tlcooper93

bububasso·35 videos

Live concert in the wonderful Teatro Olimpico of Andrea Palladio in Vicenza, Italy
Aligi Voltan: bassoon
G.B.Rigon: Conductor
Orchestra del Teatro Olimpico di Vicenza

NPR Music·535 videos

Can’t take another moment of Vivaldi’s ubiquitous Four Seasons? Neither could Max Richter, a London-based composer who deftly blurs the lines between the classical and electronic worlds. Long ago he loved it the piece but like some of us, he grew tired of the overplayed warhorse, which can be found in no fewer than 250 recordings on sites like ArchivMusic.

So instead of writing off the piece forever, Richter rewrote it. He discarded about three quarters of Vivaldi’s original, substituted his own music and tucked in some light electronics for a total Four Seasons makeover. It sounds a little hipper — lighter on its feet in places, darker and more cinematic in others. Still, Richter’s remodeled version retains the basic shape, and much of the spirit, of the master’s original four violin concertos — each about ten minutes and in three movements, sequenced fast-slow-fast.

Richter recorded his rejiggered Seasons with violin soloist Daniel Hope and together they brought the project to (Le) Poisson Rouge, the Greenwich Village music space, where we had our cameras set up and ready to roll.

In Richter’s reimagining, you’ll recognize more than a few weather-related signposts like the violin’s shivering figures in “Winter” and bolts of thunder in stormy “Summer.” Yet in other places the music is heavily disguised. The cheerful birdsong that opens Vivaldi’s “Spring” emerges as mere shards of the original, backed by moody pedal points in the electronic low end, lending it a movie music feel. And Vivaldi’s violin horn calls in the finale of “Autumn” morph into a comforting minimalist blanket of warm double basses and electronics.

The revamped Vivaldi is about as “classical” as Richter gets. For a taste of his more electronic side, the second half of this concert features selections from Infra, dance music he wrote for London’s Royal Ballet, based on T.S. Eliot’s The Waste Land. For this music, Richter pares down to just a piano, his laptop and a string quartet, but he weaves in many unusual sounds. Here you’ll find a dusty treasure-trove of old shortwave radio signals, industrial rumbles, clicks and pops serving as the underlying bed for Richter’s gritty and forlorn soundscapes. — TOM HUIZENGA

Program: Vivaldi: The Four Seasons (Recomposed by Max Richter) Music from Infra

Ensemble LPR, Tito Muñoz, conductor

Schubert love·51 videos

Ralph Vaughan Williams – Greensleeves. Arie Vardi conducts.
Arie Vardi with the Israel Philharmonic Orchestra.

Basskz·19 videos

Jerusalem Quartet
Alexander Pavlovsky – 1st violin
Sergei Bresler – 2nd violin
Amichai Grosz – viola
Kyril Zlotnikov – cello

Johannes Brahms (1833-1897)
String Quartet a-minor, Op.51/2

Schubertiade Hohenems 2009
Marcus-Sittikus-Saal
31. Mai 2009
http://www.jerusalemstringquartet.com

AmerString Quartet·6 videos

American String Quartet, Beethoven op.131. Live at Tel Aviv Museum, January 2013

Adagio For Strings

Agnus Dei  –  Choral Version of the Above

artakmos·11 videos

The Best Russian Electric String Quartet,
Charity Concert,
http://www.infinity-show.ru, infinity-show@mail.ru, For contacts +7 915 0777715 Anna.
Arranger by Karen Gasparyan
Classic Show “IINFINITY” is the synthesis of a string quartet and а fancy-dress show with the light, sound and illusion effects.
What is the string quartet? In the direct classical sense that is – two violins, viola and cello. Just add bold and unexpected arrangements of familiar musical composition and a few dance pas performed by four graceful ladies that give to listeners an opportunity to discover new ways of performing of the world famous classical compositions by Vivaldi and Beethoven, Bach and Mendelssohn, as well as latino and classic ethnic music and you get a whole image of INFINITY . Live sound and extraordinary solutions make Classic Show “INFINITY” remarkable not only from a visual point of view but also in terms of esthetic perception during performance; that is why the project differs from a great plenty of Russian and foreign show groups.