Don reggas’s corner

The Best of Baroque

March 4, 2015

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KPM Baroque Orchestra
BACH
Orchestral Suite
1. Passepied
2. Badinerie 3:04
3. Aria Sulla Quarta Corda 4:28
4. Rejouissance 8:29
Concerto for Flute, Violin and Harpsichord in A minor BWV 1044
05. I Allegro 10:50
06. II Adagio Ma Non Tanto E Dolce 20:34
07. III Alla Breve 26:20
Italian Concerto In F Major BWV 971
08. I Moderato 33:04
09. II Andante 37:28
10. III Allegro Vivace 42:55
11. Toccata E Fuga In Re Minore (Organo solo) 46:18
12. Toccata In Re Maggiore Bwm 912 – I. Vivace – II. Adagio – III. Vivace 49:02
13. L’arte Della Fuga – Contrappunto 1 1:01:00
14. L’arte Della Fuga – Contrappunto 9 1:04:27

VIVALDI
“L’estro armonico” Op. 3 Concerto n. 10 in B minor
15. I Allegro 1:07:31
16. II Largo 1:11:45
17. III Allegro 1:15:06
Flute concerto Op. 10 n. 2 “La notte”
18. I. Largo II. Presto III. Largo 1:18:36
19. IV. Presto V. Largo 1:23:47
20. VI Allegro 1:26:58
Flute concerto Op. 10 n. 3 “Il Gardellino”
21. I Allegro 1:28:22
22. II Cantabile 1:32:18
23. III Allegro 1:34:41
Tomaso ALBINONI
24. Concerto a cinque Op. 5 n.9 in E minor 1:37:47
25. Concerto Op. 7 n. 1 in D major 1:42:09
26. M. A. CHARPENTIER – “Te deum” preludio 1:46:06
Alessandro CORELLI
27. Sarabande 1:47:35
28. Sarabande 1:50:46
29. Sarabande 1:52:59
30. G. FRESCOBALDI – Canzoni per 4 flauti 1:54:09
31. A. SCARLATTI
“La colpa il pentimento la grazia o croce unica speme” 1:56:17
G. P. TELEMANN
32. Suite n. 1 in E min – Rondò 1:59:08
33. Suite n. 1 in E min – Un peu vivement 2:01:22
J. B. LULLY
34. Balletmusic “La fasta de Versailles” Preludio 2:05:26
35. Balletmusic “Ballet des Artes” Ritornello 2:06:36
36. Balletmusic “Ballet les amours deprises” Ritornello 2:08:19
37. Balletmusic “Ballet d’Alcidiane” Ciaccona 2:09:14
G. B. PERGOLESI
38. Concert in B flat major – I Allegro 2:11:34
39. H. PURCELL – Trumpet tune and air 2:16:52

CastellinRete

Niccolo Paganini – Grande Sonata: Allegro Risoluto, Romanze, Andantino Variato
Bach – First Violin Sonata, BWV 1001: Adagio, Fuga, Siciliana, Presto
Manuel Ponce – Sonatina Meridional: Campo, Copla, Fiesta
William Walton – Five Bagatelles: Allego, Andante, Alla Cubana, Smpre Expressivo, Con Slancio
Federico-Moreno Torroba – Sonatina: Allegretto, Andante, Allegro

Start – 16:00 Paganini
16:0129:40 Bach
29:4238:06 Ponce
38:0951:00 Walton
51:02 – End Torroba

pax41

Song 1 – Nat Shilkret & The Victor Orchestra – Baby’s Blue – vocal by Johnny Marvin – recorded 8/18/1927

Song 2 – Abe Lyman’s California Orchestra – Darling – recorded 6/15/1928

Song 3 – Vic Irwin & His Orchestra – I Don’t Blame You – vocal by The Eaton Boys – recorded 11/27/1931

Song 4 – Paul Whiteman & His Orchestra – If I Had A Talking Picture Of You – vocal by Bing Crosby – recorded 10/16/1929

Song 5 – Rudy Vallee & His Connecticut Yankees – Why Dance – vocal by Rudy Vallee – recorded 7/25/1931

Song 6 – Seattle Harmony Kings – Breezin Along – recorded 8/2/1926

Song 7 – Columbia Photo Players (Selvin) – Live & Love Today – recorded 7/3/1930

Song 8 – Ben Selvin & His Orchestra – Why Have You Forgotten Waikiki – vocal by Eddie Walters – recorded 7/7/1930

tony peacock peacock

A Song Will Rise is the fourth studio album by the American folk music trio Peter, Paul & Mary, released in 1965
1.”When the Ship Comes In” (Bob Dylan)
2.”Jimmy Whalen”
3.”Come and Go With Me”
4.”Gilgarra Mountain” (Trad arr Peter Yarrow)
5.”Ballad of Spring Hill (Spring Hill Disaster)” (Peggy Seeger, Ewan MacColl)
6.”Motherless Child”
7.”Wasn’t That a Time” (Seeger/Hays/Gilbert/Brooks/Coigney)
8.”Monday Morning”
9.”The Cuckoo”
10.”The San Francisco Bay Blues” (Jesse Fuller)
11.”Talkin’ Candy Bar Blues” (Noel Paul Stookey)
12.”For Lovin’ Me” (Gordon Lightfoot)

Andy Granko

 

some oane

 

Lasse Zäll

At TED, Boston, Benjamin Zander conducts Beethovens 5th Symphony

Jamal Parker

1959 was the seismic year jazz broke away from complex bebop music to new forms, allowing soloists unprecedented freedom to explore and express. It was also a pivotal year for America: the nation was finding its groove, enjoying undreamt-of freedom and wealth social, racial and upheavals were just around the corner and jazz was ahead of the curve.

Four major jazz albums were made, each a high watermark for the artists and a powerful reflection of the times. Each opened up dramatic new possibilities for jazz which continue to be felt Miles Davis Kind of Blue Dave Brubeck, Time Out Charles Mingus, Mingus Ah Um; and Ornette Coleman, The Shape of Jazz to Come.

Rarely seen archive performances help vibrantly bring the era to life and explore what made these albums vital both in 1959 and the 50 years since. The programme contains interviews with Lou Reed, Dave Brubeck, Ornette Coleman, Charlie Haden, Herbie Hancock, Joe Morello (Brubecks drummer) and Jimmy Cobb (the only surviving member of Miles band) along with a host of jazz movers and shakers from the 50s and beyond.

Auf dem Grunde des Rheines·209 videos

Mahler started his work on his Tenth Symphony in July 1910 in Toblach, and ended his efforts in September the same year. He never managed to complete the orchestral draft before his premature death at the age of fifty from a streptococcal infection of the blood.
Mahler’s drafts and sketches for the Tenth Symphony comprise 72 pages of full score, 50 pages of continuous short score draft (2 pages of which are missing), and a further 44 pages of preliminary drafts, sketches, and inserts. In the form in which Mahler left it, the symphony consists of five movements:
1. Andante — Adagio: 275 bars drafted in orchestral and short score.
2. Scherzo: 522 bars drafted in orchestral and short score.
3. Purgatorio. Allegro moderato: 170 bars drafted in short score, the first 30 bars of which were also drafted in orchestral score.
4. Scherzo. Nicht zu schnell]: about 579 bars drafted in short score.
5. Finale. Langsam, schwer: 400 bars drafted in short score.
The parts in short score were usually in four staves. The designations of some movements were altered as work progressed: for example the second movement was initially envisaged as a finale. The fourth movement was also relocated in multiple instances. Mahler then started on an orchestral draft of the symphony, which begins to bear some signs of haste after the halfway point of the first movement. He had gotten as far as orchestrating the first two movements and the opening 30 bars of the third movement when he had to put aside work on the Tenth to make final revisions to the Ninth Symphony.
The circumstances surrounding the composition of the Tenth were highly unusual. Mahler was at the height of his compositional powers, but his personal life was in complete disarray, most recently compounded by the revelation that his young wife Alma had had an affair with the architect Walter Gropius. Mahler sought counselling from Sigmund Freud, and on the verge of its successful première in Munich, dedicated the Eighth Symphony to Alma in a desperate attempt to repair the breach. The unsettled frame of Mahler’s mind found expression in the despairing comments (many addressed to Alma) written on the manuscript of the Tenth, and must have influenced its composition: on the final page of the short score in the final movement, Mahler wrote, “für dich leben! für dich sterben!” (To live for you! To die for you!) and the exclamation “Almschi!” underneath the last soaring phrase.

Conductor: Leonard Bernstein & Wiener Philharmoniker.

The Cliburn·388 videos

London Symphony Orchestra ·193 videos

Presenter Rachel Leach and LSO musicians provide an overview of the main features of different musical styles and genres. Taken from the LSO Discovery A-level Seminar recorded at LSO St Luke’s in November 2012, this is designed to support A-level students preparing for listening and analysis exams.

Part 1: Renaissance and Baroque periods
Part 2: Classical and Romantic periods
Part 3: 20th Century

French horn: Angela Barnes
Trumpet: Chris Deacon
Trombone: Dudley Bright
Piano: John Alley

Am4d3usM0z4rt·150 videos

Wolfgang Amadeus Mozart’s Piano Quartet No. 1 in G minor, K. 478, is considered the first major piece composed for piano quartet in the chamber music repertoire. Mozart received a commission for three quartets in 1785 from the publisher Franz Anton Hoffmeister. Hoffmeister thought this quartet was too difficult and that the public would not buy it, so he released Mozart from the obligation of completing the set. (Nine months later, Mozart composed a second quartet in E-flat major, the K. 493, anyway). Hofmeister’s fear that the work was too difficult for amateurs was borne out by an article in the Journal des Luxus und der Moden published in Weimar in June 1788. The article highly praised Mozart and his work, but expressed dismay over attempts by amateurs to perform it:
“[as performed by amateurs] it could not please: everybody yawned with boredom over the incomprehensible tintamarre of 4 instruments which did not keep together for four bars on end, and whose senseless concentus never allowed any unity of feeling; but it had to please, it had to be praised! … what a difference when this much-advertised work of art is performed with the highest degree of accuracy by four skilled musicians who have studied it carefully.” The assessment accords with a view widely held of Mozart in his own lifetime, that of a greatly talented composer who wrote very difficult music. At the time the piece was written, the harpsichord was still widely used. Although the piece was originally published with the title “Quatuor pour le Clavecin ou Forte Piano, Violon, Tallie [sic] et Basse,” stylistic evidence suggests Mozart intended the piano part for “the ‘Viennese’ fortepiano of the period” and that our modern piano is “a perfectly acceptable alternative.” The work is in three movements:
I. Allegro, in G minor
II. Andante, in B-flat major
III. Rondo (Allegro), in G major
The C. F. Peters Edition set of parts has rehearsal letters throughout the whole work; the Eulenburg Edition study score has measure numbers but no rehearsal letters, the same goes for Bärenreiter.
The quartet is also available in an arrangement for string quintet.
—————————————-­————————————-
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/

 

Cristin mce·23 videos

Song: All The Things You Are
Artist: Ella Fitzgerald
Album: Best of the Song Books: The Collection
Release Date: Sep 24, 1996
Recording Date: Feb 7, 1956 – Oct 1964
Genre: Vocal
Composer: Oscar II Hammerstein / Jerome Kern

All the things you are is a song composed by Jerome Kern, with lyrics written by Oscar Hammerstein II. It was later featured in the film Broadway Rhythm (1944) and was performed during the opening credits and as a recurring theme for the romantic comedy A Letter for Evie (1945). It was used in the 2005 film Mrs. Henderson Presents starring Judi Dench.

Lyrics:

You are the promised kiss of springtime
That makes the lonely winter seem long
You are the breathless hush of evening
That trembles on the brink of a lovely song
You are the angel glow that lights a star
The dearest things I know are what you are
Some day my happy arms will hold you
And some day I’ll know that moment divine
When all the things you are, are mine

Roy Gardnerra·132 videos

Benjamin David “Benny” Goodman (May 30, 1909 — June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader; widely known as the “King of Swing”.

In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as “the single most important jazz or popular music concert in history: jazz’s ‘coming out’ party to the world of ‘respectable’ music.”

Goodman’s bands launched the careers of many major names in jazz, and during an era of segregation, he also led one of the first racially-integrated musical groups. Goodman continued to perform to nearly the end of his life, including exploring his interest in classical music.

(extract from Wikipedia 2011)

alenstr·8 videos

Regina Albrink, piano
Concertgebouw Amsterdam
December 28. 2008
Video Recording: Wendy Danenberg
Sound Recording: Jos Ruiters

pax41·1,261 videos