Included in tomorrows city council meeting agenda is a public hearing regarding changes to the City Charter. Two areas of this charter change are particularly bothersome to the membership of the Wards Corner Civic League. The first is the change in the referendum regarding signatures increasing the number of petitioners from 4 to 8 thousand. We believe this unfairly raises the bar on citizen input and therefore we are opposed to the change. The second is the change removing the recall process from the City Charter to which we are also opposed. At its regular monthly city league meeting held November 16th at 645PM at the Norfolk Wellness Center the Wards Corner Civic League membership unanimously voted to oppose these two city charter changes and respectfully request that you as members of Norfolk City Council vote against these proposed changes.
The agenda for Tuesday's City Council meeting includes proposed changes to the city charter which include the removal of the ability to recall City Council members and an increase to the signatures needed for a petition from 4,000 to 8,000.
Of particular concern to me is the change in sections 32 and 35, which increases the minimum number of signatures required for petition from 4,000 to 8,000. This unfairly raises the bar on citizen input. One of the largest petition drives ever undertaken by the citizens was that relating to Bay Oaks Park. That petition garnered 5,376 signatures. More recently, the residents of Highland Park undertook a similar petition, gathering over 5,000 signatures.
The ordinance, if approved [by City Council and then] by the General Assembly, would also abolish a provision in the city code that allows voters to recall council members. Instead, the city would follow state recall procedures as most Virginia cities do. Currently, Portsmouth, Hampton and Lynchburg are the only other Virginia localities with recall provisions that allow council members who do not break the law to be recalled.
Both Norfolk's and the state's provisions allow residents to challenge a sitting council member by gathering signatures on a petition. However, under the city code, the petition leads to a recall election. If proposed changes are approved, Norfolk citizens could use the petition drive only to ask a Circuit Court judge to remove a council member solely for malfeasance. There would be no recall election.
A man convicted of murder, robbery, and drug and weapons charges will serve 21 years for the crimes, a judge ruled Friday.
Deonte L. Mayfield was convicted in the shooting death of 31-year-old Cleavonne Tynes, who was found with several gunshot wounds in the 300 block of E. Little Creek Road in June 2008.
A co-defendant, Donte White, is scheduled to be sentenced in January.
Wards Corner Now reported on this crime on June 11, 2008 and June 19, 2008.
You are currently browsing the Wards Corner Now - Wards Corner, Norfolk, Virginia blog archives for November, 2009.


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Astra's Arimidex wins extra six months of exclusivity
Cost effectiveness and affordability in cancer care
The role of fulvestrant in advanced breast cancer
Health economics of treating multidrug-resistant Gram-positive infections: a qualitative critique
Ten years' safety data supports Raptiva
Italian seasonal influenza vaccines
Anglo-Swedish drug giant AstraZeneca has won an additional six months of sales protection for its cancer drug Arimidex.
The FDA's move will keep Arimidex's (anastrazole) patent armour in tact until June 2010, so the company will continue exclusive sales in the drug's three licensed indications until then.
Arimidex first hit the market in 1995 after being approved for the treatment of advanced breast cancer in postmenopausal women when the disease continued to progress despite therapy with tamoxifen. In 2000, its use was expanded as a first-line attack for hormone receptor positive or unknown, locally advanced or metastatic breast cancer, and two years later it was given a green light for adjuvant treatment with hormone receptor positive early breast cancer.
The drug is not approved for any use in children but, back in 1999, AstraZeneca began discussions with the FDA to carry out two studies to assess the potential of Arimidex in two paediatric conditions resulting from an increase in oestrogen production: gynecomastia (excessive breast development) in pubertal boys and early-onset puberty in girls with McCune-Albright Syndrome.
These studies failed to demonstrate a clear benefit with Arimdex over placebo and, consequently, AstraZeneca "will not be seeking an indication in either of these paediatric conditions", John Patterson, Executive Director of Development at AstraZeneca, said.
However, as the trials were conducted to a certain standard, the company was still awarded a paediatric patent extension by the FDA, a spokesman said.
Sales of Arimidex in the US grew 15% to hit US $507 million for the nine months of 2007 and, according to the company, with 38.3% of prescriptions the drug holds the lion's share of the hormonal treatments market.
Aclidinium bromide in the treatment of COPD
NicOx: 2010 Financial Calendar
Diamorphine: the return of an old friend
Index Ventures discusses €150mn life sciences fund
Organising Outpatient Parenteral Antibiotic Therapy services

redpajama_set_name: RedPajamaCommonCrawl


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Iranian Regime Faces Most Serious Threat in 40 Years with Worsening Economy and Strengthening Opposition Forces
by the Jerusalem Desk for JCPA.org, December 19 2018 –
Ayatollah Khamenei Warns: Enemies Seek to Overthrow the Regime.
Former President Mahmoud Ahmadinejad has recently become one of the most vocal critics of the Iranian regime, while Reza Pahlavi, exiled son of the late Shah, has been stepping up his activities in the United States for putting an end to the rule of the ayatollahs, and a considerable percentage of the Iranian people are distancing themselves from the government.
With all of this going on, the leaders in Tehran not only feel that the threats to overthrow their government are become more tangible than they have ever been, but the leaders of Iran are actually referring to this possibility openly, and the various factions within the regime are in total agreement that the government is facing a new, unprecedented situation.
On December 12, 2018, the supreme leader of the regime, Ayatollah Ali Khamenei, called upon all government systems to be more alert than ever because, according to him, their enemies are scheming to turn the coming year into the year of the overthrow of the Iranian regime.
According to Khamenei, these enemies hoped that the summer of 2018 would be a "hot summer" for the Iranian regime. However, he said, now that the summer is behind us and the Iranian Islamic Republic draws closer to February 2019, when it enters its 40th year, all the signs and facts show that the enemies have postponed the deadline for the fulfillment of their schemes against Iran to the coming year – therefore making it a critical year.1
In an address to the Iranian Parliament on December 18, 2018, Mahmoud Alavi, minister of intelligence in Hassan Rouhani's government, stated that the regime is facing a new, unprecedented situation, as not only enemy countries but also the intelligence services of the countries bordering Iran have rolled up their sleeves and are working directly against the Iranian regime.
Alavi expressed his surprise that even the neighboring countries that are the most friendly toward Iran have been working recently against the country and are supporting "terror groups" as much as they can, sending these groups money and assistance with military training and acquiring weapons.
The intelligence minister also admitted that the regime feels threatened by the Iranian opposition, which is growing more powerful around the world. According to him, during the past year alone, Iranian opposition groups held 64 conferences worldwide for the purpose of joining together and overcoming the internal differences among them.2, 3
The Son of the Shah Raises His Profile
Prince Reza Pahlavi, aged 57, son of the late Shah of Iran, has been one of the leading political activists over the past 40 years against the regime that ended his father's rule in Iran. Recently, he has not only increased his activities in the United States, but he has even attracted unprecedented attention from the American press. His young followers around the world have created a new group named Farashgard, with the purpose of becoming more united around him.
The activities of the pro-Western prince, who is a graduate of top U.S. academic institutions and is fluent in French and English, as well as Farsi, his native language, have increased around the first anniversary of the outbreak of the riots during which hundreds of thousands of young Iranians, in more than 100 cities throughout Iran, shouted slogans in support of the prince, his father Shah Mohammed Reza Pahlavi, and his grandfather Reza Shah. The mummified body of the founder of the Pahlavi dynasty, Reza Shah, was discovered at around the same time as the riots, openly causing panic among the leaders of the Islamic regime. They hid the mummy again in a concealed location to prevent the site from becoming a holy place for the growing number of Reza Pahlavi's supporters among Iranian youth, who are repudiating the rule of the ayatollahs en masse.
Click here to read the remainder of this extensive report on JCPA.org.


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Tag Archives: Tempo
Tragic Overture Opus 81 by Johannes Brahms
The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes.
Brahms chose the title "Tragic" to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared "one laughs while the other cries." Brahms quotes some material from the last movement of the Second Symphony in this overture.
The Tragic Overture comprises three main sections, all in the key of D minor.
Molto più moderato
Tempo primo ma tranquillo.
Theorists have disagreed in analyzing the form of the piece: Jackson finds Webster's multifarious description rather obscurist and prefers to label the work's form as a "reversed sonata design" in which the second group is recapitulated before the first, with Beethoven's Coriolan Overture as a possible formal model.(Source:http://en.wikipedia.org/wiki/Tragic_Overture)
At the Ravinia Festival, a Liszt of Subtle Works (online.wsj.com)
Posted in Educational, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Academic Festival Overture, Coriolan Overture, Johannes Brahms, Ludwig van Beethoven, Overture, Tempo, Tragic Overture, Vienna
FABULOUS MUSICAL RENDITIONS: Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa
Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa
Watch at your own risk – I warned you 🙂
Live from Paris, Salle Gaveau , May 21, 2014.
Sonata No. 17, Op 31 No.2 D Minor
The Piano Sonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. The British music scholar Donald Francis Tovey says in A Companion to Beethoven's Pianoforte Sonatas:
With all the tragic power of its first movement the D minor Sonata is, like Prospero, almost as far beyond tragedy as it is beyond mere foul weather. It will do you no harm to think of Miranda at bars 31–38 of the slow movement… but people who want to identify Ariel and Caliban and the castaways, good and villainous, may as well confine their attention to the exploits of Scarlet Pimpernel when the Eroica or the C minor Symphony is being played (pg. 121).
The piece consists of three movements and takes approximately twenty-five minutes to perform:
Largo – Allegro
Each of the movements is in sonata form, though the second lacks a substantial development section.
First movement
The first movement alternates brief moments of seeming peacefulness with extensive passages of turmoil, after some time expanding into a haunting "storm" in which the peacefulness is lost. This musical form is unusual among Beethoven sonatas to that date. Concerning the time period and style, it was thought of as an odd thing to write; a pianist's skills were demonstrated in many ways, and showing changes in tone, technique and speed efficiently many times in one movement was one of them. The development begins with rolled, long chords, quickly ending to the tremolo theme of the exposition. There is a long recitative section at the beginning of this movement's recapitulation, again ending with fast and suspenseful passages.
Second movement
The second movement in B-flat major is slower and more dignified. The rising melodic ideas in the opening six measures are reminiscent of the first movement's recitative. Other ideas in this movement mirror the first, for instance, a figure in the eighth measure and parallel passages of the second movement are similar to a figure in the sixth measure of the first.
The third movement is a sonata-rondo hybrid in the key of D minor. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169–173. The recapitulation, which is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. The refrain undergoes phrase expansion to build tension for the climax of the movement at measure 381, a fortissimo falling chromatic scale.
Posted in ARTISTS AND ARTS - Music, Educational, Facebook, Gougle+, IN THE SPOTLIGHT, MEMORIES, Social Media, SoundCloud, Special Interest, Twitter, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged 2014. Sonata No. 17, art, entertainment, EUZICASA, FABULOUS MUSICAL RENDITIONS: Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa, Great Compositions/Performances, Live from Paris, Ludwig van Beethoven, Make Music Part of Your Life Series, May 21, Music, Op 31 No.2 D Minor, Piano, Salle Gaveau, Tempo, YouTube
historic musical bits: Claudio Arrau Beethoven Piano Sonata No. 30
Claudio Arrau Beethoven Piano Sonata No. 30
Farookhq17
Uploaded on Jan 17, 2012
Piano Sonata No. 30 in E major, Op. 109
I. Vivace ma non troppo – Adagio espressivo
II. Prestissimo
III. Gesangvoll, mit innigster Empfindung.
Andante molto cantabile ed espressivo
Ludwig van Beethoven (1770-1827)
Claudio Arrau (1903-1991)
Posted in ARTISTS AND ARTS - Music, Educational, Facebook, Gougle+, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Social Media, Special Interest, Twitter, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged art, Beethoven, entertainment, EUZICASA, Great Compositions/Performances, historic musical bits: Claudio Arrau Beethoven Piano Sonata No. 30, Ludwig van Beethoven, Make Music Part of Your Life Series, Music, Piano, Tempo, YouTube
great compositions/performances: Antonín Dvořák – Piano Quintet No.2 – P. Leschenko, J. Jansen, B. Brovtsyn, J. Rachlin, M. Maisky
Antonín Dvořák – Piano Quintet No.2 – P. Leschenko, J. Jansen, B. Brovtsyn, J. Rachlin, M. Maisky
Mikhail Dubov
Antonín Dvořák – Piano Quintet No.2 in A major, op.81
I. Allegro, ma non tanto (0:00)
II. Dumka: Andante con moto (14:17)
III. Scherzo (Furiant): molto vivace (29:16)
IV. Finale: Allegro (33:22)
Polina Leschenko (piano), Janine Jansen (violin), Boris Brovtsyn (violin), Julian Rachlin (viola), Mischa Maisky (violoncello)
Janine Jansen Chamber Music Festival, Utrecht
Posted in ARTISTS AND ARTS - Music, Arts
Tagged Antonín Dvořák, Antonín Dvořák - Piano Quintet No.2 - P. Leschenko, art, B. Brovtsyn, entertainment, EUZICASA, Great Compositions/Performances, J. Jansen, J. Rachlin, M. Maisky, Make Music Part of Your Life Series, Music, Tempo, YouTube
historic musical bits: Pollini Chopin Mazurka op.56 No.3 Vienna 1986
Pollini Chopin Mazurka op.56 No.3 Live
StockhausenIsMyCat .
Uploaded on Jul 23, 2011
Chopin Mazurka in C minor op. 56 No.3;
Pollini live,
Tagged art, entertainment, EUZICASA, Great Compositions/Performances, historic musical bits: Pollini Chopin Mazurka op.56 No.3 Vienna 1986, Make Music Part of Your Life Series, Music, Piano, Tempo, Vienna, YouTube
Best compositions/performances: Dvořák Symphony No 9 "New World" Sergiu Celibidache (Bio.) , Münchner Philharmoniker, 1991
Dvořák Symphony No 9 "New World" Sergiu Celibidache, Münchner Philharmoniker, 1991
1Furtwangler
Dvořák – Symohony No. 9 in E minor op. 95 "From The New World"
Münchner Philharmoniker conducted by Sergiu Celibidache
Recorded 1991
1. Adagio – Allegro molto
2. Largo
3. Scherzo. Molto vivace
4. Allegro con fuoco
Sergiu Celibidache giving a conducting lesson at the Curtis Institute in 1984 to student David Bernard
Sergiu Celibidache (Romanian: [ˈserd͡ʒju t͡ʃelibiˈdake]; 11 July [O.S. 28 June] 1912 – 14 August 1996) was a Romanian conductor, composer, and teacher. Educated in his native Romania, and later in Paris and Berlin, Celibidache's career in music spanned over five decades, including tenures as principal conductor for the Munich Philharmonic, Berlin Philharmonic and several European orchestras. Later in life, he taught at Mainz University in Germany and the Curtis Institute of Music in Philadelphia, Pennsylvania.
Celibidache frequently refused to release his performances on commercial recordings during his lifetime claiming that a listener could not obtain a "transcendental experience" outside of the concert hall. Many of the recordings of his performances were released posthumously. Nonetheless, he earned international acclaim for celebrated interpretations of classical music repertoire and was known for a spirited performance style informed by his study and experiences in Zen Buddhism. His later career was marred by controversy and accusations of sexism and discrimination that came to light during a 12-year legal battle that dominated his tenure at the Munich Philharmonic.[1]
Early life and education
Sergiu Celibidache was born on 28 June 1912[note 1] in Roman, a small town in North East Romania, where his father was a government official.[2][3] Early in his youth, he began studying piano and after traditional schooling in Romania, he was sent by his father to Bucharest and then to Paris where he studied music, philosophy and mathematics.[2] His father had expected him to pursue a political career in Romania.[2] However, Celibidache chose to enroll in the Hochschule für Musik (Academy of Music) in Berlin, Germany in 1936 where he studied composition under Heinz Thiessen and later conducting under Kurt Thomas, Walter Gmeindl and Fritz Stein.[2][3] He continued with doctoral studies at the Friedrich Wilhelm University (Friedrich-Wilhelms-Universität) in Berlin where he studied philosophy with Nicolai Hartmann and Eduard Spranger and musicology with Arnold Schering and Georg Schünemann.[2] He submitted a dissertation on Franco-Flemish composer Josquin des Prez (c. 1450–1521) and his work during the Renaissance. He received his degree in 1944.[2][3] During his studies in Berlin, Celibidache was introduced to Zen Buddhism through the influence of his teacher, Martin Steinke, and the tenets of Buddhism informed Celibidache's worldview and work for the rest of his life.[3]
Sergiu Celibidache studied in Berlin and, from 1945 to 1952, he was principal conductor of the Berlin Philharmonic. He later worked with radio orchestras in Stockholm, Stuttgart and Paris. He also worked in Britain in the late 1940s and 1950s, due partly to the promotional efforts of the pianist Eileen Joyce and her partner, an artists' agent. Joyce said that Celibidache was the greatest conductor she had ever worked with – "he was the only one who got inside my soul".[4] In 1970 he was awarded Denmark's Sonning Award. From 1979 until his death he was music director of the Munich Philharmonic. He regularly taught at Mainz University in Germany and in 1984 taught at the Curtis Institute in Philadelphia, Pennsylvania. Teaching was a major focus throughout his life and his courses were frequently open to all without fee. Among his notable students are Françoys Bernier, Jordi Mora, Peter Perret, Markand Thakar, Konrad von Abel,[5] Nils-Göran Areskoug and Tom Zelle as well as The Danish Windquintet.[citation needed]
He appeared in the film Botschafter der Musik where he conducted the Berlin Philharmonic in a complete performance of Ludwig van Beethoven's Egmont overture.
One controversial incident during his tenure with the Munich Philharmonic was a protracted legal battle to oust principal trombonist Abbie Conant that lasted 12 years, with Conant ultimately prevailing. Judge Angela Mack ruled that the City of Munich through the orchestra had broken the law concerning the equal treatment of employees.[6] A detailed description of the case and the sexism Ms. Conant had to endure can be found in an internet article published by her husband, William Osbourne. Her audition and controversy is discussed in Malcolm Gladwell's book Blink.
Celibidache died at the age of 84 on 14 August 1996 at La Neuville-sur-Essonne, in the Arrondissement Pithiviers, near Paris. He was buried in the Cimetière de Neuville sur Essone.
In 1965, Celibidache married Ioana Procopie Dimitrescu. They had one son, Sergiu Ioan Celibidache ("Serge"), born 19 June 1968.[note 2]
Performance style and criticism
Celibidache's approach to music-making is often described more by what he did not do instead of what he did. For example, much has been made of Celibidache's "refusal" to make recordings even though almost all of his concert activity actually was recorded with many released posthumously by major labels such as EMI and Deutsche Grammophon with the consent of his family.[7] Nevertheless, Celibidache paid little attention to making these recordings, which he viewed merely as by-products of his orchestral concerts.
Celibidache's focus was instead on creating, during each concert, the optimal conditions for what he called a "transcendent experience". Aspects of Zen Buddhism, such as ichi-go ichi-e, were strongly influential on him. He believed that transcendental experiences were extremely unlikely to ensue when listening to recorded music, so he eschewed them. As a result, some of his concerts did provide audiences with exceptional and sometimes life-altering experiences, including, for example, a 1984 concert in Carnegie Hall by the Orchestra of the Curtis Institute that New York Times critic John Rockwell touted as the best of his twenty-five years of concert-going.[8]
Celibidache was well known for his demands for extensive rehearsal time with orchestras.[9] An oft-mentioned feature of many of his concerts, captured in the live recordings of them, is a slower tempo than what is considered the norm, while, in fast passages, his tempos often exceeded expectations.[10] In Celibidache's own view, however, criticism of a recording's tempo is irrelevant, as it is not (and cannot be) a critique of the performance but rather of a transcription of it, without the ambience of the moment – for him, a key factor in any musical performance. As Celibidache explained, the acoustic space in which one hears a concert directly affects the likelihood of the emergence of his sought-after transcendent experience. The acoustic space within which one hears a recording of one of his performances, on the other hand, has no impact on the performance, as it is impossible for the acoustic features of that space to stimulate musicians to play slower or faster.
That his recorded performances differ so widely from the majority of other recordings has led them to be seen by some as collectors' items rather than mainstream releases, 'one-offs' rather than reference recordings.[11]
Notable releases have been his Munich performances of Beethoven, Johannes Brahms, Anton Bruckner, Robert Schumann, Johann Sebastian Bach, Gabriel Fauré and a series of live performances with the London Symphony Orchestra and the Stuttgart Radio Symphony Orchestra.
1969: Tchaikovsky: Symphony No.5 in E Minor, Op.64 (Decca Eclipse)
1985: Beethoven: Concerto for Violin and Orchestra (Electrecord)
1988: Mendelssohn: Sinfonia N. 4 Italiana; Dvořák: Sinfonia N. 9 Dal Nuovo Mondo (Frequenz)
n.d.: Beethoven: Concerto No.5 for Piano and Orchestra "Emperor" (Electrecord)
1990: Tchaikovsky: Symphony No. 5; Nutcracker Suite (London)
1991: Mozart: Requiem; Vivaldi: Stabat Mater (Arkadia)
1991: Tchaikovsky: Symphony No. 6 "Pathetique"; Roméo et Juliette (Arkadia)
1994: Bruckner: Symphony No. 7 (Andromeda)
1994: Brahms: Symphony Nos. 3 & 4 (Fonit-Cetra Italia)
1994: Brahms: Symphony No. 2 & Haydn Variations, Op. 56a (Fonit-Cetra Italia)
1994: Mozart: Grand Mass, K. 427 (Cetra)
1995: Beethoven: Symphony Nos. 2&4 (Nas)
1997: Béla Bartók: Concerto for Orchestra (EMI Music Distribution)
1997: Beethoven: Symphony Nos. 4&5 (EMI Music Distribution)
1997: Debussy: La Mer; Iberia (EMI Music Distribution)
1997: Haydn: Symphony Nos 103 & 104 (EMI Music Distribution)
1997: Mozart: Symphony No. 40; Haydn: "Oxford Symphony" (EMI Music Distribution)
1997: Ravel: Ma Mère l'Oye; Bolero, Le tombeau de Couperin; Alborada del Gracioso (Fonit-Cetra Italia)
1997: S. Celibidache Conducts Beethoven & Brahms (Tahra)
1997: Schubert: Symphony No. 9 (EMI Music Distribution)
1997: Schumann: Symphonies 3 &4 (EMI Music Distribution)
1997: Tchaikovsky: Romeo and Juliet Fantasy; Overture/Mussorgsky: Pictures at an Exhibition (EMI Music Distribution)
1997: Tchaikovsky: Symphony No. 5 (EMI Music Distribution)
1997: The Young Celibidache, Vol. II (Tahra)
1997: Wagner: Orchestral Music (EMI Music Distribution)
1998: Bruckner 3 (EMI Music Distribution)
1998: Bruckner 6 (EMI Classics)
1998: Bruckner 7; Te Deum (EMI Music Distribution)
1998: Bruckner 9 in Concert and Rehearsal (EMI Classics)
1998: Bruckner: Mass in F minor (EMI Music Distribution)
1998: Bruckner: Symphonies No. 3-9; Mass in F minor, Te Deum (EMI Classics)
1998: Shostakovich: S No. 7 (Magic Talent)
1999: Sergei Celebidache (Box) (No Noise)
1999: Beethoven: Symphonies No. 2 & 4 (EMI Music Distribution)
1999: Beethoven: Symphony No. 3 (EMI Music Distribution)
1999: Beethoven: Symphony No. 6; Leonore (EMI Music Distribution)
1999: Brahms: Symphonies Nos. 2, 3, 4 (EMI Music Distribution)
1999: Brahms: Symphony No. 1; Ein deutsches Requiem (EMI Music Distribution)
1999: Celibidache Conducts Beethoven 7 & 8 (EMI Music Distribution)
1999: Tchaikovsky: Sinfonia No. 2 Op. 17 "Piccola Russia"; Dvořák: Concerto Op. 104 (Urania)
1999: Brahms: Deutsches Requiem (Audiophile Classics)
1999: Mussorgsky: Pictures at an Exhibition; Stravinsky: The Fairy's Kiss Suite (Deutsche Grammophon)
1999: Prokofiev: Scythian Suite; Symphony No. 5 (Deutsche Grammophon)
1999: Rimsky-Korsakov: Sheherazade; Stravinsky: The Firebird Suite (Version 1923) (Deutsche Grammophon)
1999: Schumann: Symphony No. 2; Brahms: Haydn Variations (EMI Music Distribution)
1999: Strauss: Don Juan; Tod und Verklärung; Respighi: Pini di Roma (Rehearsals) (Deutsche Grammophon)
1999: Tchaikovsky: Symphony No. 2; Brahms: Symphony No. 4 (Arkadia)
2000: Brahms: Sinfonia N. 2; Mozart: Sinfonia No. 25 (Urania)
2000: Bruckner: Symphonies Nos. 3–5 (Box Set) (Deutsche Grammophon)
2000: Bruckner: Symphony No. 3 (Deutsche Grammophon)
2000: Bruckner: Symphony No. 5 (Rehearsal) (Deutsche Grammophon)
2000: Bruckner: Symphony No. 5; Mozart: Symphony No. 35 (Deutsche Grammophon)
2000: Franck: Symphony in D; Hindemith: Mathis der Mahler (Deutsche Grammophon)
2000: Richard Strauss: Till Eulenspiegel; Don Juan; Shostakovich: Symphony No. 9 (Deutsche Grammophon)
2000: Schubert: Symphony No. 8 "Unfinished"; Tchaikovsky: Nutcracker Suite (Aura Classics)
2000: Sibelius: Symphonies Nos. 2 & 5 (Deutsche Grammophon)
2001: Sergiu Celibidache (Classica d'Oro)
2001: Sergiu Celibidache et la Philharmonie de Berlin (Tahra)
2001: Shostakovich: Symphony No. 7 "Leningrad" (Classica d'Oro)
2002: Prokofiev: Symphonies Nos. 1 & 5; Violin Concerto No. 1 (Classica d'Oro)
2003: Mendelssohn: Symphony No. 4 "Italian"; Bizet: Symphony in C (Archipel)
2004: Bach: Mass in B minor (EMI Classics)
2004: Bruckner: Symphonies Nos. 3–5, 7–9 [Box Set] (Deutsche Grammophon)
2004: Celibidache Conducts Milhaud & Rousel (EMI Music Distribution)
2004: Celibidache Plays Mozart's Requiem (EMI Classics)
2004: Fauré: Requiem; Stravinsky: Symphony of Psalms [Live] (EMI Music Distribution)
2004: Overtures by Berlioz; Mendelssohn; Schubert; Smetana & Strauss (EMI Music Distribution)
2004: Prokofiev: Symphonies 1 & 5 (EMI Music Distribution)
2004: Rimsky-Korsakov: Scheherazade (EMI Music Distribution)
2004: Shostakovich: Symphony No. 7 'Leningrad' (Pickwick)
2006: Celibidache: Der Taschengarten (Universal Classics & Jazz)
2006: Celibidache: The Complete EMI Edition [Limited Edition] [Box Set] (EMI Classics)
2006: Sergiu Celibidache: Lesen & Hören [CD+Book]
2007: Beethoven: Symphony No. 3 "Eroica"; Overture Leonre III (Archipel)
2007: Bruckner: Symphony No. 5
2007: Schumann: Symphony No. 4; Mussorgsky: Pictures at an Exhibition
2008: Sergiu Celibedache Conducts Kölner Rundfunk-Sinfonie-Orchester (Orfeo)
n.d.: Anton Bruckner: Symphonies Nos. 5 & 8; Brahms: Haydn-Variationen Op. 56 (Exclusive)
n.d.: Anton Bruckner: Symphony No.7, In E Major (As Disc)
n.d.: Antonín Dvořák: Symphony N. 7; Johann Strauss Jr.: Die Fledermaus, Overture (Artists)
n.d.: Bach: Mass in B minor (Exclusive)
n.d.: Beethoven: Symphonies Nos. 2 & 4 (Artists)
n.d.: Beethoven: Symphony No. 7; Bach: Brandenburg Coincerto No. 3; Ravel: Le Tombeau de Couperin (Archipel)
n.d.: Berlioz: Symphonie fantastique op. 14; Roméo et Juliette (Arkadia)
n.d.: Brahms: German Requiem (Myto Records)
n.d.: Brahms: Symphonies Nos. 1–4 [Box Set] (Deutsche Grammophon)
n.d.: Brahms: Symphonies Nos. 2 & 3 (Deutsche Grammophon)
n.d.: Brahms: Symphonies Nos. 2–4; Variations on a theme from Haydn (Acum)
n.d.: Brahms: Symphony No. 1 (Deutsche Grammophon)
n.d.: Brahms: Symphony No. 1 (Acum)
n.d.: Brahms: Symphony No. 4 (Rehearsal) (Deutsche Grammophon)
n.d.: Brahms: Symphony Nos. 2 & 3 (Legend)
n.d.: Brahms: The Complete Symphonies; Haydn Variations; Alto Rhapsody (Living Stage)
n.d.: Bruckner: Symphonies 4 & 9 (Exclusive)
n.d.: Bruckner: Symphonies 7 & 8 (Deutsche Grammophon)
n.d.: Bruckner: Symphonies 7–9 [Box Set] (Deutsche Grammophon)
n.d.: Bruckner: Symphony 7 (Deutsche Grammophon)
n.d.: Bruckner: Symphony No. 3 (Exclusive)
n.d.: Bruckner: Symphony No. 7 (Arkadia)
n.d.: Bruckner: Symphony No8, WAB108; Schubert: Symphony in Bf No5, D485 (Deutsche Grammophon)
n.d.: Celibidache Conducts Debussy & Ravel (Box Set) (Deutsche Grammophon)
n.d.: Celibidache Conducts Debussy/Respighi/Milhaud (Originals)
n.d.: Celibidache Conducts Mussorgsky, Stravinsky, Rimsky-Korsakov, Prokofiev (Box Set) (Deutsche Grammophon)
n.d.: Celibidache Conducts Ravel & Stravinsky (Originals)
n.d.: Celibidache Conducts Tchaikovsky (Grammofono 2000)
n.d.: Celibidache Festival (Originals)
n.d.: Celibidache [Box Set] (Deutsche Grammophon)
n.d.: Celibidache conducts Debussy (FED)
n.d.: Celibidache, Vol. 1: Symphonies (EMI Classics)
n.d.: Celibidache, Vol. 3: French & Russian Music (EMI Classics)
n.d.: Celibidache, Vol. 4: Sacred Music & Opera (EMI Classics)
n.d.: Conducts Stravinsky 13 (Arlecchino)
n.d.: Debussy: Ibéria; Ravel: Rapsodie espagnole; Alborada del gracioso (Deutsche Grammophon)
n.d.: Debussy: La Mer (Rehearsal) (Deutsche Grammophon)
n.d.: Debussy: La mer; La damoiselle élue; Milhaud: Saudades do Brazil (Fonit-Cetra Italia)
n.d.: Debussy: Nocturnes; La Mer (Deutsche Grammophon)
n.d.: Dvořák: Concerto in B Minor/Eight Slavonic Dances (Arkadia)
n.d.: Dvořák: Concerto per Violino e Orchestra; Sinfonia No. 9 "Dal Nuovo Mondo" (Concerto)
n.d.: Franck: Symphonie en Ré mineur; Wagner: Siegfried-Idyll; Tristan und Isolde vorspiel (Arkadia)
n.d.: Great Conductors of the 20th century, Vol. 39: Sergiu Celibidache (EMI Music Distribution)
n.d.: Haydn: Sinfonia No. 104 "London"; Claude Debussy: Jeux; Igor Stravinsky: Jeux de Cartes (Urania)
n.d.: Haydn: Symphony No.103/Mozart: Symphony No.38 (Originals)
n.d.: Legendary Performers Vol.2 (As Disc)
n.d.: Modest Mussorgsky: Pictures at an Exhibition/Richard Strauss: Don Juan (Artist)
n.d.: Mozart: Grande Messa K 427; Concerto for Two Pianos and Orchestra K 365; Serenata "Haffner" K 250 (Acum)
n.d.: Mozart: Grande Messa/Concerto KV.365/Serenata KV.250 (Fonit-Cetra Italia)
n.d.: Mozart: Messa di Requiem (Il Sabato)
n.d.: Mozart: Requiem in Dm (Artists)
n.d.: Mozart: Symphonies Nos. 40 & 41; Schubert: Symphony No. 5; Schumann: Symphony No. 2 (Living Stage)
n.d.: Mozart:Symphony No.41/Schubert:Symphony No.5 (Memories)
n.d.: Mussorgsky: Pictures at an Exhibition; Cherubini: Symphony in D Major; Bäck: Intrada for Orchestra (Originals)
n.d.: Prokofiev: Romeo & Juliet (Extracts) (Deutsche Grammophon)
n.d.: Prokofiev: Romeo E Giulietta/Berlioz: Romeo E Giulietta/Tchaikovsky: Romeo E Giulietta (Fonit-Cetra Italia)
n.d.: Prokofiev: Symphony No. 5; Prokofiev, Berlioz, Tchaikovsky: Romeo and Juliet (Acum)
n.d.: RTSI Orchestra Conducted by Sergiu Celibidache: Schubert, Tchaikovsky
n.d.: Ravel: Valse; Daphnis et Chloé; Suite No. 2; Le Tombeau de Couperin (Deutsche Grammophon)
n.d.: Richard Strauss: Tod und Verklärung; Vier letzte Lieder; Igor Stravinsky: L'oiseau de feu; Ravel: Daphnis et Chloé (Acum)
n.d.: Rimsky-Korsakov: Schéhérazade (Originals)
n.d.: Schubert/Schumann: Sinfonie (Fonit-Cetra Italia)
n.d.: Schubert: Symphonies Nos. 5 & 8; Schumann: Symphonies Nos. 1 "Primavera" & 2 (Acum)
n.d.: Schubert: Symphonies Nos. 8 & 9; Franck: Symphony in D minor; Mussorgsky-Ravel: Pictures at an Exhibition (Urania)
n.d.: Schumann: Piano Concerto in A minor, Op. 54; Richard Strauss: Vier letzte Lieder (Artists Live Recording)
n.d.: Schumann: Symphony Nos. 1 & 2 (Cetra)
n.d.: Sergiu Celibidache Alla Rai, Vol.5 (Fonit-Cetra Italia)
n.d.: Sergiu Celibidache Conducts (Artists)
n.d.: Sergiu Celibidache Conducts (EMI Classics)
n.d.: Sergiu Celibidache Conducts (Enterprise)
n.d.: Sergiu Celibidache Conducts (Urania)
n.d.: Sergiu Celibidache Conducts Beethoven: Symphonies Nos. 2 & 4 (FED)
n.d.: Sergiu Celibidache Conducts Brahms: Ein Deutsches Requeim, Op. 45 (IDIS)
n.d.: Sergiu Celibidache Conducts Mendelssohn, Haydn, Beethoven (IDIS)
n.d.: Sergiu Celibidache Conducts the Berliner Philharmoniker (Myto Records)
n.d.: Sergiu Celibidache alla RAI, Vol. 1: Johannes Brahms – Sinfonie 1–4, Variazione su un tema di Haydn (Fonit-Cetra Italia)
n.d.: Sergiu Celibidache conducts Blacher, Mendelssohn, Brahms, Cherubini, Schwarz-Schilling (Tahra)
n.d.: Sergiu Celibidache conducts Franck, Tchaikovsky (IDIS)
n.d.: Sergiu Celibidache conducts Schubert & Schumann (IDIS)
n.d.: Sergiu Celibidache, Vol.1 (Arlecchino)
n.d.: Sergiu Celibidache: From the collection of Deutsches Rundfunkarchiv (Music & Arts)
n.d.: Sergiu Celibidache: Magier des Klangs (Documents)
n.d.: Shostakovich: Symphony No.7 "Leningrad" (Grammofono 2000)
n.d.: Shostakovich: Symphony No5, Op47; Symphony No9, Op70 (Arkadia)
n.d.: Shostokovich: Symphonies 1 & 9; Barber: Adagio for Strings (EMI Classics)
n.d.: Strauss: Don Juan; Tod und Verklärung; Respighi: Pini di Roma (Deutsche Grammophon)
n.d.: Strauss: Ein Heldenleben (Deutsche Grammophon)
n.d.: Stravinsky: L'Oiseau de feu; Ravel: Daphnis et Chloé; La Valse; Pavane pour une infante défunte (Cetra)
n.d.: Tchaikovsky: Symphony No. 4; Nutcracker Suite (Angel Records / EMI Classics)
n.d.: Tchaikovsky: Symphony No. 6; Monteverdi: Vespers of 1610 – Ave Maris Stella (Archipel)
n.d.: The Art of Sergiu Celibidache, Volume 1–7 (Arlecchino)
n.d.: The Complete RIAS Recordings (Audite)
n.d.: The Stuttgart Recordings, Vol. 3 (Deutsche Grammophon)
n.d.: The Unpublished Celibidache in Naples (Originals)
n.d.: Verdi: Requiem (EMI Classics)
n.d.: Wagner: Tristan und Isolde WWV90; Siegfried Idyll in E WWV103 (Arkadia)
1970: Léonie Sonning Music Prize (Denmark)
1992: Honorary Citizen of the City of Munich (Ehrenbürgerrecht von München)[12]
1992: Grand Officers Cross with star, Order of Merit of the Federal Republic of Germany (Großes Verdienstkreuz mit Stern, Verdienstorden der Bundesrepublik Deutschland)
1992: Honorary Member of the Romanian Academy
1992: Doctor honoris causa, Iași Academy of Art and University of Iași
1993: Member of the Bavarian Maximilian Order for Science and Art (Bayerische Maximiliansorden für Wissenschaft und Kunst) (Germany)
Bavarian Order of Merit (Bayerischer Verdienstorden)
Honorary Citizen (Cetățean de Onoare) of Iași, Romania
The 28 June 1912 date of birth was based on the old style Julian calendar then officially used in Romania. According to the modern Gregorian calendar that is currently used in the West, Celibidache's birthdate would be 11 July 1912.
In several sources, his son's name is rendered as Serge Ioan Celebidachi.
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Tagged 1991, Antonín Dvořák, art, Best compositions/performances: Dvořák Symphony No 9 "New World" Sergiu Celibidache (Bio.), conductor, entertainment, EUZICASA, Great Compositions/Performances, Make Music Part of Your Life Series, Münchner Philharmoniker, Music, Orchestra, Segiu Celibidache, Sergiu Celibidache, Tempo, wikipedia, YouTube
great compositions/performances: Glazunov "Symphony No 7" USSR Ministry of Culture Symphony OrchestraGennadi Rozhdestvensky
Glazunov "Symphony No 7" Gennadi Rozhdestvensky
Ulrich Dünnebach
Symphony No 7 in F Major op 77
by Alexander Glazunov
1. Allegro moderato
2. Andante
3. Scherzo-Allegro giocoso
4. Finale: Allegro maestoso
USSR Ministry of Culture Symphony Orchestra
Gennadi Rozhdestvensky, conductor
"Symphony No. 7 in F Major, Op. 77 – "Pastorale": II. Andante" by USSR Ministry of Culture Symphony Orchestra (Google Play • iTunes)
Tagged entertainment, EUZICASA, Great Compositions/Performances, great compositions/performances: Glazunov "Symphony No 7" USSR Ministry of Culture Symphony OrchestraGennadi Rozhdestvensky, Make Music Part of Your Life Series, Music, Orchestra, Tempo, YouTube
make music part of your llife series: Pyotr Ilyich Tchaikovsky – Romeo and Juliet – Fantasy Overture
Pyotr Ilyich Tchaikovsky – Romeo and Juliet – Fantasy Overture
Fledermaus1990
Uploaded on Sep 3, 2011
Romeo and Juliet is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Unlike Tchaikovsky's other major compositions, Romeo and Juliet does not have an opus number.
In 1880, ten years after his first reworking of the piece, Tchaikovsky rewrote the ending and gave the piece the sub-title "Overture-Fantasia". It was completed by September 10, 1880, but did not receive its premiere until May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), under Mikhail Ippolitov-Ivanov.
Conductor: Julian Kovatchev
Orchestra: Sofia Festival Orchestra
Love Theme at 14:55
Paint: Il Bacio, Francesco Heyez (1859).
Tagged 1812 Overture, 2 Days in New York, 2 Days in Paris, Academic Festival Overture, Academy Award, Cello, fantasy overture, Johann Sebastian Bach, Pyotr Ilyich Tchaikovsky, Romeo And Juliet, tchaikovsky, Tempo
make music part of your life: Aram Khachaturian – Lezginka from Gayane
Aram Khachaturian – Lezginka from Gayane
Khachaturian in 1971
Aram Il'yich Khachaturian (/ˈærəm ˌkɑːtʃəˈtʊəriən/;[1] Russian: Арам Ильич Хачатурян; Armenian: Արամ Խաչատրյան, Aram Xačatryan;[A] Armenian pronunciation: [ɑˈɾɑm χɑt͡ʃʰɑt(ə)ɾˈjɑn]; 6 June 1903 – 1 May 1978) was a Soviet Armenian composer and conductor. He is considered one of the leading Soviet composers.[2][3]
Born and raised in Tbilisi, the multicultural capital of Georgia, Khachaturian moved to Moscow in 1921 following the Sovietization of the Caucasus. Without prior music training, he enrolled in the Gnessin Musical Institute, subsequently studying at the Moscow Conservatory in the class of Nikolai Myaskovsky, among others. His first major work, the Piano Concerto (1936), popularized his name within and outside the Soviet Union. It was followed by the Violin Concerto (1940) and the Cello Concerto (1946). His other significant compositions include the Masquerade Suite (1941), the Anthem of the Armenian SSR (1944), three symphonies (1935, 1943, 1947), and around 25 film scores. Khachaturian is best known for his ballet music—Gayane (1942) and Spartacus (1954). His most popular piece, the "Sabre Dance" from Gayane, has been used extensively in popular culture and has been covered by a number of musicians worldwide.[4] His style is "characterized by colorful harmonies, captivating rhythms, virtuosity, improvisations, and sensuous melodies."[5]
During most of his career, Khachaturian was approved by the Soviet government and held several high posts in the Union of Soviet Composers from the late 1930s, although he joined the Communist Party only in 1943. Along with Sergei Prokofiev and Dmitri Shostakovich, he was officially denounced as a "formalist" and his music dubbed "anti-people" in 1948, but was restored later that year. After 1950 he taught at the Gnessin Institute and the Moscow Conservatory, and turned to conducting. He traveled to Europe, Latin America and the United States with concerts of his own works. In 1957 Khachaturian became the Secretary of Union of Soviet Composers, a position he held until his death.
Khachaturian was the most renowned Armenian composer of the 20th century[6] and the author of the first Armenian ballet music, symphony, concerto, and film score.[B] While following the established musical traditions of Russia, he broadly used Armenian and to lesser extent, Caucasian, Eastern & Central European, and Middle Eastern peoples' folk music in his works. He is highly regarded in Armenia, where he is considered a "national treasure".[7]
Denunciation and restoration (1948)
In mid-December 1947, the Department for Agitation and Propaganda (better known as Agitprop) submitted to Andrei Zhdanov, the secretary of the Communist Party's Central Committee, a document on the "shortcomings" in the development of Soviet music. On 10–13 January 1948, a conference was held at the Kremlin in the presence of seventy musicians, composers, conductors and others who were confronted by Zhdanov:[35]
We will consider that if these comrades [Shostakovich, Prokofiev, Myaskovsky, Khachaturian, Kabalevsky and Shebalin] namely who are the principal and leading figures of the formalist direction in music. And that direction is fundamentally incorrect.
Thus, Khachaturian and other leading composers were denounced by the Communist Party as followers of the alleged formalism[10] (i.e. "[a type of] music that was considered too advanced or difficult for the masses to enjoy")[3] and their music was dubbed "anti-people".[36] It was the Symphonic Poem (1947), later titled the Third Symphony, that officially earned Khachaturian the wrath of the Party.[35][37] Ironically, he wrote the work as a tribute to the 30th anniversary of the October Revolution.[38] He stated: "I wanted to write the kind of composition in which the public would feel my unwritten program without an announcement. I wanted this work to express the Soviet people's joy and pride in their great and mighty country."[39]
Musicologist Blair Johnston believes that his "music contained few, if any, of the objectionable traits found in the music of some of his more adventuresome colleagues. In retrospect, it was most likely Khachaturian's administrative role in the Union [of Soviet Composers], perceived by the government as a bastion of politically incorrect music, and not his music as such, which earned him a place on the black list of 1948."[40] In March 1948,[20] Khachaturian "made a very full and humble apology for his artistic "errors" following the Zhdanov decree; his musical style, however, underwent no changes."[40] He was sent to Armenia as a "punishment",[10] and continued to be censured.[20] By December 1948,[20] he was "restored to favor later that year when he was praised for his film biography of Lenin"—Vladimir Ilyich Lenin (ru).[16]
Tagged aram khachaturian, Aram Khachaturian - Lezginka from Gayane, art, entertainment, EUZICASA, Great Compositions/Performances, Make Music Part of Your Life Series, Music, Tempo, YouTube
Historic Musical Bits: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21
Édouard Lalo (Photo credit: Wikipedia)
Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21
Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo
"Symphonie espagnole, Op. 21: III. Intermezzo. Allegretto Non Troppo" by Isaac Stern;The Philadelphia Orchestra;Eugene Ormandy (Google Play • iTunes • AmazonMP3)
The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.
The work was written in 1874 for violinist Pablo de Sarasate, and premiered in Paris in February 1875.
Although called a "Spanish Symphony" (see also Sinfonia concertante), it is considered a violin concerto by musicians today. The piece has Spanish motifs throughout, and launched a period when Spanish-themed music came into vogue. (Georges Bizet's opera Carmen premiered a month after the Symphonie espagnole.)
The Symphonie espagnole is one of Lalo's two most often played works, the other being his Cello Concerto. His "official" Violin Concerto in F, and his Symphony in G minor, written thirteen years later, are neither performed nor recorded as often.[citation needed]
Allegro non troppo
Scherzando: Allegro molto
Intermezzo: Allegro non troppo
Rondo: Allegro
A typical performance runs just over one-half hour. One of the shorter recordings, conductor Eugene Ormandy's 1967 recording with the Philadelphia Orchestra, featuring violinist Isaac Stern, runs 32 minutes and 43 seconds.[1]
Influence on Tchaikovsky
The Symphonie espagnole had some influence on the genesis of Tchaikovsky's Violin Concerto in D major. In March 1878, Tchaikovsky was staying at Nadezhda von Meck's estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and possibly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. These included the Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on a piano sonata and started on the concerto on 17 March.[2] With Kotek's technical help, the concerto was finished by 11 April.
"Lalo: Symphonie Espagnole". CD Universe. Retrieved 26 January 2014.
Tagged Allegro non troppo, Antonio Vivaldi, art, Arturo Rodríguez, Édouard Lalo, entertainment, Estaciones Porteñas, eugene ormandy, EUZICASA, Great Compositions/Performances, Isaac Stern, Leonid Desyatnikov, Make Music Part of Your Life Series, Music, pablo de sarasate, sydney, Sydney Dance Company, Sydney Symphony Orchestra, Symphonie espagnole, Tempo, YouTube
P. I. Tchaikovsky – Symphony No. 1 "Winter Daydreams" (Fedoseyev)
Joseph Aknin
P. I. Tchaikovsky – Symphony No. 1 "Winter Daydreams" in G minor, Op. 13 (1866)
П. И. Чайковский – Симфония № 1 «Зимние грёзы» соль минор, соч. 13:
1. «Грёзы зимнею дорогой (Dreams of a Winter Journey)». Allegro tranquillo g-moll
2. «Угрюмый край, туманный край» (Land of Desolation, Land of Mists). Adagio cantabile ma non tanto
3. Скерцо (Scherzo). Allegro scherzando giocoso
4. Финал (Finale). Andante lugubre. Allegro maestoso
Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991
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Tagged Adagio for Strings, American Civil War, Andrew Davis (conductor), Anne-Sophie Mutter, Annie Fischer, Archduke Rudolf of Austria (1788–1831), Ludwig van Beethoven, Orchestra, P. I. Tchaikovsky - Symphony No. 1 "Winter Daydreams" (Fedoseyev), Pyotr Ilyich Tchaikovsky, Tempo
"Ruhe sanft, mein holdes Leben" Lucia Popp , Vienna Haydn Orchestra, István Kertész (1972 Decca Music Group Limited) , A Mozart, Wolfgang Amadeus
Mozart: Zaide, K.344 / Act 1 – "Ruhe sanft, mein holdes
#LuciaPopp
"Ruhe sanft, mein holdes Leben"
Lucia Popp
Vienna Haydn Orchestra
István Kertész
℗ 1972 Decca Music Group Limited
Author: Schachtner, Johann Andreas
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MEMORIES, PEOPLE AND PLACES HISTORY, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged A. Mozart, Android (operating system), Andy Warhol, anton bruckner, art, Asian supermarket, bbc symphony orchestra, Great Compositions/Performances, István Kertész (1972 Decca Music Group Limited), Make Music Part of Your Life Series, mein holdes Leben" Lucia Popp, Music, Orchestra, Ruhe sanft, Tempo, United States, Vienna, Vienna Haydn Orchestra, Wolfgang Amadeus, Wolfgang Amadeus Mozart, YouTube
best classical music , Gustav Holst St.Paul's Suite for String Orchestra Op.29, No.2, great compositions/performances
Cross Chamber Orchestra(CCO)
Conductor : Jin Daniel Suh
Gustav Holst St.Paul's Suite for String Orchestra Op.29, No.2
TheSiegfriedkim
St Paul's Suite
St Paul's Suite (Op. 29, No. 2), originally titled Suite in C,[1] is a composition for string orchestra by the English composer Gustav Holst. It was written in 1912, but due to revisions was not published until 1922. It is named after the St Paul's Girls' School in the United Kingdom, where Holst was Director of Music from 1905 to 1934. It was written in gratitude to the school which had built a soundproof studio for him. This suite is the most famous of the many pieces he wrote for students at St. Paul's.[2]
The suite has four movements:
I. Jig: Vivace (alternating between 6/8 and 9/8 time)
II. Ostinato: Presto
III. Intermezzo: Andante con moto (labeled "Dance" in the manuscript)
IV. Finale (The Dargason): Allegro (arranged from the "Fantasia on the Dargason" from his Second Suite in F for Military Band)
http://www.bbc.co.uk/iplayer/episode/b010p530/Holst_In_the_Bleak_Midwinter/
Gustav Holst article" – Humanities Web database
Best classical music , Antonín Dvořák – Serenade in D minor, Op. 44 , great compositions/performances
Posted in ARTISTS AND ARTS - Music, Arts, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, Uncategorized, YouTube/SoundCloud: Music, YouTube/SoundCloud: Music, Special Interest
Tagged 2014 Cross Chamber Orchestra, Alberto Ginastera, Aspen Music Festival and School, Barack Obama, best classical music:, Distinguished Service Order, Franz Schubert, Frick Collection, Great Compositions/Performances, Gustav Holst, Gustav Holst St.Paul's Suite for String Orchestra Op.29, Hyacinthe Jadin, Jin Daniel, Jin Daniel Suh St Paul, Johann Sebastian Bach, List of compositions by Wolfgang Amadeus Mozart, List of French composers, Louise M. Davies Symphony Hall, maurice ravel, Middle school, Minuet, New York City, No. 2., Orchestra, Romanticism, St Paul's Girls' School, Suite for String Orchestra, Tempo
Alexander Glazunov: Symphony #7 "Pastoral" in F Op 77, great compositions/performances
The image of Russian conductor Gennady Rozhdestvensky Das Foto von russisch Dirigent Gennadi Nikolajewitsch Roschdestwenski (Photo credit: Wikipedia)
Alexandr Glazunov – Symphony No. 7 in F major, Op. 77
Wolfgang Amadé Mozart
USSR Ministry Of Culture Symphony Orchestra – Gennadi Rozhdestvensky
Symphony No. 7 (Glazunov)
The Symphony No. 7 in F major, Pastoral, Op. 77, was completed by Alexander Glazunov on July 4, 1902.[1] It is dedicated to Mitrofan Belyayev.[2]
It is in four movements:
Scherzo: Allegro giocoso
Finale: Allegro maestoso
YE EUN CHOI: Wieniawski Violin Concerto No.2 with Christoph Eschenbach (Schleswig-Holstein Musik Festival), great compositions/performances
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Tagged alexander glazunov, Alexandr Glazunov, art, Compact Disc, entertainment, EUZICASA, Franz Schubert, Frick Collection, Glazunov, Great Compositions/Performances, Hyacinthe Jadin, List of compositions by Wolfgang Amadeus Mozart, List of French composers, Make Music Part of Your Life Series, maurice ravel, Ministry Of Culture Symphony Orchestra, Music, New York City, Pastoral, Romanticism, Russian conductor Gennady Rozhdestvensky Das Foto, Symphony No. 7 (Glazunov), Tempo, wikipedia, YouTube
Happy Birthday Mozart Week: Piano Concerto No.8 'Lützow' in C major, (KV 246) , great compositions
Wolfgang Amadeus Mozart: Piano Concerto No.8 'Lützow' in C major, (KV 246)
vivaldi369
Álbum: Mozart: The Great Piano Concertos Complete
Interpretes del álbum: Derek Han, Pieter-Jan Belder, Paul Freeman & Philharmonia Orchestra
Compositor: Wolfgang Amadeus Mozart
Genero: Clásico Alemán
Movimientos: Allegro Aperto-Andante-Rondeau: Tempo di Minuetto
The Piano Concerto No. 8 in C major, K. 246, or Lützow Concert was written by Wolfgang Amadeus Mozart in April of 1776 in the same year as the Haffner Serenade (KV 250).[1] Countess Antonia Lützow, 25 or 26 years old, second wife of Johann Nepomuk Gottfried Graf Lützow, the Commander of the Hohensalzburg Fortress, was a fine pianist.[2] The solo work is not highly demanding, but it requires agility. Mozart played the concerto in Mannheim and Munich on October 4, 1777, and used it for teaching. Three different cadenzas have survived varying difficulty, accommodating the abilities of performers from student level to professional: one for two pianos.[3][4][5]
It is also suggested Mozart wrote a violin concerto for Countess Lützow's brother Johann Rudolph Czernin (and almost the same age as Mozart).[6] Johann Rudolf, his sister and their father were in connection with Mozart at that time, while Mozart was in service of their uncle Count Hieronymus von Colloredo.[7]
The concerto is scored for two oboes, two horns, solo piano and string section.
The concerto, very convenient for beginning performers,[8] is in three movements:
I. Allegro aperto.[9]
II. Andante
III. Rondeau. Tempo di Menuetto.[10]
Mozart – Symphony No. 35 in D, K. 385 (Haffner) , great compositions/performances
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Antonín Dvořák – Bagatelles, Op. 47 , great compositions/performances
Antonín Dvořák – Bagatelles, Op. 47
Alberni String Quartet.
Howard Davis, violin.
Peter Pople, violin.
Roger Best, violin/viola.
David Smith, cello.
Virginia Black, harmonium
1. Allegretto scherzando 2'59
2. Tempo di menuetto, grazioso 3'16
4. Canon, andante con moto 3'27
5. Poco allegro 4'21
Schubert Symphony No 5 B flat major Bavarian RSO Maazel, great compositions/performances
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Kempff plays Schubert Piano Sonata in A Major D664. great compositions/performances
Kempff plays Schubert Piano Sonata in A Major D664
Franz Schubert:
Piano Sonata in A Major D664:
Mvt.I: Allegro moderato 00:00
Mvt.II: Andante 10:41
Mvt.III: Allegro 15:14
Wilhelm Kempff: piano
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Schubert: 6 Moments Musical Op.94 (D780) Wilhelm Backhaus (1884-1969) Piano, great compositions/performances
Schubert: 6 Moments Musical Op.94 (D780)
tnsnamesoralong
Uploaded on Aug 9, 2011
Franz Schubert (1797-1828)
Moments Musical / Moments Musicaux / Zenei pillanatok
Op.94 (D780) for Piano
00:00 Moment Musical No.1 in C major – Moderato
03:20 Moment Musical No.2 in A-flat major – Andantino
08:58 Moment Musical No.3 in F minor – Allegro moderato
10:36 Moment Musical No.4 in C-sharp minor – Moderato
14:43 Moment Musical No.5 in F minor – Allegro vivace
16:56 Moment Musical No.6 in A-flat major – Allegretto
***Wilhelm Backhaus(1884-1969)
(listen to more classical music at euzicasa: here here here and many more)
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Alexander Glazunov Symphony No 5 in B flat major, Op 55, great compositions/performances
Alexander Glazunov Symphony No 5 in B flat major, Op 55
jvdesuit1
Published on Apr 29, 2014/2,628 views
(Gennadij Rozhdestvenskij, conductor – USSR Ministry of Culture Symphony
The symphony has four movements:
– 00:00 Moderato maestoso – Allegro
– 12:19 Scherzo. Moderato
– 17:46 Andante
– 28:29 Allegro maestoso
The Symphony No. 5 in B-flat major, Op. 55 (also known as The Heroic[citation needed]), was written by Alexander Glazunov from April to October 1895. Although in this symphony Glazunov returned to his conventional four-movement layout (his Fourth Symphony had only three) he frequently utilizes thematic transformation. Glazunov described it as "silenced sounds" and "an architectural poem".[citation needed]
The symphony calls for a romantic orchestra of the following instruments:
3 flutes (3rd doubling piccolo), 2 oboes, 3 clarinets in B flat (3rd doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, bells, harp, strings
Glazunov dedicated his Fifth to Sergei Taneyev, a Russian composer, pianist, and teacher, and it was first performed at the Second Russian Concert at the Hall of the Nobility in St. Petersburg on 17 November 1896; the premiere was conducted by the composer himself. A Leipzig newspaper called the symphony "very profound" and "sparkling" and reported that the scherzo had to be reprised on opening night to the delight of the audience.
Symphony No. 3 in D Major, Op. 29 "Polish" – Pyotr Ilyich Tchaikovsky, #Great compositions/performancers
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Carl Maria Von Weber: Clarinet Quintet in B flat, op. 34 , great compositions/performances
Weber: Clarinet Quintet in B flat, op. 34
Indian Summer in Levoca
Ludmila Peterková gives a ravishing performance of this magnificent work with the Zemlinsky Quartet at the 2011 Levocske babie leto (Indian Summer in Levoca) Festival.
The four movments are:
I. Allegro
II. Fantasia: Adagio ma non troppo
III. Menuetto: Capriccio presto
IV. Rondo : Allegro Giocoso.
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Symphony No. 3 in D Major, Op. 29 "Polish" – Pyotr Ilyich Tchaikovsky
SymphonyOfAThousand
Composed in 1875
I. Introduzione e Allegro. Moderato assai (Tempo di marcia funebre) – Allegro brillante (0:00)
II. Alla tedesca. Allegro moderato e semplice – Trio (15:30)
III. Andante. Andante elegiaco (26:38)
IV. Scherzo. Allegro vivo – Trio (36:32)
V. Finale. Allegro con fuoco (Tempo di polacca) (42:42)
****Royal Philharmonic Orchestra
****Yuri Temirkanov, cond.
****Recorded in 1991
****http://www.amazon.com/6-Symphonies-P-…
****Image: Tchaikovsky (published 1906), courtesy Wikipedia
The purpose of this video is to foster a love of music. No copyright infringement of this recording is intended, but if you hold the copyright and would like this video removed, please let me know, and I will do so.
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Ludwig van Beethoven String Quartet No. 10 in E-flat Major ("Harp"), Op. 74, great compositions/performances
Ludwig van Beethoven String Quartet No. 10 in E-flat Major ("Harp"), Op. 74
Market Square Concerts
Market Square Concerts presents Philharmonia Quartett Berlin
Wednesday, October 10, 2012 at Market Square Presbyterian Church
String Quartet No. 10 in E-flat Major ("Harp"), Op. 74 Poco adagio – Allegro Adagio ma non troppo Presto Allegretto con Variazioni
Philharmonia Quartett Berlin DANIEL STABRAWA, violin CHRISTIAN STADELMANN, violin NEITHARD RESA, viola DIETMAR SCHWALKE, cello
A Thanksgiving Present for all my friends #euzicasa: Dvořák: Symphony No. 9 "From The New World" / Karajan – Vienna Philharmonic
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Mozart – Piano Concerto No. 26 in D major, K. 537, 'Coronation' (Murray Perahia): make music part of your life series
Mozart – Piano Concerto No. 26 in D major, K. 537, 'Coronation' (Murray Perahia)
MrPalika123
00:00 – Allegro
14:13 – Larghetto
21:29 – Allegretto
Murray Perahia
English Chamber Orchestra
Classical music: The Wisconsin Baroque Ensemble celebrates the 300th anniversary of C.P.E. Bach in a concert this Saturday night.
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Great musical recordings: Brahms – Wilhelm Kempff 1950's legacy (op. 10, 24, 76,79,116,117,118,119): Great compositions/performances
Brahms – Wilhelm Kempff 1950's legacy (op. 10, 24, 76,79,116,117,118,119)
On the Top of Damavand
Johannes Brahms (1833-1897)
FOUR BALLADES, OP.10
0:00 : No.1 Andante (after the Scottish Border ballad "Edward" in Johann Gottfried Herder's anthology "Stimmen der Völker") (4mn03)
4:03 : (28) No.2 Andante (6mn30)
10:33 : No.3 Intermezzo: Allegro (4mn00)
14:34 : No.4 Andante con moto (8mn19)
Recording: London, West Hampstead, 23 & 26 November 1953.
VARIATIONS AND FUGUE ON A THEME BY HANDEL IN B-FLAT MAJOR, OP.24
22:53 : Aria – Variations 1-25 – Fuga (24mn27)
Recording: Hanover, Beethovensaal, 3 January 1957.
8. PIANO PIECES, OP.76
Book I:
47:20 : No.1 Capriccio in F-sharp minor: Un poco agitato (3mn03)
50:25 : No.2 Capriccio in B minor: Allegretto non troppo (3mn32)
53:57 : No.3 Intermezzo in A-flat major: Grazioso (2mn33)
56:32 : No.4 Intermezzo in B-flat major: Allegro grazioso (2mn31)
Book II:
59:04 : No.5 Capriccio in C-sharp minor: Agitato, ma non troppo presto (3mn22)
01:02:26 : No.6 Intermezzo in A major: Andante con moto (3mn40)
01:06:07 : No.7 Intermezzo in A minor: Moderato semplice (3mn02)
01:09:08 : No.8 Capriccio in C major: Grazioso ed un poco vivace (3mn43)
9. TWO RHAPSODIES, OP.79
01:12:52 : No.1 in B minor: Agitato (9mn32)
01:22:26 : No.2 in G minor: Molto passionato, ma non troppo allegro (7mn30)
Recording: London, West Hampstead, November 1953.
10. FANTASIAS, OP.116
01:29:55 : No.1 Capriccio in D minor: Presto energico (2mn48)
01:32:45 : No.2 Intermezzo in A minor: Andante (3mn09)
01:35:54 : No.3 Capriccio in G minor: Allegro passionato (3mn00)
01:38:55 : No.4 Intermezzo in E major: Adagio (4mn06)
01:43:02 : No.5 Intermezzo in E minor: Andante con grazia ed intimissimo sentimento (3mn09)
01:46:12 : No.6 Intermezzo in E major: Andantino teneramente (2mn40)
01:48:52 : No.7 Capriccio in D minor: Allegro agitato (2mn36)
11. INTERMEZZI, OP.117
01:51:28 : No.1 in E-flat major: Andante moderato (5mn04)
01:56:32 : No.2 in B-flat minor: Andante non troppo e con molto espressione (4mn17)
02:00:50 : No.3 in C-sharp minor: Andante con moto (5mn06)
Recording: London, West Hampstead, October 1950.
12. PIANO PIECES, OP.118
02:05:56 : No.1 Intermezzo in A minor: Allegro non assai (2mn06)
02:08:03 : No.2 Intermezzo in A major: Andante teneramente (4mn28)
02:12:32 : No.3 Ballade in G minor: Allegro energico (3mn57)
02:16:28 : No.4 Intermezzo in F minor: Allegretto un poco agitato (2mn49)
02:19:18 : No.5 Romanze in F major: Andante (3mn46)
02:23:04 : No.6 Intermezzo in E-flat minor: Andante, largo e mesto (4mn53)
Recording: London, West Hampstead, 23-24 March 1950.
02:27:58 : No.1 Intermezzo in B minor: Adagio (3mn37)
02:31:35 : No.2 in E minor: Andantino un poco agitato (5mn01)
02:36:36 : No.3 in C major: Grazioso e giocoso (1mn47)
02:38:24 : No.4 in E-flat major: Allegro risoluto (5mn16)
Alexander Borodin In The Steppes Of Central Asia: make music part of your life series
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CZIFFRA – LISZT Transcendental Etude No.9 in A flat major, "Ricordanza": great compositions/perfofrmances
CZIFFRA – LISZT Transcendental Etude No.9 in A flat major, "Ricordanza"
Filip Peoski
CZIFFRA – LISZT Transcendental Etude No. 9 in A flat major, "Ricordanza"
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Schubert – 4 Impromptus, D. 899 / Op. 90, Maria João Pires,: great compositions/performances
Schubert – 4 Impromptus, D. 899 / Op. 90 (Maria João Pires)
00:00 – No. 1 in C minor, Allegro molto moderato
11:05 – No. 2 in E-flat major, Allegro
15:50 – No. 3 in G-flat major, Andante
21:40 – No. 4 in A-flat major, Allegretto
Maria João Pires, 1996
Mozart – Symphony No. 39 in E flat, K. 543: make music part of your life series
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Sviatoslav Richter plays Rachmaninoff Concerto No.1, Op. 1: great compositions/performances
Sviatoslav Richter plays Rachmaninov Concerto No.1, Op.1
FirstPublicChannel
Piano Concerto No.1 in F sharp minor, Op.1
00:00 – Vivace
12:30 – Andante
18:52 – Allegro vivace
USSR RTV Large Symphony Orchestra
Kurt Sanderling
*1962 (date written on the cd);
**Feb 18, 1955 (according to New4785689)
http://www.youtube.com/user/New4785689
Sergei Rachmaninov composed his Piano Concerto No. 1 in F-sharp minor, Op. 1, in 1891, at age 18. He dedicated the work to Alexander Siloti. He revised the work thoroughly in 1917.
First version
Rachmaninoff (right) with Alexander Siloti.
This was actually Rachmaninov's second attempt at a piano concerto. In 1889 he had begun but abandoned a concerto in C minor (the same key, incidentally, in which he would later write his Second Piano Concerto). He wrote Natalya Skalon on 26 March 1891, "I am now composing a piano concerto. Two movements are already written; the last movement is not written, but is composed; I shall probably finish the whole concerto by the summer, and then in the summer orchestrate it"[1] He finished composing and scoring the piece on July 6 and was satisfied with what he had written.[2] The first movement was premiered on 17 March 1892 at the Moscow Conservatoire, with the composer as soloist and Vasily Safonov conducting. This may have been the only time the composer played the concerto in its original form, although Siloti, to whom it is dedicated, programmed it to play himself on several occasions.[3]
Composition students were usually advised to base their efforts on a specific model for their first exercises in new forms. In Rachmaninoff's case this was the Grieg Piano Concerto,[4] which was a favorite work of his and one which he had been familiar from Siloti practicing it at the Rachmaninoff household during the spring and summer of 1890 for future concerts.[5] Rachmaninoff adapted the entire musical structure of the outer movements to the Grieg concerto, literally building his music into it. With all his other concertos, Rachmaninoff would prove more enterprising.[6]
Manuscript version
Alexandre Ghindin, pianist, with Vladimir Ashkenazy conducting the Helsinki Philharmonic Orchestra, recorded in 2001 (first recording)
Arthur Rubinstein plays The Piano Concerto No. 2 in G minor, Op. 22 by Camille Saint-Saëns: great compositions/performances
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P. I. Tchaikovsky – Symphony No. 6 "Pathetique", Op. 74 (Fedoseyev),: great compositions/performances
P. I. Tchaikovsky – Symphony No. 6 "Pathetique", Op. 74 (Fedoseyev)
Pyotr Ilyich Tchaikovsky – Symphony No. 6 "Pathétique" in B minor, Op. 74 (1893) :
1. Adagio. Allegro non troppo
2. Allegro con grazia
3. Allegro molto vivace
4. Finale. Adagio lamentoso. Andante
*** Moskow Radio Symphony Orchestra
*** Conductor – Vladimir Fedoseyev
*** Recorded live at the Alte Oper Frankfurt, 1991
The Symphony No. 6 in B minor, Op. 74, Pathétique is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. The composer led the first performance in Saint Petersburg on 28 October [O.S. 16 October] of that year, nine days before his death. The second performance, conducted by Eduard Nápravník, took place 21 days later, at a memorial concert on 6/18 November.[1][2] It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today. The first performance in Moscow was on 16 December [O.S. 4 December], conducted by Vasily Safonov.[3] It was the last of Tchaikovsky's compositions premiered in his lifetime; his last composition of all, the single-movement 3rd Piano Concerto, Op. 75, which was completed in October 1893, a short time before his death, received a posthumous premiere.
After completing his 5th Symphony in 1888, Tchaikovsky did not start thinking about his next symphony until April 1891, on his way to the United States. The first drafts of a new symphony were started in the spring of 1891.[4] However, some or all of the symphony was not pleasing to Tchaikovsky, who tore up the manuscript "in one of his frequent moods of depression and doubt over his alleged inability to create."[4] In 1892, Tchaikovsky wrote the following to his nephew Vladimir "Bob" Davydov:
The symphony is only a work written by dint of sheer will on the part of the composer; it contains nothing that is interesting or sympathetic. It should be cast aside and forgotten. This determination on my part is admirable and irrevocable.[5]
This work was the Symphony in E-flat, the first movement of which Tchaikovsky later converted into the one-movement 3rd Piano Concerto (his final composition), and the latter two movements of which Sergei Taneyev reworked after Tchaikovsky's death as the Andante and Finale.
In 1893, Tchaikovsky mentions an entirely new symphonic work in a letter to his brother:
I am now wholly occupied with the new work … and it is hard for me to tear myself away from it. I believe it comes into being as the best of my works. I must finish it as soon as possible, for I have to wind up a lot of affairs and I must soon go to London. I told you that I had completed a Symphony which suddenly displeased me, and I tore it up. Now I have composed a new symphony which I certainly shall not tear up.[5]
The symphony was written in a small house in Klin and completed by August 1893. Tchaikovsky left Klin on 19 October for the first performance in St. Petersburg, arriving "in excellent spirits."[6] However, the composer began to feel apprehension over his symphony, when, at rehearsals, the orchestra players did not exhibit any great admiration for the new work.[6] Nevertheless, the premiere was met with great appreciation. Tchaikovsky's brother Modest wrote, "There was applause and the composer was recalled, but with more enthusiasm than on previous occasions. There was not the mighty, overpowering impression made by the work when it was conducted by Eduard Nápravník, on November 18, 1893, and later, wherever it was played."[7]
Posted in ARTISTS AND ARTS - Music, Educational, FILM, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, News, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Uncategorized, YouTube/SoundCloud: Music, Special Interest
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Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy),: great compositions/performances
Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy)
00:00 – Allegro assai
17:45 – Allegro di molto
***Vladimir Ashkenazy***
***Philharmonia Orchestra***
"Piano Concerto No. 16 in D, K.451 : III. Allegro di molto – Cadenza (Mozart) – Tempo I [1988 Remastered Version]" by English Chamber Orchestra/Daniel Barenboim (Google Play • AmazonMP3 • iTunes)
Musical Contrast:
yyyy91: Giuseppe Tartini: Sonata in G minor "The Devil's Trill"…
Orpheus Chamber Orchestra and violinist Jennifer Koh thrill audience at Bing
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Tagged alfred einstein, Allegro assai, Allegro di molto, Anna Maria Mozart, Bela Bartok, berlin philharmonic, Cello, chicago symphony orchestra, EUZICASA, Giuseppe Tartini, Glossary of musical terminology, Great Compositions/Performances, K. 451 (Vladimir Ashkenazy), Mozart, Mozart - Piano Concerto No. 16 in D Major, Orchestra, Orpheus Chamber Orchestra, Piano Concerto No. 16, Tempo, Wolfgang Amadeus Mozart
Practicing for my Salle Pleyel recital…and a fashion lesson Valentina Lisitsa
Practicing for my Salle Pleyel recital…and a fashion lesson 🙂 Valentina Lisitsa
http://www.sallepleyel.fr/francais/co…
Program ( just 3 hours long? :-))))
Sonate n°17 en ré mineur Op.31 n°2 (1801-1802)
« La tempête »
1 – Largo – Allegro
2 – Adagio
3 – Allegretto
Robert Schumann (1810-1856)
Etudes symphoniques Op.13/13a (1834-1835)
1- Thème : Andante
2 – Etude I (Variation 1) : Un poco più vivo
3 – Variations posthume 1
4 – Etude II (Variation 2) Espressivo
5 – Etude III : Vivace
6 – Etude IV (Variation 3)
7 – Etude V (Variation 4) : vivacissimo
8 – Variation posthume n°4
9 – Etude VI (Variation 5) : Agitato
10 – Etude VII (Variation 6) : Allegro molto
11 – Variation posthume n°2
13 – Etude VIII (Variation 7) : Andante
14 – Etude IX : Presto possibile
16 – Etude X (Variation 8) : Allegro
17 – Etude XI (Variation 9) : Con espressione
18 – Etude XII : Finale : Allegro brillante
Ballade op.10 n°1 en ré mineur (1845-1846)
sur la ballade écossaise «Edward» tiré du recueil «Simmen der Völker» de Johann Gottfried Herder «Edward» : Andante
Capriccio op.76 n°2 en si mineur – extrait des 8 Klavierstücke op.76 (1878)
Allegretto ma non troppo, sur un thème hongrois gracioso
Intermezzo op.76 n°7 en la mineur – extrait des 8 Klavierstücke op.76 (1878)
Moderato semplice, complainte populaire claire par son diatonisme affirmé.
Intermezzo op.116 n°2 en la mineur (1892) : Andante
Intermezzo op.116 n°4 en mi mineur (1892) : Adagio
Intermezzo op.117 n°1 en mi bémol majeur (1892) : Andante moderato
Intermezzo op.117 n°2 en si bémol mineur (1892)
Andante non troppo e con molto espressione
Intermezzo op.118 n°1 en la mineur (1893) : Allegro non assai, ma molto appasionato
Intermezzo op.118 n°2 en la majeur (1893) : Andante teneramente
Ballade op.118 n°3 en sol mineur (1893) : Allegro energico
Romance op.118 n°5 en fa majeur (1893) : Andante
Intermezzo op.118 n°6 en mi bémol mineur (1893) : Andante, largo e mesto
Intermezzo op.119 n°1 en si mineur (1893) : Adagio
Intermezzo op.119 n°2 en mi mineur (1893) : Andantino un poco agitato
Sergueï Rachmaninov (1873-1943)
Sonate pour piano n° 1 en ré mineur, opus 28 (1907)
Tagged Baroque, Bela Bartok, berlin philharmonic, Carl Philipp Emanuel Bach, chicago symphony orchestra, Civic Center of Greater Des Moines, Courante, Glossary of musical terminology, Salle Pleyel, Tempo, Valentina Lisitsa, YouTube
Mozart: Piano concerto n. No. 21 in C major, K.467 Pollini-Muti: great compositions/performances
Mozart: Piano concerto n. No. 21 in C major, K.467 Pollini-Muti
Alessandro152
Mozart:Piano Concerto No. 21 in C major, K. 467
***Orchestra filarmonica della Scala
***Maurizio Pollini
***Riccardo Muti
Piano Concerto No. 21 (Mozart)
The Piano Concerto No. 21 in C major, K. 467, was completed on March 9, 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.[1][2]
The concerto has three movements:
Allegro maestoso; in common time. The tempo marking is in Mozart's catalog of his own works, but not in the autograph manuscript.[3]
Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. [4]
Allegro vivace assai
The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost.
The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.
The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.
This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski, Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires, Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley, Mitsuko Uchida, and Christian Zacharias.
Cultural references
The second movement was featured in the 1967 Swedish film Elvira Madigan.[1][6] This has led to an anachronistic nickname of Elvira Madigan for the concerto.[7][8][9]
Neil Diamond's 1972 song "Song Sung Blue" was based on a theme from the andante movement of the concerto.[10]
An electronic arrangement of the concerto's first movement was used as the main theme of the TV series Whiz Kids.
Tagged Academy of St Martin in the Fields, Alan Civil, alfred brendel, alfred einstein, Amadeus Quartet, Andante in F major, Anna Maria Mozart, Edward Elgar, Great Compositions/Performances, K.467 Pollini-Muti, Maurizio Pollini, movement, Mozart, Mozart: Piano concerto n. No. 21 in C major, Piano concerto, Piano Concerto No. 21, Tempo, Wolfgang Amadeus Mozart, YouTube
W. A. Mozart – KV 385 – 1782 Version – Symphony No. 35 in D major "Haffner": make music part of your life series
W. A. Mozart – KV 385 – 1782 Version – Symphony No. 35 in D major "Haffner"
ComposersbyNumbers
The symphony is set in 4 movements:
1. Allegro con spirito (0:00)
2. Andante (5:26)
3. Menuetto (14:00)
4. Presto (17:43)
Performers: The Academy of Ancient Music, conducted by Christopher Hogwood.
Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart's choice of key for the Haffner Symphony is an aspect that catches one's attention. According to Cuyler, "the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies," including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work's serenade origins as all of Mozart's orchestral serenades are scored in D major. Hence, it is not surprising that the Haffner Symphony was written in the key of D major.
The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34.
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FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/
Mozart Symphony No 25 G minor K 183 Karl Böhm Wiener Philamoniker|great compositions/performances
Tagged A Major, Abdelazer, Abeokuta, Academy of St Martin in the Fields, Alan Civil, alfred brendel, EUZICASA, Haffner Serenade, Haffner Symphony, Make Music Part of Your Life Series, Mozart, Orchestra, Sigmund Haffner, Symphony No. 35, Symphony No. 35 (Mozart), Tempo, w a mozart, W. A. Mozart - KV 385 - 1782 Version - Symphony No. 35 in D major "Haffner", Wolfgang Amadeus Mozart
Mozart – Symphony No. 39 in E flat, K. 543
Am4d3usM0z4rt
Family portrait: Maria Anna ("Nannerl") Mozart, her brother Wolfgang, their mother Anna Maria (medallion) and father, Leopold Mozart (Photo credit: Wikipedia)
The Symphony No. 39 in E-flat major of Wolfgang Amadeus Mozart, K. 543, was completed on 26 June 1788. The 39th Symphony is the first of a set of three (his last symphonies) that Mozart composed in rapid succession during the summer of 1788. No. 40 was completed 25 July and No. 41 on 10 August. Around the same time, Mozart was writing his piano trios in E and C major, his sonate facile, and a violin sonatina. Mozart biographer Alfred Einstein has suggested that Mozart took Michael Haydn's Symphony No. 26, in the same key, as a model. It seems to be impossible to determine the date of the premiere of the 39th Symphony on the basis of currently available evidence; in fact, it cannot be established whether the symphony was ever performed in the composer's lifetime. According to Deutsch (1965), around the time Mozart wrote the work, he was preparing to hold a series of "Concerts in the Casino", in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael von Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest. In addition, in the period up to the end of his life, Mozart participated in various other concerts whose program included an unidentified symphony; these also could have been the occasion of the premiere of the 39th. In modern times, the work is part of the core symphonic repertoire and is frequently performed and recorded. The symphony is scored for flute, pairs of clarinets, bassoons, horns and trumpets, timpani and strings. There are four movements:
1. Adagio, cut time — Allegro, 3/4
2. Andante con moto, 2/4
3. Menuetto: Trio, 3/4
4. Allegro, 2/4.
Tagged Abdelazer, Academy of St Martin in the Fields, Alan Civil, Alan Gilbert (conductor), alfred brendel, Andrew Parrott, EUZICASA, K. 543, Leopold Mozart, london symphony orchestra, Make Music Part of Your Life Series, Mozart, Mozart - Symphony No. 39 in E flat, mozart symphony, Orchestra, Symphony No. 39, Tempo, Wolfgang Amadeus Mozart
Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476): make music part of your life series
Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, (G.476)
Álbum: Boccherini: Cello Concertos Complete
Interprete del álbum: Enrico Bronzi & Accademia I Filarmonici Di Verona
Compositor: Luigi Rodolfo Boccherini
Genero: Clásico Italiano
Movimientos: Allegro-Adagio-Allegro
Posted in ARTISTS AND ARTS - Music, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged (G.476): make music part of your life series, Albert DIETRICH, Antonio Vivaldi, Arnold Böcklin, Bach: Concertos, Boccherini, Cello Concerto, Cello Concerto (Dvořák), Cello Concerto No. 1 (Saint-Saëns), Cello Concertos, Enrico Bronzi, Johannes Brahms, Luigi Rodolfo, Luigi Rodolfo Boccherini: Cello Concerto No.3 in D major, Tempo, Violin concerto
Grieg Holberg Suite Op. 40 グリーグ ホルベルク組曲 : great compositions/performances
Grieg Holberg Suite Op. 40 グリーグ ホルベルク組曲
netyama
1. 00:00 Praludium
2. 03:01 Sarabande
3. 08:27 Gavotte
4. 12:31 Air
5. 20:21 Rigaudon
***Nagoya Streichersolisten Summer Concert 2012
(directed By Kato Akira)
NOTE: We are the amateur string orchestra playing in Nagoya Japan.
Summer concerts are held once a year.
http://ngs.sakuraweb.com
Posted in ARTISTS AND ARTS - Music, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, News, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, Uncategorized
Tagged alexander glazunov, Anna Clyne, Arkhangelsk, Artistic director, グリーグ ホルベルク組曲, Edvard Grieg, EUZICASA, Great Compositions/Performances, Grieg, Holberg Suite, Holberg Suite Op. 40, Johann Sebastian Bach, Orchestra, Symphony No. 34 (Mozart), Tempo
Mendelssohn — Violin Concerto in e minor op 64: GREAT COMPOSITIONS/PERFORMANCES
Mendelssohn — Violin Concerto in E minor op. 64
Kanaal van viool7
***Isaac Stern: violin
***Philadelphia Orchestra – Eugene Ormandy: conductor-1958
(The second recording of this concerto by Stern and Ormandy)
1. Allegro molto appassionato
3. Allegretto non troppo – Allegro molto vivace
Mendelssohn-Piano Concerto No. 1 in g minor Op. 25, Rudolf Serkin/Philadelphia Orchestra- Eugene Ormandy: great compositions/perfornmances
Posted in ARTISTS AND ARTS - Music, Educational, IN THE SPOTLIGHT, MEMORIES, News, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Allegro, Allegro molto appassionato, Brandenburg concertos, eugene ormandy, Glossary of musical terminology, Isaac Stern, Mendelssohn, Mendelssohn-Violin Concerto in e minor op 64: GREAT COMPOSITIONS/PERFORMANCES, Piano concerto, Symphony No. 6 (Beethoven), Tempo, Violin concerto, Violin Concerto in E minor op
Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 "Elvira Madigan": great compositions/performances
Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 "Elvira Madigan"
Derek Han, piano.
Philharmonia Orchestra, Paul Freeman.
Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, KV 467 "Elvira Madigan":
III. Allegro vivace assai
Mozart – Piano Sonata No. 1 in C, K. 279: make music part of your life series
Posted in Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Allegro, Allegro vivace assai, elvira madigan, Lang Lang, Ludwig van Beethoven, Paul Freeman, Philharmonia Orchestra, Piano Concerto No. 21, Tempo, Wolfgang Amadé Mozart Derek Han, Wolfgang Amadeus Mozart
Dvorak – Symphony No.3 & 4, Op.10 & 13|great compositions/performances
Dvorak – Symphony No.3 & 4,
Op.10 & 13
AljoshaKaramazov's channel
00:00 – Symphony No.3, Op.10 – Allegro moderato
11:00 – Symphony No.3, Op.10 – Adagio molto
29:45 – Symphony No.3, Op.10 – Finale, allegro vivace
38:17 – Symphony No.4, Op.13 – Allegro
47:55 – Symphony No.4, Op.13 – Andante e molto cantabile
59:25 – Symphony No.4, Op.13 – Scherzo, allegro feroce
01:06:03 – Symphony No.4, Op.13 – Finale, allegro con brio
Slovak Philharmonic Orchestra, Zdenek Kosler
F. Mendelssohn/D. Barenboim (Songs without words, Complete): make music part of your life series
Tagged Allegro, Brandenburg concertos, cleveland orchestra, dvorak, Dvorak - Symphony No.3 & 4, EUZICASA, Glossary of musical terminology, Great Compositions/Performances, Op.10 & 13|make music part of your life series, Piano concerto, scherzo, slovak philharmonic orchestra, Symphony No. 3, Symphony No. 3 (Dvořák), Tempo
Antonín Dvořák – String Quartet in E flat major, Op. 51 'Slawisches' |great compositions/performances
Antonín Dvořák – String Quartet in E flat major, Op. 51 'Slawisches'
STAMITZ QUARTET:
– Bohuslav Matousek, violin I.
– Josef Kekula, violin II.
– Jan Peruska, viola.
– Vladimir Leixner, cello.Antonín Dvořák: String Quartet in E flat major Op. 51, 'Slawisches'
1. Allegro ma non troppo 11'06
2. Dumka (Elegia) 8'32
3. Romanza, andante con moto 7'31
4. Finale, allegro assai 7'24
Dvořák – Violin Concerto In A Minor
Music@Menlo: Delightful at a Dozen
Tagged Allegro, Antonín Dvořák, Antonín Dvořák - String Quartet in E flat major, Berlin, dvorak, EUZICASA, František Ondříček, Great Compositions/Performances, Johannes Brahms, Joseph Joachim, Op. 51 'Slawisches', Tempo