Published on Jul 13, 2013

Sakari Oramo: Conductors – The BBC Symphony Orchestra

Rachmaninov: Rhapsody on a Theme of Paganini – BBC Proms 2013 (Stephen Hough : Piano


on Dec 5, 2011

Classical Vault 1

Published on Nov 28, 2013

Published on Mar 3, 2019

The third movement (Adagio) of W. A. Mozart’s String Quartet No. 20, performed by the Alexander String Quartet, with an animated graphical score. FAQ

Q: Where can I get this recording? A: You can pre-order the album here:……… Q: Where can I learn more about the performers? A: Here: Q: I appreciate the animated graphical scores you make; how can I help? A: There are many ways you can support my work: free: watch my videos, like them, and share them with friends $$$: become a Patreon patron: (per-video/per-month) !!!!: underwrite the production of a video: Q: Could you please do a video of _______? A: Please see this:

Simos Simeonidis

Published on May 19, 2014

Composer: Igor Fyodorovich Stravinsky (17 June 1882 — 6 April 1971) Clarinet: Michel Arrignon Ensemble: Ensemble InterContemporain Conductor: Pierre Boulez Ebony Concerto for clarinet and jazz band, written in 1945 00:00 – I. Allegro moderato 03:00 – II. Andante 05:33 – III. Moderato – Con moto – Moderato

John Williams   –   @  Wikipedia

Richard Atkinson

Richard Atkinson chooses and analyzes a “most beautiful passage” from each of Mahler’s 9 symphonies. This is a fair use educational commentary that uses small excerpts from live recordings of Claudio Abbado and the Lucerne Festival Orchestra (Symphonies #1-7 and #9), Gustavo Dudamel and the Los Angeles Philharmonic (Symphony #8), and Pierre Boulez at Bayreuth (Götterdämmerung excerpt). For best results, view this video full-screen and listen with good-quality headphones or speakers. All recordings used have been previously published on YouTube and time-indexed links to the chosen passages are provided below:

Symphony #1:

Symphony #2:

Symphony #3:

Symphony #4:

Symphony #5:

Symphony #6:

Symphony #7: Götterdämmerung:

Symphony #8:

Symphony #9:

Arturo Márquez – Wikipedia

Inside Game of Thrones: A Story in Score (HBO)

How to Become a Film, TV, and Video Game Music Composer

Film Composer Gear

Behind The Scenes On Composing Skyrim’s Them

Yitzhak Finnegan

With the Israeli Philharmonic Orchestra

Great presentation of the legendary american conductor Leonard Bernstein, conducting the Vienna Philharmonic Orchestra, the Vienna State Opera Chrous, the Vienna Boys Choir, Edda Moser (soprano), Judith Blegen (soprano), Gerti Zeumer (soprano), Ingrid Mayr (contralto), Agnes Baltsa (contralto), Kenneth Riegel (tenor), Hermann Prey (baritone) and Jose Van Dam (bass) [uff!], playing one of the greatest versions of 8th Symphony of Gustav Mahler of all time. Gran presentación del legendario conductor americano Leonard Bernstein conduciendo a la Orquesta Filarmónica de Viena, el Coro de la Ópera Estatal de Viena, el Coro de Niños de Viena, Edda Moser (soprano), Judith Blegen (soprano), Gerti Zeumer (soprano), Ingrid Mayr (contralto), Agnes Baltsa (contralto), Kenneth Riegel (tenor), Hermann Prey (baritono) y Jose Van Dam (bajo) interpretando una de las más grandes versiones de la Sinfonía No. 8 de Gustav Mahler. (C) ALL their respective owners. No personal work here.



Music in this video

Learn more

Listen ad-free with YouTube Premium

Lawrence Symphony Orchestra, Viking Chorale, Cantala, Concert Choir Mark Dupere, conductor


Ashish Xiangyi Kumar

Published on Nov 5, 2015

It’s not easy to think of a composer who was Chopin’s match in writing miniatures, but Rachmaninoff at least comes very close. His preludes are marvels of textural innovation, harmonic imagination, gorgeous counterpoint (Rachmaninoff’s brilliance at counterpoint is really not noticed often enough), and lyricism in all its forms — bleak, sweeping, stark, doleful, lush. (Individual descriptions below.)

Lugansky’s performances are some of my favourites. I think of him as being for Rachmaninoff what Rubinstein was for Chopin. There’s nothing bloated or forced about his style, and it manages to find a perfect middle ground between harsh, steely banginess (a bit easy too easy to slip into with Rachmaninoff) and saccharine melodrama. The melodies are clear, the counterpoint well-formed, the tempi judicious, the musical peaks and troughs clear even in the densest passages. In some passages Lugansky also reveals a gift for startling coloration. With music as naturally rich as Rachmaninoff’s the result is a fantastic listening experience, completely bereft of the sense of weary struggle and stiffness you sometimes get.

1. Largo, F-sharp minor — 0:00 2. *Maestoso, B-flat major — 3:26. Lugansky’s performance is both thunderously exuberant and tightly controlled. The LH melodies in the middle section are impeccably outlined: 4:23 onward. 3. Tempo di minuetto, D minor — 6:53. Note the striking canonic passage with diminuition at 9:28. 4. Andante cantabile, D major — 10:27. Unorthodox harmonies scaffolding a simple but marvelous melody. 5. *Alla marcia, G minor — 15:04. Yet again, more striking counterpoint from 16:48 onward. 6. *Andante, E-flat major — 18:52. Note how carefully Lugansky parses the minor voices in an already contrapuntally dense prelude. E.g.: 20:15. 7. *Allegro, C minor — 22:04. One of Rachmaninoff’s best. Lugansky produces some stunning bell-like sounds [22:28] and dynamic changes [23:27]. 8. Allegro vivace, A-flat major — 24:28 9. Presto, E-flat minor — 27:41 10: *Largo, G-flat major — 29:27 This neglected prelude features some of Rachmanioff’s starkest and most beautiful counterpoint [31:35++] played with impeccable clarity, with some lovely harmonic turns and arpeggiation thrown into the mix [see e.g., 32:36++.]


Published on Jan 1, 2012
(Make sure “Annotations” is ON to see section labels) Claude Debussy – Nocturnes, L.91 1.Nuages (Clouds) @0:00 2.Fêtes (Festivals) @6:15 3.Sirènes (Sirens) @12:43 Boulez, Cleveland, 2nd recording Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer. For more videos of this type see: Color-Coded Analysis of Beethoven’s Music (INDEX):…
A special role is allotted to the English horn in “Nuages” (Clouds), the first piece of the group. Thin, two-voice counterpoint in steady quarter notes provides a background for the English horn’s rather plaintive gesture. The same melodic fragment is repeated several times with very little alteration or extension, interrupted occasionally by comments from the French horn section. A stark contrast is provided by a pentatonic interlude, scored for flute and harp against a sustained chordal background and marked “Un peu animé.”
The English horn raises its quiet voice again, only to dissolve against the pianissimo tremolo background as the flute takes up its melody one more time. The quietly pulsating pizzicati of “Nuages” conclusion provide a sense of “grey agony,” as Debussy put it. “Fêtes” (Festivals) will be friendly ground to any listener familiar with the final movement of Respighi’s 1929 work along the same lines, Feste Romane. The juxtaposition of a forceful, even percussive, rhythmic ostinato in 12/8 time with the earthy tune of the brass band (representing the Garde Républicaine) provides for the same kind of multi-textural feel that Respighi would exploit even further three decades later.
Through sheer repetition the music builds to several swaggering climaxes, only to be deflated each time and have to begin the process all over again. The music trails away into nothingness as the brass band finally completes its journey through the heart of the celebration. Remarkable about “Fêtes” is Debussy’s ability to hint at raunchiness and vulgarity within the context of his own extremely refined soundworld. A vocalizing (i.e., textless) women’s chorus is added to the ensemble for “Sirènes,” the last, and in many ways the most evocative of the Nocturnes.
One must not be misled by “Sirènes” repetitiveness and apparent simplicity—a simplicity meant to parallel the deceptively innocent charm of the mythological sea sirens—for here is a work of great subtlety indeed. The dense intricacy of the orchestral effects contained throughout the piece, set almost exclusively at a piano or pianissimo dynamic indication, has reminded more than one listener of the techniques of that most accomplished of orchestrators, Maurice Ravel. Debussy’s methods, however, are entirely his own. Not surprisingly, the music drifts away into the sea, floating upon the few sparse harmonics of the two harpists. © All Music Guide







Published on Sep 11, 2014



Published on Oct 13, 2015

– Composer: Gustav Mahler (7 July 1860 — 18 May 1911) – Orchestra: Wiener Philharmoniker – Conductor: Bruno Walter – Soloists: Julius Patzak (tenor), Kathleen Ferrier (alto) –
Year of recording: 1952 Das Lied von der Erde [The Song of the Earth], written in 1908-1909. 00:00 – I. Das Trinklied vom Jammer der Erde 08:47 – II. Der Einsame im Herbst 18:05 – III. Von der Jugend 21:10 – IV. Von der Schönheit 28:00 – V. Der Trunkene im Frühling 32:27 – VI. Der Abschied
Mahler conceived this large-scale work for two vocal soloists and orchestra in 1908. Laid out in six separate movements, each of them an independent song, the work is described on the title-page as Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges “Die chinesische Flöte”) — “A Symphony for Tenor and Alto (or Baritone) Voice and Orchestra (after Hans Bethge’s ‘The Chinese Flute'”). Bethge’s text was published in the autumn of 1907. Mahler’s use of ‘Chinese’ motifs in the music is unique in his output. Composed in the years 1908–1909, it followed the Eighth Symphony,
but is not numbered as the Ninth, which is a different work. Following the most painful period (1907) in his life, Mahler touches on issues of living, parting and salvation with this work. Mahler himself wrote: “I think it is probably the most personal composition I have created thus far.” Bruno Walter (the conductor in this performance) called it “the most personal utterance among Mahler’s creations, and perhaps in all music.” Four of the Chinese poems used by Mahler (“Das Trinklied vom Jammer der Erde”, “Von der Jugend”, “Von der Schönheit” and “Der Trunkene im Frühling”) are by Li Bai, the famous Tang dynasty wandering poet.
The German text used by Mahler was derived from Hans Bethge’s translations in his book Die chinesische Flöte (1907). “Der Einsame im Herbst” is by Qian Qi and “Der Abschied” combines poems by Mong Hao-Ran and Wang Wei, plus several additional lines by Mahler himself. The original public performance was given on 20 November 1911 in the Tonhalle in Munich, with Bruno Walter conducting and sung by Sara Cahier and William Miller. One of the earliest in London (possibly the first) was in January 1913 at the Queen’s Hall, under Henry Wood, where it was sung by Gervase Elwes and Doris Woodall: Wood thought it ‘excessively modern but very beautiful’
In 1960, 100 years after Mahler’s birth, the great composer / conductor and Mahler champion Leonard Bernstein described this as Mahler’s greatest work. Anecdotes concerning Kathleen Ferrier: – The first time she performed this work with Bruno Walter, Ferrier did not sing the last few notes “ewig” (“forever”) as she was in tears. For this “unprofessionalism” she apologised profusely, to which Walter then gallantly replied, “My dear Miss Ferrier, if we were all as professional as you we would all be in tears.” – At the time of the recording, Kathleen Ferrier was in considerable pain from the cancer from which she was suffering. The orchestra were aware of just how ill she was and played their socks off for her. The result is one of only a handful of occasions when something quite magical is captured on disc. Kathleen Ferrier died, 17 months later, at the age of only 41.