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Playlist of List of Lithuanian composers

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  • Stasys Vainiunas, Symphony in C sharp minor Op 27

    32:44

    Stasys Vainiunas, Symphony in C sharp minor Op. 27

    1. Sostenuto
    2. Presto Con Fuoco
    3. Andante Non Troppo
    4. Allegro Marciale

    Lithuanian National Symphony Orchestra
    Robertus Šervenikas

    Stasys Vainiūnas is famous for his work both as a pianist and composer. He is numbered among Lithuanian composers belonging to Balys Dvarionas' and Antanas Račiūnas' generation, which composed their major works in the period of sweeping historical change and dramatic events. Piano assumes a central place in Vainiūnas' oeuvre. Apart from piano works, his major output consists of instrumental works - from short pieces to large-scale compositions. Stylewise, Stasys Vainiūnas' was in constant change and development - from the first work to the last. His early works bear a clear trace of late romanticism, impressionism, with characteristic tendency towards virtuoso display. Later on his manner of writing gradually becomes much more national in its character. The composer seemed to be constantly intent on searching for new expressive means and artistic concepts. His later works are almost completely void of folk music quotations, within the framework of freely treated classical forms. His melodies, harmonies and orchestration tended to become more complex and colourful towards the end of his life. No less important are Stasys Vainiūnas' activities as a concert pianist, recitalist and teacher. His lifetime dedication to teaching and tutoring young pianists yielded several generations of Lithuanian performers.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • M. K. Čiurlionis - Jūra

    6:37

    The famous work Jūra (Sea) of Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis

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  • 28 Important Composers

    1:26

    Paul Norman performing Michael Wolters' 28 Important Composers, the companion piece to the video Michael Wolters interviewed by Hillary Springfield.
    The 28 composers mentioned in this song are the ones from a list of 100 important composers found on the internet, whose initials can be expressed as musical chords (including 'H' which is 'B' in the German system [while 'B' in German is 'Bb' in the English system]).
    All the other composers on the list of a 100, whose initials could not be expressed musically, are mentioned in the video Michael Wolters interviewed by Hillary Springfield.

  • Istanpitta - Let the Dance Begin

    1:5:45

    Early Music Selection from Istanpitta - Let the Dance Begin album.

    The composers: Anonymous
    Performers: New York's Ensemble for Early Music

    Frederick Renz
    Christa Patton
    Rosamund Morley
    Paul Shipper
    Patricia Neely
    Wayne Hankin
    Karen Hansen
    Glen Velez
    Thomas Zajac

    Track list:
    00:00 Salterello II and Trotto
    05:00 Parlamento
    12:59 Salterello IV
    18:31 Chominciamento di gioia
    25:57 La Manfredina et la Rota
    30:04 Tre fontane
    39:57 Salterello I
    45:21 Isabella
    53:02 Lamento di Tristano et la Rotta
    56:17 In pro
    1:03:30 Salterello III

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  • Ašei Pasilgau, Dobilio by Trys Keturiose

    2:53

    This is Ašei Pasilgau, Dobilio. The song is sung by Trys Keturiose. Trys Keturiose is one of Lithuania's Most Famous Musical Groups. They mostly sing Lithuanian Polyphonic songs called Sutartinės. Trys Keturiose was founded between 1981-1982 by Daiva Račiūnaitė-Vyčinienė at the Mikalojus Konstantinas Čiurlionis Art School. The composition of the group then changed in subsequent years. “Trys keturiose (“three in four”) are the words of one refrain that playfully reflects the group’s composition, which varies between three and four singers. The group – also known as “the queens of sutartinės” – has been perfecting the performance of old polyphonic songs for 20 years. They are also working to reconstruct melodies that are held in archives. The singers do not copy the sutartinės sound of the archive records, but seek to retain the authentic colour. They attempt to understand the archaic tradition of the language, experience deep spiritual and aesthetic sensations, and convey these emotions to the modern listener. They also seek linkages with contemporary arts and collaborate with composers and media artists. Sutartinės are multipart polyphonic songs from the Aukštaitija Region of Lithuania. They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon and free imitation. Most of the sutartinės were recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. Recognizing their uniqueness and value, UNESCO inscribed sutartinės into the representative list of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2010. The topics and functions of sutartinės encompass almost all known Lithuanian folk song genres—work, calendar cycle ritual, wedding, family, wartime, historic, etc. Melodies of sutartinės are not complex, containing two to five pitches. The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality. Sutartinės are a localized phenomenon, found in the northeastern and eastern parts of Lithuania. They were sung by women, but men performed instrumental versions on the kanklės (Baltic psaltery), on horns, and on the skudučiai, a form of panpipes usually played by a group, as well as wooden trumpets (ragai and dandytės). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, weddings, and while performing various chores. The poetic language is not complex, but it is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains. Nowadays, the tradition of singing sutartinės in rural regions of Lithuania has died out; however, various folk groups in the cities keep up the tradition, including Trys Keturiose. The group continues to develop its own sound, and aims to give a contemporary meaning to old songs, collaborating with composers, electronic musicians and video artists, and presents interdisciplinary art projects. The leader of Trys Keturiose is Daiva Vyčinienė, an ethnomusicologist, professor, and head of the Department of Ethnic Music at the Lithuanian Academy of Music and Theatre. The song comes from the album, Bitela. The album mostly has Sutartinės about Bees and most of them are sung by Trys Keturiose. Most of the Sutartinės were recorded at the Historical Beekeeping Museum in Stripeikiai, Ignalina District, Lithuania. The album was released in 2017 by Dangus Records. This song is Track 23 in the album.

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  • Gali Lauko Liepala by Trys Keturiose

    1:12

    This is Gali Lauko Liepala. The song is sung by Trys Keturiose. Trys Keturiose is one of Lithuania's Most Famous Musical Groups. They mostly sing Lithuanian Polyphonic songs called Sutartinės. Trys Keturiose was founded between 1981-1982 by Daiva Račiūnaitė-Vyčinienė at the Mikalojus Konstantinas Čiurlionis Art School. The composition of the group then changed in subsequent years. “Trys keturiose (“three in four”) are the words of one refrain that playfully reflects the group’s composition, which varies between three and four singers. The group – also known as “the queens of sutartinės” – has been perfecting the performance of old polyphonic songs for 20 years. They are also working to reconstruct melodies that are held in archives. The singers do not copy the sutartinės sound of the archive records, but seek to retain the authentic colour. They attempt to understand the archaic tradition of the language, experience deep spiritual and aesthetic sensations, and convey these emotions to the modern listener. They also seek linkages with contemporary arts and collaborate with composers and media artists. Sutartinės are multipart polyphonic songs from the Aukštaitija Region of Lithuania. They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon and free imitation. Most of the sutartinės were recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. Recognizing their uniqueness and value, UNESCO inscribed sutartinės into the representative list of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2010. The topics and functions of sutartinės encompass almost all known Lithuanian folk song genres—work, calendar cycle ritual, wedding, family, wartime, historic, etc. Melodies of sutartinės are not complex, containing two to five pitches. The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality. Sutartinės are a localized phenomenon, found in the northeastern and eastern parts of Lithuania. They were sung by women, but men performed instrumental versions on the kanklės (Baltic psaltery), on horns, and on the skudučiai, a form of panpipes usually played by a group, as well as wooden trumpets (ragai and dandytės). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, weddings, and while performing various chores. The poetic language is not complex, but it is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains. Nowadays, the tradition of singing sutartinės in rural regions of Lithuania has died out; however, various folk groups in the cities keep up the tradition, including Trys Keturiose. The group continues to develop its own sound, and aims to give a contemporary meaning to old songs, collaborating with composers, electronic musicians and video artists, and presents interdisciplinary art projects. The leader of Trys Keturiose is Daiva Vyčinienė, an ethnomusicologist, professor, and head of the Department of Ethnic Music at the Lithuanian Academy of Music and Theatre. The song comes from the album, Bitela. The album mostly has Sutartinės about Bees and most of them are sung by Trys Keturiose. Most of the Sutartinės were recorded at the Historical Beekeeping Museum in Stripeikiai, Ignalina District, Lithuania. The album was released in 2017 by Dangus Records. This song is Track 10 in the album.

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  • The Lithuanian Series I

    1:17:06

    A mix featuring reworks of Lithuanian artists.

    Picture by h3rbipolensis:

  • Lithuanian klezmer -- a Redile from the Litvak area -- played by Craig Judelman

    1:33

  • Stasys Vainiūnas, Piano Concerto No 3, Op 33

    18:41

    Stasys Vainiūnas, Piano Concerto No.3, Op.33

    Biirutė Vainiūnaitė, piano
    Lithuanian National Symphony Orchestra
    Robertas Šervenikas, conductor

    Stasys Vainiūnas is famous for his work both as a pianist and composer. He is numbered among Lithuanian composers belonging to Balys Dvarionas' and Antanas Račiūnas' generation, which composed their major works in the period of sweeping historical change and dramatic events. Piano assumes a central place in Vainiūnas' oeuvre. Apart from piano works, his major output consists of instrumental works - from short pieces to large-scale compositions. Stylewise, Stasys Vainiūnas' was in constant change and development - from the first work to the last. His early works bear a clear trace of late romanticism, impressionism, with characteristic tendency towards virtuoso display. Later on his manner of writing gradually becomes much more national in its character. The composer seemed to be constantly intent on searching for new expressive means and artistic concepts. His later works are almost completely void of folk music quotations, within the framework of freely treated classical forms. His melodies, harmonies and orchestration tended to become more complex and colourful towards the end of his life. No less important are Stasys Vainiūnas' activities as a concert pianist, recitalist and teacher. His lifetime dedication to teaching and tutoring young pianists yielded several generations of Lithuanian performers.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

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  • Evgeny Gerbster violinist , Garry Lomber composer Jewish rhapsody

    4:34

    november-desember 2015 .Hanita & A Bisele Glick

  • Grazyna Bacewicz, Overture For Symphonic Orchestra

    5:57

    Grazyna Bacewicz, Overture For Symphonic Orchestra

    Sinfonia Varsovia
    Renato Rivolta, conductor

    Grażyna Bacewicz (5 February 1909 – 17 January 1969) was a Polish composer and violinist.
    Bacewicz was born in Łódź. Like Fryderyk Chopin, she came from a bi-national family and, with a Lithuanian father and a Polish mother, she could choose her national identity. She chose to be Polish, but her brother Witold moved back to Vilnius with her father, and ended up in the U.S. as a leading, though little understood, Lithuanian emigré composer.
    Bacewicz had received hear earliest musical training from her father; she started learning violin, piano and theory when she was five years old. Her other older brother, Kiejstut, became a pianist and frequently accompanied her in performances.
    After enrolling at the Warsaw Conservatory of Music to study violin and piano, in 1928 Bacewicz began studies of philosophy at the University of Warsaw (she completed a year and a half). She continued her music training at the Conservatory, studying composition with Kazimierz Sikorski, violin with Józef Jarzębski and piano with Jan Turczyński; she graduated summa cum laude in 1932.
    She studied composition with Boulanger, and violin with André Touret and Carl Flesch. At that time she adopted the neoclassical style for her compositional language and became the first Polish woman composer to achieve national and international stature.
    In the 1930s she was the principal violinist for the Polish Radio Orchestra, organized by the famous conductor, Grzegorz Fitelberg. During the war, she lived in Warsaw, continuing to compose and giving underground concerts (e.g. premiering her Suite for Two Violins). She also dedicated some time to family life: married in 1936, she gave birth to her only daughter, Alina Biernacka (now a famous painter), in 1942.
    After the war, she returned to work as a professor in the State Conservatory of Music in Łódź. During the Stalinist period from 1945 to 1955, Bacewicz, like all other composers, was subject to an increasing ideological control of the new, socialist government.
    She died in 1969 in Warsaw.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Arvids Zilinskis, Piano Concerto in E minor

    31:24

    Arvids Zilinskis, Piano Concerto in E minor
    1. Moderato
    2. Andante con moto quasi barcarola
    3. Allegro molto

    Karlis Bukovskis, piano
    National Symphony Orchestra of Uzbekistan
    Mārtiņš Ozoliņš, conductor

    Arvids Zilinskis is born 1905 in Sauka (Jekabpils) in Latvia. Pianist and composer, graduated from the Latvian Cons. in 1927 as a pianist and 1933 as a composer studying with Vitols. Taught as the People's Cons. in Riga from 1927-1937 and then at the Latvian State Conservatory. Works include The Golden Horse, Blow,Wind, Blow!, Spriditis(ballet) Chippolino (ballet)Piano Concerto,
    Horn Concerto, Violin Concerto, musical comedies:In the Country of Blue Lakes, 6 Little Drummers,Guys from Aruber Beach, Mystery of Red Marble, 6 cantatas, pieces for violin, organ, piano, songs.
    Composed the first Latvian musical comedies.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Grazyna Bacewicz, Partita for large symphony orchestra

    13:53

    Grazyna Bacewicz, Partita for large symphony orchestra (1955)

    1. Prelude : Grave
    2. Toccata : Vivace
    3. Intermezzo : Andantino melancolico
    4. Rondo : Presto

    Orkiestra Filharmonii Poznańskiej
    Marek Pijarowski, conductor

    Grażyna Bacewicz (5 February 1909 – 17 January 1969) was a Polish composer and violinist.
    Bacewicz was born in Łódź. Like Fryderyk Chopin, she came from a bi-national family and, with a Lithuanian father and a Polish mother, she could choose her national identity. She chose to be Polish, but her brother Witold moved back to Vilnius with her father, and ended up in the U.S. as a leading, though little understood, Lithuanian emigré composer.
    Bacewicz had received hear earliest musical training from her father; she started learning violin, piano and theory when she was five years old. Her other older brother, Kiejstut, became a pianist and frequently accompanied her in performances.
    After enrolling at the Warsaw Conservatory of Music to study violin and piano, in 1928 Bacewicz began studies of philosophy at the University of Warsaw (she completed a year and a half). She continued her music training at the Conservatory, studying composition with Kazimierz Sikorski, violin with Józef Jarzębski and piano with Jan Turczyński; she graduated summa cum laude in 1932.
    She studied composition with Boulanger, and violin with André Touret and Carl Flesch. At that time she adopted the neoclassical style for her compositional language and became the first Polish woman composer to achieve national and international stature.
    In the 1930s she was the principal violinist for the Polish Radio Orchestra, organized by the famous conductor, Grzegorz Fitelberg. During the war, she lived in Warsaw, continuing to compose and giving underground concerts (e.g. premiering her Suite for Two Violins). She also dedicated some time to family life: married in 1936, she gave birth to her only daughter, Alina Biernacka (now a famous painter), in 1942.
    After the war, she returned to work as a professor in the State Conservatory of Music in Łódź. During the Stalinist period from 1945 to 1955, Bacewicz, like all other composers, was subject to an increasing ideological control of the new, socialist government.
    She died of a heart attack in 1969 in Warsaw.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • World of Medieval Music - Ghaetta by Artefactum

    6:27

    Monophonic instrumental dance called Ghaetta (Estampida) is another piece of Italian (Tuscan) music magic preserved in book Manuscrito de Londres, located today in British Library in London. Under code Additional 29987 book contains 116 pieces of music from XIV - XV century composed by famous Italian composers like Francesco Landini and Niccolò da Perugia.

    This remarkable adaptation of Ghaetta is performed by famous Ensemble Artefactum from Sevila, Spain. Song has been recorded on the CD album Saltos, brincos y reverencias in 2008.

    Medieval Music

  • Julius Juzeliunas, Symphony No 2

    38:52

    Julius Juzeliunas, Symphony No.2

    Latvian Radio Symphony Orchestra
    Leonid Vigners, conductor

    Julius Juzeliūnas (February 20, 1916 in Čepolė village, now Latvia, Bauska district, Žeimelis county, Šiauliai district - June 15, 2001 in Vilnius) - a prominent composer and educator in the field of humanities (musicology) habilitated doctor, political figure, one of the founders of Lithuanian Sąjūdis.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • CATcerto. ORIGINAL PERFORMANCE. Mindaugas Piecaitis, Nora The Piano Cat

    4:52

    CATcerto on iTunes:



    FREE! Main Themes from CATcerto piano version:




  • Janis Ivanovs, Violin Concerto in E minor

    26:25

    Janis Ivanovs, Violin Concerto in E minor (1951)

    1. Andante -- Allegro
    2. Andante
    3. Allegro molto

    Juris Svolkovskis, violin
    Lithuanian Radio Symphony Orchestra.
    Edgars Tons, conductor

    Jānis Ivanovs (9 October 1906 – 27 March 1983) was a Latvian and Soviet classical music composer. In 1931, he graduated from the Latvian State Conservatory in Riga. In 1944, he joined the conservatory's faculty, becoming a full professor in 1955. He is regarded as being the most distinguished Latvian symphonist. His love of melody is evident in each of his compositions, and forms the essence of his works. He often drew inspiration from the native songs of the Latgale district in eastern Latvia. His grasp of orchestral colour and musical texture were highly regarded by his colleagues.
    He is mostly remembered for his twenty-one symphonies. Nevertheless, he composed in many other fields, including five symphonic poems, concertos for piano, violin and cello, three string quartets, and numerous vocal, piano and various chamber works.

    He became the People's Artist of the USSR in 1965, was awarded the USSR State Prize in 1950 and Latvian SSR State Prize in 1959 and 1970.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Mieczysław Karłowicz, Songs

    16:49

    Mieczysław Karłowicz, Songs

    1. Skąd pierwsze gwiazdy (Where the first stars come from)
    2. Zawód (Profession)
    3. Pamiętam ciche, jasne, złote dnie I remember quiet, bright, golden days)
    4. Smutną jest dusza moja (My soul is sad)
    5. Mów do mnie jeszcze Talk to me more)
    6. Idzie na pola (He goes to the fields)
    7. Na spokojnym, ciemnym morzu (In the calm, dark sea)
    8. Śpi w blaskach nocy (He sleeps in the glow of the night)
    9. Nie płacz nade mną (Do not cry over me)

    Artur Ruciński, baritone
    Polska Orkiestra Radiowa (Polish Radio Orchestra)
    Łukasz Borowicz, conductor

    Mieczysław Karłowicz, (11 December 1876 – 8 February 1909) was a Polish composer and conductor.
    Mieczysław Karłowicz was born in Vishneva (now in Belarus) into a noble family belonging to Clan Ostoja. His father Jan was a Polish linguist, lexicographer, and musician. As a child, Karłowicz studied violin, for which he later composed his only concerto.

    Karłowicz studied in Warsaw with Zygmunt Noskowski, Stanisław Barcewicz, Piotr Maszyński, and Gustaw Roguski. He later studied in Berlin with Heinrich Urban, to whom he dedicated his Serenade for Strings, which he composed and performed while Urban's student. From 1906 to 1907 he studied conducting with Arthur Nikisch.
    Karłowicz's music is of a late Romantic character. He was great admirer of Pyotr Ilyich Tchaikovsky whose Symphony No. 6 he praised. Tchaikovsky's influence can be heard in Karłowicz's earlier works, most notably the E minor symphony and the Violin Concerto. Like most of the late Romantics he also fell under the considerable influence of Richard Wagner, especially with Tristan und Isolde. Nevertheless, he managed to develop an original musical language expressed in harmony and orchestration, the latter of which he mastered like few other composers and wrote some of the most colourful orchestral music ever found.

    Karłowicz's music inhabits a primary place in the history of Polish music between Frédéric Chopin and Karol Szymanowski. Among his works are a Symphony in E minor (Rebirth, Op. 7), a Violin Concerto in A major (Op. 8), incidental music to a play The White Dove, and six tone poems, which include The Returning Waves, Eternal Songs, Lithuanian Rhapsody, Stanisław i Anna Oświecimowie, Smutna opowieść, and Epizod na maskaradzie. The Violin Concerto was written for and dedicated to his former teacher Stanisław Barcewicz, who premiered the work under Karłowicz's baton in Berlin on 21 March 1903 with the Berlin Philharmonic.[1]

    He also wrote a number of songs for voice and piano, setting words by Kazimierz Przerwa-Tetmajer, Adam Asnyk, and others. Much of the rest of his small output was lost during World War II. Karłowicz spent much of his later life in Zakopane in southern Poland, often enjoying one of his favorite hobbies, photography, in the nearby mountain scenery. Karłowicz died at the age of 32 in an avalanche while skiing on an excursion in the Tatra mountains in 1909. He was buried at Warsaw's Powązki Cemetery.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Chopin, Nocturne in E minor Op 72 No 1-with beatiful landscapes of Poland

    4:16

    Poland is a country in central Europe. Poland has a population of approximately 38.5 million people. Its economy is high income when the cost of living is taken into account. Poland's human development index is very high (33rd place in 2017) mainly due to its highly developed educational and health system. Social benefits and social security are also highly developed. Poland has a rich historical and cultural heritage, with 16 sites declared as World Heritage by UNESCO.

    Chopin was born in 1810 in Poland and died in France in 1849. His brief life was not an impediment for Chopin to be considered and his legacy at the height of other great composers such as Mozart or Beethoven. Chopin's compositions were originally composed only for piano or as in some choral and chamber music the piano has a leading role. Chopin was one of the greatest exponents of musical romanticism. Chopin was a virtuoso pianist although he never received piano lessons from famous masters.

    The cause of his death was possibly due to the tuberculosis he suffered for many years. Near death he asked that almost all the scores with his compositions be burned, something that no one carried out for our fortune.

    Chopin composed twenty-one piano nocturnes. In total, it took Chopin to compose all his nights a time of about fifteen years.


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  • Unveiling Salome

    3:29

    Vincent Boussard · Andreas Conrad · Martin Gantner · Christian Lacroix · Alex Penda (a.k.a. Alexandrina Pendatchanska) · Modestas Pitrenas · Susanne Schemschies · Gabriele Schnaut

    Bulgarian opera diva Alex Penda, French fashion designer Christian Lacroix, Lithuanian conductor Modestas Pitrenas and French stage director Vincent Boussard gather the most beautiful and provocative staging of the opera Salome at the beginning of the 21st century. Unveiling Salome is a documentary that follows the creative process of revealing the dark side of the human soul. The director Nayo Titzin shows in this documentary aesthetic and emotional experience never seen before in the Strauss' Opera.

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  • Jan Adam Maklakiewicz, GRUNWALD, Symphonic Poem

    18:37

    Jan Adam Maklakiewicz, GRUNWALD, Symphonic Poem

    Olsztyn Philharmonic Symphony Orchestra
    Janusz Przybylski, conductor


    (The Battle of Grunwald, First Battle of Tannenberg or Battle of Žalgiris, was fought on 15 July 1410 during the Polish–Lithuanian–Teutonic War. The alliance of the Kingdom of Poland and the Grand Duchy of Lithuania, led respectively by King Władysław II Jagiełło (Jogaila) and Grand Duke Vytautas, decisively defeated the German–Prussian Teutonic Knights, led by Grand Master Ulrich von Jungingen.)



    Jan Adam Maklakiewicz was born 24 November 1899 in Chojnaty (by Skierniewice) to a family of polish musicians, died 7 February 1954 in Warsaw. Composer, teacher, choral conductor, organist and music journalist. Son of the organist in Mszczonów, Jan Maklakiewicz (1874–1955) and Rozalia née Izbicka.

    In the years 1927–29 he taught theory subjects and conducted the choir at the H. Kijeńska-Dobkiewiczowa Conservatory in Łódź; in the years 1928–32 he was professor of harmony at the conservatory in Warsaw. From January 1932 till June 1935 Maklakiewicz was organist and leader of the choir in the Holy Cross Church in Warsaw, which in this time became one of the best church choirs in Poland. In the ‘30s he also led the choir of the Union of Municipal Gas Workers in Warsaw - “Znicz”, the choir and orchestra of the munitions factory at Bema Fort (now the Bemowo district of town), the traders’ youth choir and the Warsaw University Academic circle choir “Lira”.

    Jan Adam Maklakiewicz led a very active life as a journalist; in the years 1930-1937 he was music correspondent for the “Kurier Poranny”. In 1934, together with J. Niezgoda, Secretary General of the Federation of Polish Associations of Singing and Music, and F. Grąbczewski, bookstore owner and music publisher in Warsaw, he founded the magazine Choir, devoted to choral music and singing groups, and amateur orchestras, recognized in 1935 as an official organ of the association; at the beginning he edited the journal himself, then (from August 1935 to November 1936) with J. Niezgoda. In the years 1926 to 1939 he worked with the Polish Theatre in Warsaw, and after the war with the Słowacki Theatre and the Old Theatre in Krakow and the National Theatre, Chamber Theatre and the “Syrena” Theatres in Warsaw; from 1937, he collaborated with Polish Radio.

    During World War II, the composer worked from October 1939 as a pianist at the Café Club in Warsaw and then, after being introduced by a known actor and director, E. Chaberski, at the Znachor cafe, which was a meeting place for activists. From March 1941 to the end of the war he hid in Chojnaty, where he privately taught harmony and piano.

    From November 1945 to July 1947 Maklakiewicz was director of the State Philharmonic in Krakow (joined with the opera in May 1946). In the years 1947–48 he was director of the Warsaw Philharmonic; he led it in reviving its activities, organising the symphony orchestra and choir.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Peteris Vasks, Lord open our eyes

    17:33

    Peteris Vasks, Lord open our eyes

    Izpilda Radio Koris (Latvian Radio Choir)
    Sinfonietta Riga
    Sigvards Kļava, conductor

    Pēteris Vasks (born 16 April 1946) is a Latvian composer.
    Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jāzeps Vītols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.

    Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became attached to any particular method.

    Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and Bass Trip (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Mieczysław Karłowicz Returning Waves

    24:08

    Mieczysław Karłowicz Returning Waves (Powracajace fale), symphonic poem for orchestra, Op. 9

    1, Andante
    2. Andante
    3. Andante assai
    4. Andantino
    5. Andante

    BBC Philharmonic Orchestra
    Gianandrea Noseda, conductor

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Grazyna Bacewicz, Symphony No 3

    28:49

    Grazyna Bacewicz, Symphony No. 3 (1952)

    1. Drammatico
    2. Andante
    3. Vivace
    4. Finale : Moderato

    Cracow Philharmonic Orchestra
    Roland Bader, conductor

    Grażyna Bacewicz (5 February 1909 – 17 January 1969) was a Polish composer and violinist.
    Bacewicz was born in Łódź. Like Fryderyk Chopin, she came from a bi-national family and, with a Lithuanian father and a Polish mother, she could choose her national identity. She chose to be Polish, but her brother Witold moved back to Vilnius with her father, and ended up in the U.S. as a leading, though little understood, Lithuanian emigré composer.
    Bacewicz had received hear earliest musical training from her father; she started learning violin, piano and theory when she was five years old. Her other older brother, Kiejstut, became a pianist and frequently accompanied her in performances.
    After enrolling at the Warsaw Conservatory of Music to study violin and piano, in 1928 Bacewicz began studies of philosophy at the University of Warsaw (she completed a year and a half). She continued her music training at the Conservatory, studying composition with Kazimierz Sikorski, violin with Józef Jarzębski and piano with Jan Turczyński; she graduated summa cum laude in 1932.
    She studied composition with Boulanger, and violin with André Touret and Carl Flesch. At that time she adopted the neoclassical style for her compositional language and became the first Polish woman composer to achieve national and international stature.
    In the 1930s she was the principal violinist for the Polish Radio Orchestra, organized by the famous conductor, Grzegorz Fitelberg. During the war, she lived in Warsaw, continuing to compose and giving underground concerts (e.g. premiering her Suite for Two Violins). She also dedicated some time to family life: married in 1936, she gave birth to her only daughter, Alina Biernacka (now a famous painter), in 1942.
    After the war, she returned to work as a professor in the State Conservatory of Music in Łódź. During the Stalinist period from 1945 to 1955, Bacewicz, like all other composers, was subject to an increasing ideological control of the new, socialist government.
    She died in 1969 in Warsaw.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Esatis - Liūsta Mano Širdelė

    4:08

    Band: Esatis
    Album: Vanduo. Molis. Medis (Water. Clay. Wood)
    Genre: Ethno / World / Neofolk
    Country: Lithuania
    Year: 2016

    Get it here:
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    Esatis is a music band conveying the idea of here and now, it embraces old Lithuanian folk traditions, language and worldview of various music genres.
    The band was formed in 2015 Klaipėda, Lithuania.
    The band's core members are the locally well-known ethno, electronic and experimental music author Donatas Bielkauskas (Donis) and the percussionist and drummer Viktoras Rubežas.
    Later the concept was enriched by the singer Elena Trečiokaitė, the bass player Paulius Stonkus and the guitarist Mentas Remesa.
    With its brave experiments and combination of various musical styles, composers refer themselves as performers of World music genre which like nothing else acquires the power to reveal old folk musical traditions and their modern interpretation.

    The word “estis” is used in famous philosophical treatise “Consciousness” (“Sąmonė”) by Lithuanian philosopher Vydūnas (Vilius Storostas (1868–1953).
    This word was created by Vydūnas who used his own writing system and created his own words.
    He explained “estis” as everything that is above the material world.
    Philosopher Romualdas Ozolas (1939–2015) wrote that “esatis” means human being as somebody who is created.
    Also, one can find similarity to Hindu concept samadhi.

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    vanduo.molis.medis. performed by:
    Vocals – Elena Trečiokaitė
    Bass Guitar – Paulius Stonkus
    Hammered Dulcimer, Duduk, Lumzdelis, Birbynė, Guitar, Accordion, Jew's Harp, Woodstock Chimes, Clay Whistle – Donatas Bielkauskas
    Guitar – Mantas Remesa
    Percussion – Viktoras Rubežas

    Music By – Donatas Bielkauskas (tracks: 1, 2, 4, 5, 7, 8), Viktoras Rubežas (tracks: 1, 3, 6, 9, 10)
    Lyrics – Lithuanian folklore

    Recorded At – D. Bielkauskas Mobile Ethnic Music Studio
    Mastered By – Kristijonas Lučinskas

    Design – GyS

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    Tracklist:
    01 Vanduo.molis.medis.
    02 Ir išėjo
    03 Leidos saulelė
    04 Šaltinis
    05 Šilkeliu pančiuotas
    06 Gale lauko vienasėdis
    07 Liūsta mano širdelė
    08 Žalioj girioj
    09 Bebalsis
    10 Sulig saule

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  • Skrida Bitela by Trys Keturiose

    1:10

    This is Skrida Bitela. The song is sung by Trys Keturiose. Trys Keturiose is one of Lithuania's Most Famous Musical Groups. They mostly sing Lithuanian Polyphonic songs called Sutartinės. Trys Keturiose was founded between 1981-1982 by Daiva Račiūnaitė-Vyčinienė at the Mikalojus Konstantinas Čiurlionis Art School. The composition of the group then changed in subsequent years. “Trys keturiose (“three in four”) are the words of one refrain that playfully reflects the group’s composition, which varies between three and four singers. The group – also known as “the queens of sutartinės” – has been perfecting the performance of old polyphonic songs for 20 years. They are also working to reconstruct melodies that are held in archives. The singers do not copy the sutartinės sound of the archive records, but seek to retain the authentic colour. They attempt to understand the archaic tradition of the language, experience deep spiritual and aesthetic sensations, and convey these emotions to the modern listener. They also seek linkages with contemporary arts and collaborate with composers and media artists. Sutartinės are multipart polyphonic songs from the Aukštaitija Region of Lithuania. They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon and free imitation. Most of the sutartinės were recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. Recognizing their uniqueness and value, UNESCO inscribed sutartinės into the representative list of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2010. The topics and functions of sutartinės encompass almost all known Lithuanian folk song genres—work, calendar cycle ritual, wedding, family, wartime, historic, etc. Melodies of sutartinės are not complex, containing two to five pitches. The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality. Sutartinės are a localized phenomenon, found in the northeastern and eastern parts of Lithuania. They were sung by women, but men performed instrumental versions on the kanklės (Baltic psaltery), on horns, and on the skudučiai, a form of panpipes usually played by a group, as well as wooden trumpets (ragai and dandytės). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, weddings, and while performing various chores. The poetic language is not complex, but it is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains. Nowadays, the tradition of singing sutartinės in rural regions of Lithuania has died out; however, various folk groups in the cities keep up the tradition, including Trys Keturiose. The group continues to develop its own sound, and aims to give a contemporary meaning to old songs, collaborating with composers, electronic musicians and video artists, and presents interdisciplinary art projects. The leader of Trys Keturiose is Daiva Vyčinienė, an ethnomusicologist, professor, and head of the Department of Ethnic Music at the Lithuanian Academy of Music and Theatre. The song comes from the album, Bitela. The album mostly has Sutartinės about Bees and most of them are sung by Trys Keturiose. Most of the Sutartinės were recorded at the Historical Beekeeping Museum in Stripeikiai, Ignalina District, Lithuania. The album was released in 2017 by Dangus Records. This song is Track 3 in the album. I also did an Unboxing Video of the album. Here is a link to the Unboxing Video:

    Press Like and Subscribe to me, Faisal Jewell

  • wanderers song

    1:09

    J. Stutschewsky - Six Israeli Melodies (1961)
    VI Wanderer's Song

    Cello: Ruud Meester

    Painting: Marc Chagall - Wandering Jew (1914)

  • B. Kutavicius, Oratorio - Last Pagan Rites I movement. Oh You Green Grasshopper

    6:07

    Bronius Kutavicius is a famous lithuanian composer (b. 1932). His minimalistic music style is unique in its ability to mesmerize and involve the audience in the performance.
    The oratorio Last Pagan Rites (1978) for choir, organ, horns and high voice, is the second in the composers cycle of oratorios. Words by Sigitas Geda. The oratorio is based on the archaic intonation of lithuanian folk songs, and shows, what Kutavicius calls musical archeology. Thus using repetitive phrases, and theatrical movement, the composer takes the listener to a journey through time.

  • Hot Pop - C64 chiptune

    02

    WHAT IS: UNEPIC STONED HIGH SID LIST

    Aiming to be the most most complete playlist of tunes by *all* the musicians in the High Voltage Sid Collection that you never hear about.
    Links:



    For love of the SID chip and her composers, for love of the C64 and all her sceners.

  • Romuald Twardowski, Grunwald 1410

    16:45

    Romuald Twardowski, Grunwald 1410

    1. Introductio
    2. Pugna
    3. Supplicium pro pace

    Jaroslaw Bręk, bass
    Olsztyn Philharmonic Symphony Orchestra
    Janusz Przybylski, conductor

    (The Battle of Grunwald, First Battle of Tannenberg or Battle of Žalgiris, was fought on 15 July 1410 during the Polish–Lithuanian–Teutonic War. The alliance of the Kingdom of Poland and the Grand Duchy of Lithuania, led respectively by King Władysław II Jagiełło (Jogaila) and Grand Duke Vytautas, decisively defeated the German–Prussian Teutonic Knights, led by Grand Master Ulrich von Jungingen.)


    1. Introductio

    Ave miles terrae gratae,
    ave foster dux cognate.
    ave Rex Poloniae,

    Salve pater salutaris,
    eques artis militaris,
    defensor Patriae,
    Rex Poloniae,
    atquc Lithuaniae,
    ave!

    Surgit inimicus fetus,
    qui est quoque hostis saevus,
    libertatis infestus.

    Terram iam invasit nostram
    et multa patra scelera
    valde osor severus.
    Urbes nostrae devastantur,
    cives saepe perturbantur:
    tempus est horribile.

    2. Pugna

    Equitatus quoque clarus
    qui et victor neque rarus,
    hostem denique ludit.

    3. Supplicem pro pace

    Victor magnae maiestati
    pariter et caritati
    laudes canit Domino

    Doma nobis pacem gratam,
    serva plebem tibi natam
    et tutari famulos
    Hodie et nos cantemus:
    crescat tunc inter gentes pax
    crescat iam inter omnes pax
    crescat, crescat ET IN TERRA PAX

    Jan Węcowski

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Peteris Vasks, Credo, per orchestra

    21:04

    Peteris Vasks, Credo, per orchestra

    Liepāja Symphony Orchestra
    Atvars Lakstigala, conductor

    Pēteris Vasks (Aizpute (Latvia), 16 April 1946) is a Latvian composer, born the son of a minister (Baptist).
    He wrote his first composition when he was 8 years old. His musical education began at the Riga Music school (E. Darzins) and the Lithuanian Music Academy (Vilnius), where he mainly studied double bass with Vitautas Sereika. From 1963 to 1978 he was also double bass player with the Lithuania Philharmonic Orchestra, the Latvian Philharmonic Orchestra and the Orchestra of the Latvian Broadcaster.

    He also studied composition from 1973 to 1978 at the Latvian Music Academy (Riga) with Valentin Utkin. He incorporates old Latvian music into his compositions and his music is mostly about the struggle of man and nature; the beauty, but also the threat of nature. As is often the case with composers from the more northerly regions, with his music he also points out threats to nature, such as increasing deforestation, etc.

    Vasks has been an honorary member of the Latvian Academy of Science since 1994 and since 2001 has been a member of the Swedish Royal Music Academy.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Mykolas Natalevičius - From Dust to Dust

    6:51

    Piece is the interpretation of famous Bible verse. The piece is sort of evolution of dust becoming into life and later becoming the same dust.

    Composition was recorded in St. Johns church in Vilnius by Gabija Rimkutė (piano).

    Biography:

    Mykolas Natalevičius (b. 1985) is a young Lithuanian composer active in various fields of music, from the acoustic instrumental music to the experimental electronics. His work involves composing, playing piano, singing and conducting. According to composer, music was not his initial field of creativity. He began his creative path in the fine arts, successfully participating in various art exhibitions and competitions, and started his music studies at the age of sixteen. He studied composition (with Prof. Vytautas Barkauskas and Ričardas Kabelis) at the Lithuanian Academy of Music and Theatre, graduating in 2011. He also attended singing (Deividas Staponkus and Algirdas Janutas) and symphonic conducting (Gintaras Rinkevičius) lessons. In 2010 Mykolas Natalevičius studied at the Danish Institue of Electronic Music with Henrik Munch, also attended singing class at the Royal Academy of Music in Aarhus with Ingrid Haking Raby. In 2011, his Kampana for symphony orchestra won the Debut Prize at the annual Best Works of the Year awards of the Lithuanian Composers' Union. In 2012 he was awarded the Young Artist Prize by the Lithuanian Ministry of Culture. In 2017 elected chairman of the Lithuanian Composers' Union.

    Mykolas is interested in the possibilities of synthesis of music and other arts. He is a member of the artist group Operomanija. In 2008 the composer was awarded (together with his fellow composers from the New Opera Action) the prize for the best stage work at the annual Lithuanian Composers’ Union competition. He also writes music for drama performances (in 2008, at the 9th International University Theatre Forum Traces of Generation, he received the award for music for the drama performance Return) and films (the work of video artist Rimas Sakalauskas and Mykolas Natalevičius Synchronisation was awarded in seven international competitions and was presented in fourty various festivals and exhibitions around the world).

    Follow Mykolas Natalevičius on Facebook:

    Personal website:


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  • Eric Whitacre & Bel Canto Choir Vilnius. Behind the Scenes – Bel Canto Choir Vilnius

    2:26

    Behind the Scenes of the concert Revolution Together. Eric Whitacre & Bel Canto Choir Vilnius in Concert! December 2016.
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    For the first time, Eric Whitacre – a rock star of the global choral scene, Grammy winner, TED speaker, and one of the most famous composers and conductors of his generation – and Bel Canto Choir Vilnius, Lithuania’s best mixed volunteer choir, joined forces for a special Christmas concert, entitled Revolution Together. On December 11-12, 2016 at the Lithuanian National Philharmonic in Vilnius, Eric Whitacre and the Lithuanian choir performed together for the first time in the history of Lithuanian choral music.

    Credits: Behind the Scenes video produced by 360 Virtual reality Studija 3 Kadrai. Revolution Together concert produced by Audrius Valatkevičius, President of Bel Canto Choir Vilnius, and Megan Davies, Producer of Eric Whitacre.

    Revolution Together koncerto užkulisiai. Eric Whitacre ir choras Bel Canto Vilniuje!

    Pirmą kartą Lietuvoje – šiuolaikinės chorinės muzikos žvaigždė, Grammy laureatas, TED pranešėjas, vienas garsiausių pasaulyje mūsų kartos kompozitorių ir dirigentų Eric Whitacre ir geriausias Lietuvoje mišrus neprofesionalų choras Bel Canto susitiko ypatingam muzikiniam projektui. 2016 m. gruodžio 11–12 d. Lietuvos nacionalinėje filharmonijoje Vilniuje! Pirmą kartą Lietuvos chorinės muzikos istorijoje – Eric Whitacre ir Lietuvos choras kartu!

    Behind the Scenes video prodiuseriai: 360 Virtual reality Studija 3 Kadrai. Koncerto Revolution Together prodiuseriai: Audrius Valatkevičius, choro Bel Canto prezidentas ir Megan Davies, Eric Whitacre prodiuserė.

  • Death of Juliet - Prokofiev Suite from Romeo and Juliet, op. 64

    7:25

    Prokofiev Suite from Romeo and Juliet, op. 64 (arr. Borisovsky) 2015.07.25

    Maxim Rysanov, viola
    Da Sol Kim, piano

    Ukrainian-British violist and conductor Maxim Rysanov has established himself as one of the worlds most vibrant and charismatic musicians. He is principally known for his performances as a violist, guest of the crème of international music scene such as BBC Last Night of the Proms, Verbier, Great Mountain, Tran Siberian and Edinburgh Festival, Salzburg Festival among others. After having completed a conducting fellowship at The GSMD he started to combine his viola performance with a career as a conductor.
    Conducting engagements include the Spanish Radio Orchestra, Basel Symphony Orchestra, Lithuanian Chamber Orchestra, Riga Sinfonietta, London Mozart Players, Baltic Neopolis, Scottish Ensemble, Russian National Orchestra, and Moscow Musica Viva, Kiev Soloists, Orquesta Sinfónica de Castilla y León, Georgian National Symphony Orchestra, Częstochowa Philharmonic Orchestra, Chamber Orchestra Chaarts, Detmold Chamber Orchestra, Dala Sinfonietta, Southbank Sinfonia, Voronezh Youth Orchestra, Danubia Symphony as well as conducting at festivals in Dubrovnik (with Roger Moore as narrator), Utrecht (with Janine Jansen), Boswil (with Vilde Frang), Surrey Hills (with Nicola BenedettI), Budapest Festival Orchestra (Kelemen Quartet), and the finale of the Beijing Viola Festival, Plovdiv Philharmonic (Kristina Blaumane), Sofia Opera Orchestra and Chorus (Bulgarian premier of Cantata by Dobrinka Tabakova), Sofia Philharmonic, Royal College of Music String Orchestra, Lviv Philharmonic, Detmold Chamber Orchestra, Lepaje Symphony Orchestra (soloist David Geringas) and the Pforzheim Stadtsorchester.
    As a conductor Maxim worked with such soloists as Mischa Maisky, Nicola Benedetti, Vilde Frang, Janine Jansen, Boris Brovtsyn, Alexander Sitkovetsky, Sergei Krylov, Susanna Yoko Henkel, Sergei Suvorov, Kristina Blaumane, Ashley Wass, Benjamin Yusupov, Leonard Elschenbroich, Dora Kokas and Kelemen Quartet among others. Among his concerto highlights are Mariinsky Orchestra (Valery Gergiev), Russian National Orchestra (MikhailPletnev), BBC Symphony Orchestra (Jiří Bělohlávek), Seattle Symphony (Andrey Boreyko), Orquesta de Castilla y Leon (Vasily Petrenko), DSO Berlin (Tugan Sokhiev), Moscow Philharmonic (Yuri Simonov), BSO (Vladimir Fedoseev), Gurzenich Orchestra (Sir Mark Elder), Frankfurt Radio Symphony Orchestra (Philippe Herreweghe), NDR Philharmonic Orchestra (Eivind Gullberg Jensen), Prague Radio Symphony Orchestra (Juraj Valcuha), RTE Symphony Orchestra (Olari Elts), the Adelaide Symphony Orchestra (Arvo Volmer), the West Australian Symphony Orchestra (Vladimir Verbitsky), Auckland Symphony Orchestra (Eckehard Stier), Danish National Symphony Orchestra (Michael Schoenwandt), Malaysian Philharmonic (Yan Pascal Tortelier), Shanghai Symphony (Long Yu), Orquesta Sinfonica de Euskadi (Diego Matheuz), Ulster Orchestra (Paul Watkins), European Union Youth Orchestra (Matthias Bamert), Orchestre Philharmonique de Strasbourg (Michal Dworzynski), Kazan Symphony (Alexander Sladkovsky) and Strasburg (Vasily Sinaisky).
    Maxim has long been recognised by the international music scene and his list of prizes affirm that status. These include the Classic FM Gramophone Young Artist of the Year Award and the BBC Radio 3 New Generation Award, as well as the Geneva, Lionel Tertis and Valentino Bucchi competitions.
    Maxim is a keen promoter of new music. Recently he conducted the Russian premier of the Piano Concerto by Benjamin Yusupov. His enthusiasm for new music has generated collaborations, which have extended the viola repertoire. This includes world premieres by Dobrinka Tabakova, Richard Dubugnon and Sergei Akhunov. Other composers with whom Maxim has developed a close working relationship include Benjamin Yusupov, Leonid Desyatnikov, Giya Kancheli, Artyom Vassiliev and Elena Langer. In 2014 Maxim presented the Penderecki's double concerto in a Russian premiere. In 2016 he premieres a new viola concerto by Peteris Vasks that was co-commissioned by the BBC National Orchestra of Wales, the Vale of Glamorgan Festival and the Orchestre Philharmonique de Strasbourg. Further performances include Turku Philharmonic, Riga Sinfonietta, Hong Kong Sinfonietta, Scottish Chamber Orchestra, Wurttemburgisches Kammerorchester Heilbron and the Lithuanian Chamber Orchestra.
    Maxim's commercial CD have continually gained awards including Gramophone Editor's Choice and ECHO, ICMA, Gramophone and Grammy nominations as well as reaching the top of the iTunes charts in the USA. His recent recording of the Martinu Rhapsody – Concerto was shortlisted for the Gramophone Award.
    He is delighted to have a Giuseppe Guadagnini viola (1780) on extended loan from the Elise Mathilde Foundation.

  • Bridge - Allegro appassionato

    2:39

    Buy Maxim's recent CD here:

    Official website:
    Facebook:

    Ukrainian-British violist and conductor Maxim Rysanov has established himself as one of the worlds most vibrant and charismatic musicians. He is principally known for his performances as a violist, guest of the crème of international music scene such as BBC Last Night of the Proms, Verbier, Great Mountain, Tran Siberian and Edinburgh Festival, Salzburg Festival among others. After having completed a conducting fellowship at The GSMD he started to combine his viola performance with a career as a conductor.
    Conducting engagements include the Spanish Radio Orchestra, Basel Symphony Orchestra, Lithuanian Chamber Orchestra, Riga Sinfonietta, London Mozart Players, Baltic Neopolis, Scottish Ensemble, Russian National Orchestra, and Moscow Musica Viva, Kiev Soloists, Orquesta Sinfónica de Castilla y León, Georgian National Symphony Orchestra, Częstochowa Philharmonic Orchestra, Chamber Orchestra Chaarts, Detmold Chamber Orchestra, Dala Sinfonietta, Southbank Sinfonia, Danubia Symphony as well as conducting at festivals in Dubrovnik, Utrecht, Boswil , Surrey Hills, Budapest Festival Orchestra, and the finale of the Beijing Viola Festival, Plovdiv Philharmonic, Sofia Opera Orchestra and Chorus, Sofia Philharmonic, Royal College of Music String Orchestra, Lviv Philharmonic, Detmold Chamber Orchestra, Lepaje Symphony Orchestra and the Pforzheim Stadtsorchester.
    As a conductor Maxim worked with such soloists as Mischa Maisky, Nicola Benedetti, Vilde Frang, Janine Jansen, Boris Brovtsyn, Alexander Sitkovetsky, Sergei Krylov, Susanna Yoko Henkel, Kristina Blaumane, Ashley Wass, Benjamin Yusupov, Leonard Elschenbroich, Dora Kokas and Kelemen Quartet among others. Maxim featured as both conductor and soloist on the debut disc of composer Dobrinka Tabakova (ECM) in 2013 - a disc that reached number 2 in the UK classical charts and was shortlisted for a Grammy Award.
    Maxim has long been recognised by the international music scene and his list of prizes affirm that status. These include the Classic FM Gramophone Young Artist of the Year Award and the BBC Radio 3 New Generation Award, as well as the Geneva, Lionel Tertis and Valentino Bucchi competitions.
    Maxim is a keen promoter of new music. Recently he conducted the Russian premier of the Piano Concerto by Benjamin Yusupov. His enthusiasm for new music has generated collaborations, which have extended the viola repertoire. This includes world premieres by Dobrinka Tabakova, Richard Dubugnon and Sergei Akhunov. Other composers with whom Maxim has developed a close working relationship include Benjamin Yusupov, Leonid Desyatnikov, Giya Kancheli, Artyom Vassiliev and Elena Langer. In 2014 Maxim presented the Penderecki's double concerto in a Russian premiere. In 2016 he premieres a new viola concerto by Peteris Vasks that was co-commissioned by the BBC National Orchestra of Wales, the Vale of Glamorgan Festival and the Orchestre Philharmonique de Strasbourg. Further performances include Turku Philharmonic, Riga Sinfonietta, Hong Kong Sinfonietta, Scottish Chamber Orchestra, Wurttemburgisches Kammerorchester Heilbron and the Lithuanian Chamber Orchestra.
    Maxim's commercial CD have continually gained awards including Gramophone Editor's Choice and ECHO, ICMA, Gramophone and Grammy nominations as well as reaching the top of the iTunes charts in the USA. His recent recording of the Martinu Rhapsody – Concerto was shortlisted for the Gramophone Award.
    He is delighted to have a Giuseppe Guadagnini viola (1780) on extended loan from the Elise Mathilde Foundation.

  • Bacewicz, Grazyna, Violin Concerto No 4

    25:11

    Bacewicz, Grazyna, Violin Concerto No. 4 (1951)

    1. Allegro non troppo
    2. Andante tranquillo
    3. Vivace

    Janusz Skramlik, violin
    Polish Radio National Symphony Orchestra in Katowice
    Tomasz Bugaj, conductor

    (recorded Grzegorz Fitelberg Concert Hall, Katowice on 13 April 1995)

    Grażyna Bacewicz (5 February 1909 – 17 January 1969) was a Polish composer and violinist.
    Bacewicz was born in Łódź. Like Fryderyk Chopin, she came from a bi-national family and, with a Lithuanian father and a Polish mother, she could choose her national identity. She chose to be Polish, but her brother Witold moved back to Vilnius with her father, and ended up in the U.S. as a leading, though little understood, Lithuanian emigré composer.
    Bacewicz had received hear earliest musical training from her father; she started learning violin, piano and theory when she was five years old. Her other older brother, Kiejstut, became a pianist and frequently accompanied her in performances.
    After enrolling at the Warsaw Conservatory of Music to study violin and piano, in 1928 Bacewicz began studies of philosophy at the University of Warsaw (she completed a year and a half). She continued her music training at the Conservatory, studying composition with Kazimierz Sikorski, violin with Józef Jarzębski and piano with Jan Turczyński; she graduated summa cum laude in 1932.
    She studied composition with Boulanger, and violin with André Touret and Carl Flesch. At that time she adopted the neoclassical style for her compositional language and became the first Polish woman composer to achieve national and international stature.
    In the 1930s she was the principal violinist for the Polish Radio Orchestra, organized by the famous conductor, Grzegorz Fitelberg. During the war, she lived in Warsaw, continuing to compose and giving underground concerts (e.g. premiering her Suite for Two Violins). She also dedicated some time to family life: married in 1936, she gave birth to her only daughter, Alina Biernacka (now a famous painter), in 1942.
    After the war, she returned to work as a professor in the State Conservatory of Music in Łódź. During the Stalinist period from 1945 to 1955, Bacewicz, like all other composers, was subject to an increasing ideological control of the new, socialist government.
    She died in 1969 in Warsaw.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Kada Buva, Kadujo by Trys Keturiose

    2:39

    This is Kada Buva, Kadujo. The song is sung by Trys Keturiose. Trys Keturiose is one of Lithuania's Most Famous Musical Groups. They mostly sing Lithuanian Polyphonic songs called Sutartinės. Trys Keturiose was founded between 1981-1982 by Daiva Račiūnaitė-Vyčinienė at the Mikalojus Konstantinas Čiurlionis Art School. The composition of the group then changed in subsequent years. “Trys keturiose (“three in four”) are the words of one refrain that playfully reflects the group’s composition, which varies between three and four singers. The group – also known as “the queens of sutartinės” – has been perfecting the performance of old polyphonic songs for 20 years. They are also working to reconstruct melodies that are held in archives. The singers do not copy the sutartinės sound of the archive records, but seek to retain the authentic colour. They attempt to understand the archaic tradition of the language, experience deep spiritual and aesthetic sensations, and convey these emotions to the modern listener. They also seek linkages with contemporary arts and collaborate with composers and media artists. Sutartinės are multipart polyphonic songs from the Aukštaitija Region of Lithuania. They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon and free imitation. Most of the sutartinės were recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. Recognizing their uniqueness and value, UNESCO inscribed sutartinės into the representative list of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2010. The topics and functions of sutartinės encompass almost all known Lithuanian folk song genres—work, calendar cycle ritual, wedding, family, wartime, historic, etc. Melodies of sutartinės are not complex, containing two to five pitches. The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality. Sutartinės are a localized phenomenon, found in the northeastern and eastern parts of Lithuania. They were sung by women, but men performed instrumental versions on the kanklės (Baltic psaltery), on horns, and on the skudučiai, a form of panpipes usually played by a group, as well as wooden trumpets (ragai and dandytės). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, weddings, and while performing various chores. The poetic language is not complex, but it is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains. Nowadays, the tradition of singing sutartinės in rural regions of Lithuania has died out; however, various folk groups in the cities keep up the tradition, including Trys Keturiose. The group continues to develop its own sound, and aims to give a contemporary meaning to old songs, collaborating with composers, electronic musicians and video artists, and presents interdisciplinary art projects. The leader of Trys Keturiose is Daiva Vyčinienė, an ethnomusicologist, professor, and head of the Department of Ethnic Music at the Lithuanian Academy of Music and Theatre. The song comes from the album, Bitela. The album mostly has Sutartinės about Bees and most of them are sung by Trys Keturiose. Most of the Sutartinės were recorded at the Historical Beekeeping Museum in Stripeikiai, Ignalina District, Lithuania. The album was released in 2017 by Dangus Records. This song is Track 8 in the album.

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  • Grazyna Bacewicz, Piano Concerto

    22:04

    Grazyna Bacewicz, Piano Concerto (1949)

    1. Allegro moderato
    2. Andante
    3. Molto allegro

    Magdalena Grzelak, piano
    Mieczysław Nowakowski, conductor


    Grażyna Bacewicz (5 February 1909 – 17 January 1969) was a Polish composer and violinist.
    Bacewicz was born in Łódź. Like Fryderyk Chopin, she came from a bi-national family and, with a Lithuanian father and a Polish mother, she could choose her national identity. She chose to be Polish, but her brother Witold moved back to Vilnius with her father, and ended up in the U.S. as a leading, though little understood, Lithuanian emigré composer.
    Bacewicz had received hear earliest musical training from her father; she started learning violin, piano and theory when she was five years old. Her other older brother, Kiejstut, became a pianist and frequently accompanied her in performances.
    After enrolling at the Warsaw Conservatory of Music to study violin and piano, in 1928 Bacewicz began studies of philosophy at the University of Warsaw (she completed a year and a half). She continued her music training at the Conservatory, studying composition with Kazimierz Sikorski, violin with Józef Jarzębski and piano with Jan Turczyński; she graduated summa cum laude in 1932.
    She studied composition with Boulanger, and violin with André Touret and Carl Flesch. At that time she adopted the neoclassical style for her compositional language and became the first Polish woman composer to achieve national and international stature.
    In the 1930s she was the principal violinist for the Polish Radio Orchestra, organized by the famous conductor, Grzegorz Fitelberg. During the war, she lived in Warsaw, continuing to compose and giving underground concerts (e.g. premiering her Suite for Two Violins). She also dedicated some time to family life: married in 1936, she gave birth to her only daughter, Alina Biernacka (now a famous painter), in 1942.
    After the war, she returned to work as a professor in the State Conservatory of Music in Łódź. During the Stalinist period from 1945 to 1955, Bacewicz, like all other composers, was subject to an increasing ideological control of the new, socialist government.
    She died of a heart attack in 1969 in Warsaw.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Philippe Jaroussky & Amanda Forsythe record Gluck: Orfeo ed Euridice - Vieni, appaga il tuo consorte

    5:14

    Duetto del signor Egidio Lasnel from Gluck's Orfeo ed Euridice.
    Album out 18 May 2018.

    Star countertenor Philippe Jaroussky continues his exploration of operatic settings of the Orpheus myth with the most famous of the many operas inspired by the story of the Greek poet who searches for his dead wife in the Underworld: Gluck's Orfeo ed Euridice. It contains one of the world's best-loved operatic arias, Orfeo's restrained, but moving lament, 'Che farò senza Euridice'. Conducted by Diego Fasolis, his is the world premiere recording of a version of the opera that was performed at the Royal Palace in Naples in 1774, 12 years after Orfeo ed Euridice was staged in Vienna as the first of Gluck's 'reform operas'. In these works Gluck emphasised simplicity of form and directness of expression, consciously rejecting the extravagances of opera seria, which dominated the early 18th century and was typified by convoluted plots and extended showpiece arias.

    __________

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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.

  • Peteris Vasks, Symphony No 3

    42:19

    Peteris Vasks, Symphony No. 3

    1. Movement 1
    2. Movement 2
    3. Movement 3
    4. Movement 4

    Tampere Philharmonic Orchestra
    John Storgårds, conductor

    Pēteris Vasks (born 16 April 1946) is a Latvian composer.
    Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jāzeps Vītols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.

    Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became attached to any particular method.

    Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and Bass Trip (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • César Cui, Orchestral Suite No 4 à Argenteau Op 40

    24:20

    César Cui, Orchestral Suite No. 4 à Argenteau Op. 40 (1887)

    1. Le cèdre
    2. Sérénade
    3. La petite guerre
    4. à la chapelle
    5. Le rocher

    Czecho-Slovak Radio Symphony Orchestra (Bratislava)
    Robert Stankovsky, conductor

    César Cui, in full César Antonovich Cui, (born Jan. 6 1835, Vilna [now Vilnius], Lithuania, Russian Empire—died March 24, 1918, Petrograd [St. Petersburg], Russia), Russian composer of operas, songs, and piano music. He was a music critic and military engineer who, with Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov, made up the group known as The Five.

    Cui was the son of a French officer, taken prisoner during Napoleon’s campaign of 1812, who remained in Russia after the war; his mother was Lithuanian. Cui began to compose while he was still a boy, imitating the style of Frédéric Chopin, and received lessons in composition. But in 1851 he was sent to St. Petersburg, where he entered the school of engineering and, in 1855, the academy of military engineering, becoming a lecturer there in 1857. In 1878 he became a professor of fortification—his pupils included General M.D. Skobelev, a hero of the Russo-Turkish war, and Tsar Nicholas II—and he retired with the rank of lieutenant general.

    Cui’s friendship with Balakirev and another nationalist composer, Aleksandr Dargomyzhsky, developed his musical interests: he began to compose copiously and, although he had no Russian ancestry, became a pugnacious journalistic champion of Russian nationalism. From 1864 to 1877 he was music critic for the St. Peterburgskiye vedomosti (“St. Petersburg News”), and later he became a successful propagandist of Russian music in Belgium and France, notably with his La Musique en Russie (1881). Cui’s own music has little Russian flavour, and of his 10 operas only the first, The Prisoner of the Caucasus (begun 1857, produced 1883); the last, The Captain’s Daughter (performed 1911, St. Petersburg); and the one-act Feast in the Time of the Plague (performed 1901, Moscow) are on Russian subjects, taken from Aleksandr Pushkin’s writings. He turned more readily to French sources—Victor Hugo, Jean Richepin, Alexandre Dumas père, Guy de Maupassant, and Prosper Mérimée—and his only moderately successful operas are based on Heinrich Heine’s William Ratcliff (performed 1869, St. Petersburg) and Maupassant’s Mademoiselle Fifi (performed 1903, Moscow). Cui is at his best in the miniature forms, notably his short piano compositions and his songs.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • The little cowboy Livija Zakareviciute . Kaunas. Lithuania. Vienna Stars. Austria

    1:14

    The little cowboy (A.Raux). Livija Zakareviciute (Accordion). Teacher: Kristina Dabravolskaite. Elektrenai art school. Elektrėnai. Lithuania. Vienna Stars 2016 by RussianAustria (Full HD). 02.04.2016. Vienna. Austria. Info:

    ===================================================================================================

    INTERNATIONAL FOLKLORE, DANCE AND MUSIC FESTIVAL AND COMPETITION “WIENER STERNE 2016 / VIENNA STARS 2016”.

    International Folklore, Dance and Music Festival and Competition WIENER STERNE / VIENNA STARS is traditionally taking place in Vienna, the world capital of music, a waltz, palaces and parks, twice a year: in late March and early November.

    The festival is an important event in the cultural life of Vienna with high recognition and wide geography of the participating countries. Famous Austrian and foreign cultural and art workers are invited as honoured members of the international jury.

    The main message of the XII. International Folklore, Dance and Music Festival and Competition WIENER STERNE 2016 / VIENNA STARS 2016 is the search for new talents, Vienna’s Stars among young talents of the world, establishment of international friendly and creative contacts, enrichment of the multinational culture on the basis of mutual respect for the cultural traditions of all the countries and nations of the world, promotion of young arts in all its manifestations such as folklore, dance, music, theatre, as well as promotion of different cultures, sharing experiences and creative achievements between the participants from different countries.

    Participation in the XII. International Folklore, Dance and Music Festival WIENER STERNE 2016 / VIENNA STARS 2016 gives an opportunity to perform in the best concert halls of Vienna and to demonstrate creative results to the audience in Vienna! The brightest stars of Vienna take part in the GALA CONCERT OF THE VIENNA STARS WINNERS!!!

    International Folklore, Dance and Music Festival WIENER STERNE 2016 / VIENNA STARS 2016 is determined for soloists, ensembles and groups of young performers from different countries of the world. This year the International Folklore, Dance and Music Festival WIENER STERNE 2016 / VIENNA STARS 2016 brings together more than eleven countries.

    The organizers of the International Folklore, Dance and Music Festival VIENNA STARS: Info:

  • Peteris Vasks, Sala, symphonic elegy for orchestra

    20:35

    Peteris Vasks, Sala, symphonic elegy for orchestra

    Liepāja Symphony Orchestra
    Atvars Lakstigala, conductor

    Pēteris Vasks (Aizpute (Latvia), 16 April 1946) is a Latvian composer, born the son of a minister (Baptist).
    He wrote his first composition when he was 8 years old. His musical education began at the Riga Music school (E. Darzins) and the Lithuanian Music Academy (Vilnius), where he mainly studied double bass with Vitautas Sereika. From 1963 to 1978 he was also double bass player with the Lithuania Philharmonic Orchestra, the Latvian Philharmonic Orchestra and the Orchestra of the Latvian Broadcaster.

    He also studied composition from 1973 to 1978 at the Latvian Music Academy (Riga) with Valentin Utkin. He incorporates old Latvian music into his compositions and his music is mostly about the struggle of man and nature; the beauty, but also the threat of nature. As is often the case with composers from the more northerly regions, with his music he also points out threats to nature, such as increasing deforestation, etc.

    Vasks has been an honorary member of the Latvian Academy of Science since 1994 and since 2001 has been a member of the Swedish Royal Music Academy.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Peteris Vasks, Musica adventus

    28:33

    Peteris Vasks, Musica adventus

    1. Moderato
    2. Allegro energico
    3. Adagio
    4. Moderato

    Ostrobothnian Chamber Orchestra
    Juha Kangas, conductor

    Pēteris Vasks (born 16 April 1946) is a Latvian composer.
    Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jāzeps Vītols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.

    Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became attached to any particular method.

    Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and Bass Trip (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Skrida Bite, Tatato by Trys Keturiose

    1:14

    This is Skrida Bite, Tatato. The song is sung by Trys Keturiose. Trys Keturiose is one of Lithuania's Most Famous Musical Groups. They mostly sing Lithuanian Polyphonic songs called Sutartinės. Trys Keturiose was founded between 1981-1982 by Daiva Račiūnaitė-Vyčinienė at the Mikalojus Konstantinas Čiurlionis Art School. The composition of the group then changed in subsequent years. “Trys keturiose (“three in four”) are the words of one refrain that playfully reflects the group’s composition, which varies between three and four singers. The group – also known as “the queens of sutartinės” – has been perfecting the performance of old polyphonic songs for 20 years. They are also working to reconstruct melodies that are held in archives. The singers do not copy the sutartinės sound of the archive records, but seek to retain the authentic colour. They attempt to understand the archaic tradition of the language, experience deep spiritual and aesthetic sensations, and convey these emotions to the modern listener. They also seek linkages with contemporary arts and collaborate with composers and media artists. Sutartinės are multipart polyphonic songs from the Aukštaitija Region of Lithuania. They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon and free imitation. Most of the sutartinės were recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. Recognizing their uniqueness and value, UNESCO inscribed sutartinės into the representative list of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2010. The topics and functions of sutartinės encompass almost all known Lithuanian folk song genres—work, calendar cycle ritual, wedding, family, wartime, historic, etc. Melodies of sutartinės are not complex, containing two to five pitches. The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality. Sutartinės are a localized phenomenon, found in the northeastern and eastern parts of Lithuania. They were sung by women, but men performed instrumental versions on the kanklės (Baltic psaltery), on horns, and on the skudučiai, a form of panpipes usually played by a group, as well as wooden trumpets (ragai and dandytės). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, weddings, and while performing various chores. The poetic language is not complex, but it is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains. Nowadays, the tradition of singing sutartinės in rural regions of Lithuania has died out; however, various folk groups in the cities keep up the tradition, including Trys Keturiose. The group continues to develop its own sound, and aims to give a contemporary meaning to old songs, collaborating with composers, electronic musicians and video artists, and presents interdisciplinary art projects. The leader of Trys Keturiose is Daiva Vyčinienė, an ethnomusicologist, professor, and head of the Department of Ethnic Music at the Lithuanian Academy of Music and Theatre. The song comes from the album, Bitela. The album mostly has Sutartinės about Bees and most of them are sung by Trys Keturiose. Most of the Sutartinės were recorded at the Historical Beekeeping Museum in Stripeikiai, Ignalina District, Lithuania. The album was released in 2017 by Dangus Records. This song is Track 6 in the album.

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  • Eric Whitacre & Bel Canto Choir Vilnius. MasterClass – Bel Canto Choir Vilnius

    4:10

    Eric Whitacre & Bel Canto Choir Vilnius. A masterclass in Vilnius. December 10, 2016.
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    On December 10, 2016, Eric Whitacre – a rock star of the global choral scene, Grammy winner, TED speaker, and one of the most famous composers and conductors of his generation – gave a masterclass to the Bel Canto Choir Vilnius, Lithuania’s best mixed volunteer choir. The masterclass was organized before Eric Whitacre’s and Bel Canto Choir Vilnius’ concerts, entitled Revolution Together. On December 11-12, 2016 at the Lithuanian National Philharmonic in Vilnius, Eric Whitacre and the Lithuanian choir performed together for the first time in the history of Lithuanian choral music.

    Credits: producers of the masterclass video: Paulina Stasiūnaitė and Eglė Jasiukaitytė (Nepilkas Vilkas studio). Revolution Together concert produced by Audrius Valatkevičius, President of Bel Canto Choir Vilnius, and Megan Davies, Producer of Eric Whitacre.

    Eric Whitacre ir choras Bel Canto. MasterClass. 2016 m. gruodžio 10 d. Vilniuje.

    2016 m. gruodžio 10 d. šiuolaikinės chorinės muzikos žvaigždė, Grammy laureatas, TED pranešėjas, vienas garsiausių pasaulyje mūsų kartos kompozitorių ir dirigentų Eric Whitacre vedė masterclass geriausiam Lietuvoje mišriam neprofesionalų chorui Bel Canto. Masterclass vyko Eric Whitacre ir choro Bel Canto koncertų Revolution Together išvakarėse. Pirmą kartą Lietuvos chorinės muzikos istorijoje – 2016 m. gruodžio 11–12 d. Lietuvos nacionalinėje filharmonijoje Vilniuje – Eric Whitacre ir Lietuvos choras surengė bendrą muzikinį projektą!

    Masterclass video autoriai: Paulina Stasiūnaitė ir Eglė Jasiukaitytė (studija Nepilkas Vilkas). Koncerto Revolution Together prodiuseriai: Audrius Valatkevičius, choro Bel Canto prezidentas ir Megan Davies, Eric Whitacre prodiuserė.

  • Alla Pavlova, Symphony No 7 Three movemets

    38:28

    Alla Pavlova, Symphony No. 7 (2011) Three movements

    Saule Rinkeviciute, violin
    Lithuanian State Symphony Orchestra
    Gintaras Rinkevicius

    Alla Pavlova (born July 13, 1952 in Ukraine) is a Russian composer of Ukrainian origin, best known for her symphonic work. Pavlova currently resides in Brooklyn, New York.
    During the Soviet era, the Pavlova family was transferred to Moscow in 1961, where Alla studied music in the Gnessin State Musical College. She studied with Armen Shakhbagyan, a composer with a reputation established in the 1970s, and paid special attention to the works of Anna Akhmatova. This influenced a good part of her production until the 1990s.

    Following her graduation in 1983, Pavlova moved to the Bulgarian capital of Sofia, where she worked at the Union of Bulgarian Composers and the Bulgarian National Opera. She returned to Moscow three years later.

    From 1986, Pavlova worked for the Russian Musical Society Board in Moscow, before relocating to New York City in 1990.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Stasys Vainiunas, Rhapsody for two pianos and orchestra

    14:07

    Stasys Vainiunas, Rhapsody for two pianos and orchestra (1947)

    Biruté Vainiunaitė and Eugenijus Zarskus, piano
    Lithuanian National Symphony Orchestra
    Robertus Servenikas, conductor

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Peteris Vasks, Cantabile

    9:07

    Peteris Vasks, Cantabile

    Ostrobothnian Chamber Orchestra
    Juha Kangas, conductor

    Pēteris Vasks (born 16 April 1946) is a Latvian composer.
    Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jāzeps Vītols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.

    Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became attached to any particular method.

    Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and Bass Trip (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Alexander Rybak in Gyvenimas yra grazus . 18.03.13

    9:22

    Alexander Rybak in Lithuanian program Life is beautiful.
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    Upload by Sonya Luzina. English translation by Erika Jasiūnienė & Zhanna Sergueeva. English revision by Anni Jowett. Subs by Ulli C. Russian translation by Anita Lysak. Chinese translation by Annie Alpaca. .
    New single What I Long For Release on 11 Oct. 2014
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