy Jan Paderewski to attend the École Normale de Musique, and studied there in 1932-1933 with Nadia Boulanger (composition) and André Touret (violin). She returned briefly to Poland to teach in Łódź, but returned to Paris in 1934 in order to study with the Hungarian violinist Carl Flesch.
    *
    After completing her studies, Grażyna Bacewicz took part in numerous events as a soloist, composer, and jury member. From 1936 to 1938 she was the principal violinist of the Polish Radio orchestra, which was directed then by Grzegorz Fitelberg. This position gave her the chance of hearing a lot of her own music. During World War II, she lived in Warsaw, continued to compose, and gave underground secret concerts (premiering her Suite for Two Violins).
    *
    Grażyna Bacewicz also dedicated time to family life. She was married in 1936, and gave birth to a daughter, Alina Biernacka, a recognized painter. After the war, she took up the position of professor at the State Conservatory of Music in Łódź. At this time she was shifting her musical activity towards composition, tempted by her many awards and commissions, and it finally became her only occupation in 1954 after serious injuries in a car accident. She died in Warsaw, Poland.
    *
    Many of her compositions feature the violin. Among them are seven violin concertos, five sonatas for violin with piano, three for violin solo (including an early, unnumbered one from 1929), a Quartet for four violins, seven string quartets, and two piano quintets. Her orchestral works include four numbered symphonies (1945, 1951, 1952, and 1953), a Symphony for Strings (1946), and two early symphonies, now lost.
    *
    He honours and awards include: First prize at the Society of Composers, Aide aux femmes libres de Professions in Paris for the Quintet for Wind Instruments (1933); Second Prize at the composition competition of the Society for Polish Music Publishing Trio For Oboe, Violin and Cello, an honorable mention for his Sinfonietta for String Orchestra (1936);
    *
    Second prize (no first awarded) in the Composition Competition. Frederick Chopin, organized by the Polish Composers' Union in Warsaw for the Piano Concerto (1949); First Prize at the International Composition Competition in Liege for String Quartet No. 4 (1951); Second Prize at the International Composition Competition in Liege for String Quartet No. 5 (1956); III deposit at the UNESCO International Rostrum of Composers in Paris for Music for strings, trumpet and percussion (1960); Prize of the Belgian Government and the gold medal at the International Competition for Composers in Brussels for Violin Concerto No. 7 (1965);
    *
    In addition, Grażyna Bacewicz received awards for lifetime achievement. These included the Order of the Banner of Work Class II (1949) and class I (1959), Order of Polonia Restituta Cavalier (1953) and Commander's Cross (1955), and the 10th Anniversary Medal of the Polish People's Republic (1955). On the centenary of her birth, Polish Post issued a stamp, with a portrait of the artist.
    =============================

  • Bach English Suite no. 5 in E minor BWV 810 Valery Afanassiev live ca. 1990

    23:14

    Valery Afanassiev - piano, rec. live, end of 80' or beginning of 90'
    Born: September 8, 1947 - Moscow, Russia
    The extraordinary Russian pianist, Valery Afanassiev, studied the piano at the Moscow Conservatory with Emil Gilels and Yakov Zak. In 1968 (or 1969) he was prize-winner at the Bach Competition in Leipzig. In 1972 he was awarded the 1st prize at the Concours Reine Elisabeth (Queen Elizabeth) in Brussels, Belgium.

    Following his winning, Valery Afanassiev's international career took off. While touring Belgium, he made the difficult decision to seek political asylum, eventually becoming a Belgian citizen. In 1974, the artist moved his place of residence to Versailles / France. Since that time, he has given concerts in all European countries as well as in the USA and Japan. His chief repertoire is primarily based around the Romantics. His interpretations of works of Franz Schubert, L.v. Beethoven and others are regarded as unusual and unconventional due to his striving for utmost expressiveness. His recordings contain music by J.S. Bach, L.v. Beethoven, Johannes Brahms, Robert Schumann, Mussorgsky, Chopin, and others. He also performs in chamber music groups and has played with the violinist Gidon Kremer, the cellist Mischa Maisky and the oboist Alexei Ogrintchouk. For some years, he has also been active as a conductor. He tries to recapture the sound and polyphony of models he admires, such as Wilhelm Furtwängler, Willem Mengelberg, Otto Klemperer, Bruno Walter, and Hans Knappertsbusch.

    On principle, Valery Afanassiev takes in upon himself to write the accompanying texts to his recordings. His aim is to give the listeners a comprehensive image of their insights into the composer´s thoughts - a guided tour through his alchemistic laboratory where poetry, philosophy, painting, the cabbala and good wine serve as a reference just like the musical manuscript. He has a second career as a writer Under a pen name, Valery Afanassiev has written nine novels, seven of them in English, two in French. Four novels were published in France, one in Germany, two in Russia. Furthermore, he wrote five cycles of poems, one volume of narrations, a collection of short stories as well as two plays, inspired by Modest Mussorgsky's piano cycle the Pictures at an Exhibition and Robert Schumann's Kreisleriana. In both plays, he performs as a pianist and actor (in four languages).

    Valery Afanassiev is among the most unconventional contemporary artists. He is a man of extraordinary education and culture, which can also be seen in the fact that he is widely regarded as a formidable expert on great wines, as well as being a dedicated collector and connoisseur of antiques. In Versailles, the pianist, poet and philosopher lives on his own. Here he works, writes his books and keeps more than 3000 bottles of wine in his cellar. He half-jokingly refers to himself as a renaissance man.
    (bach-cantatas.com)

    NA MOIM KANALE (ON MY CHANNEL):
    (playlisty z przesłanych filmów, sent films in playlists)
    Polska muzyka ludowa (Polish Folk Traditional Music)
    Tradycyjna muzyka góralska (Polish Gorals’ Music)

    Polska muzyka renesansowa i barokowa (Polish Renaissance and Baroque Music)

    Polska muzyka XVIII i XIX wieku (Polish Music of 18 and 19 century)

    Pan Wołodyjowski Potop muzyka

    Polskie pieśni patriotyczne (Polish Patriotic Songs)

    Polska muzyka symfoniczna okresu klasycyzmu (Polish Symphony Music of Classical Period)

    Rameau Couperin Scarlatti Soler Castaldi

    Polska muzyka średniowieczna (Polish Medieval Music)

    Chopin

    Liszt

    Polska muzyka XX wieku (Polish Music of 20 c.)

    Polski folk

    Góry polskie zdjęcia

  • Kreisler plays his Caprice Viennois Op. 2 for Piano solo

    4:45

    I know that the music scores are a bit different from the audio, but the only sheets available on the Internet were these dated 1913, the recording is instead of 1920!

    Friedrich Fritz Kreisler (February 2, 1875 – January 29, 1962) was an Austrian-born violinist and composer. One of the most noted violin masters of his day, and regarded as one of the greatest violin masters of all time, he was known for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound which was immediately recognizable as his own. Although it derived in many respects from the Franco-Belgian school, his style is nonetheless reminiscent of the gemütlich (cozy) lifestyle of pre-war Vienna.
    continue:


    Link to PDF:

    From scanned 1920 Ampico Piano roll n. 58145, digitally restored by me with midi software and modern piano samples!

    The Youtube piano rolls project
    When i discovered that old piano rolls could be easily scanned with modern hardwares and then converted into an exact MIDI copy of the roll, i was pretty surprised that nobody has really taken the duty to upload, on a stable and frequented site like Youtube, all the material available on the internet. So today im planning to upload all the 1k files i have my hands on, trying to always respect the copyrights and trying when possible to search and synchronize the music sheets with the audio which is sampled from MIDI using some free software around online! What I've unexpectedly found is an almost infinite list of GREAT pieces, totally and inexplicably forgotten! Some of the pieces are completely never uploaded on any source on the net and some others are very rare to find; togheter whit these rare pearls we have also a lot of fantastic and very interesting performances of great and better known classical pieces recorded more or less one hundred years ago, where I've found that interpreting a piece was significantly different, hear to believe! This entire project is of course taking a lot of my free time (time to select, to fix with midi editor, to find the best sound with samplers and options, to look up the sheets and syncro etc) but that's still a thing I really wanna do, for pleasure, curiosity ,culture and for the others! So if you wanna help a little i may only ask to like, share and subscribe:) nothing more! Thanks if you read up here and have a good time! Bruno

  • Fluendo, for cello and piano

    8:12

    Urška Horvat, cello
    Clare Simmonds, piano

    live recording
    Borough New Music

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