Enrico Ricciardi

Gunnar Frederikson

William Thomas McKinley, New York Overture

Warsaw Philharmonic Orchestra Robert Black, conductor

William Thomas McKinley (December 9, 1938 – February 3, 2015) was an American composer and jazz pianist born in New Kensington, Pennsylvania). He wrote more than 300 musical compositions, many of which have been recorded by such ensembles as the London Symphony Orchestra, the Warsaw Philharmonic Orchestra, the Prague Radio Symphony Orchestra, and the Seattle Symphony

McKinley was the recipient of numerous honors, including an award and citation from the American Academy and Institute of Arts and Letters, a Guggenheim Fellowship, and eight National Endowment for the Arts grants. He is also among the founders of the label MMC Recordings. His son Elliott Miles McKinley is also a composer.

He died on 3 February 2015.

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

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Boris Giltburg
More Sonatas

Voices of Music

129K subscribers

Pachelbel’s Canon in D, performed on original instruments from the time of Pachelbel by the Early Music ensemble Voices of Music. Voices of Music FAQ

Brilliant Classics
Published on Apr 18, 2017

Bringing together all seven of Schubert’s completed symphonies, as well as the much-loved B minor ‘Unfinished’, this set charts the development of Schubert’s voice as a symphonist. His first six symphonies were composed between 1813 and 1818 for the orchestra at the religious school that he attended in Vienna. Although they could be considered to be apprentice works, and are clearly influenced by Haydn, Mozart, Beethoven, and – in the case of the Sixth Symphony – Rossini, they are remarkable achievements for such a young composer, and the listener can hear some of the hallmarks of Schubert’s more forward-looking, romantic style, such as a bolder and richer harmonic language, beginning to emerge. After a serious illness in 1822, from which he only partially recovered, Schubert composed his final symphonic masterpieces, the ‘Unfinished’ (1822) and the ‘Great’ (1825–6). From the haunting slow introduction and the extraordinary sense of pathos of the ‘Unfinished’ to the joyful and rhythmically vital ‘Great’ symphony, both works showcase Schubert the symphonist at the peak of his powers and are some of the most popular and enduring pieces in the orchestral canon. Schubert’s complete symphonies are performed here by the legendary Staatskapelle Dresden under the inspired direction of celebrated conductor Herbert Blomstedt, praised by Gramophone for his “incomparably refined sensitivity and canny interpretative prowess”. Other information: – Recordings made between 1978 and 1981 at the Lukaskirche in Dresden. – “Probably the finest, most consistent Schubert cycles available” (David Hurwitz, Classicstoday.com, performance: 10).   00:00:00

Symphony No. 1 in D Major, D. 82: I. Adagio – Allegro vivace 00:10:15 Symphony No. 1 in D Major, D. 82: II. Andante 00:18:57 Symphony No. 1 in D Major, D. 82: III. Menuetto. Allegro 00:25:06 Symphony No. 1 in D Major, D. 82: IV. Allegro vivace 00:31:41 Symphony No. 2 in B-Flat Major, D. 125: I. Largo – Allegro vivace 00:42:10 Symphony No. 2 in B-Flat Major, D. 125: II. Andante 00:51:04 Symphony No. 2 in B-Flat Major, D. 125: III. Menuetto. Allegro vivace 00:54:48 Symphony No. 2 in B-Flat Major, D. 125: IV. Presto vivace 01:00:43 Symphony No. 3 in D Major, D. 200: I. Adagio maestoso – Allegro con brio 01:10:22 Symphony No. 3 in D Major, D. 200: II. Allegretto 01:14:50 Symphony No. 3 in D Major, D. 200: III. Menuetto. Vivace 01:18:57 Symphony No. 3 in D Major, D. 200: IV. Presto vivace 01:23:44 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: I. Adagio molto 01:33:32 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: II. Andante 01:43:05 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: III. Menuetto. Allegro vivace 01:46:25 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: IV. Allegro 01:54:09 Symphony No. 5 in B-Flat Major, D. 485: I. Allegro 02:01:20 Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto 02:12:09 Symphony No. 5 in B-Flat Major, D. 485: III. Menuetto. Allegro molto 02:17:22 Symphony No. 5 in B-Flat Major, D. 485: IV. Allegro vivace 02:23:20 Symphony No. 6 in C Major, D. 589: I. Adagio – Allegro 02:31:21 Symphony No. 6 in C Major, D. 589: II. Andante 02:37:44 Symphony No. 6 in C Major, D. 589: III. Scherzo. Presto 02:44:04 Symphony No. 6 in C Major, D. 589: IV. Allegro moderato 02:53:32 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: I. Allegro moderato 03:05:05 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: II. Andante con moto 03:17:47 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: I. Andante – Allegro ma non troppo 03:32:30 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: II. Andante con moto 03:48:24 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: III. Scherzo. Allegro vivace 03:59:21 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: IV. Finale. Allegro vivace Artist: Staatskappelle Dresden Herbert Blomstedt cunductor

Oxford Academic (Oxford University Press)

In this short film John Rutter reflects on his 50 or so years of composing some of the world’s most loved choral music, and offers some advice for emerging composers. For more short films featuring John Rutter, visit http://oxford.ly/2yWxTqN. John Rutter studied music at Clare College, Cambridge and first came to notice as a composer and arranger of Christmas carols and other choral pieces during those early years; today his compositions, including such concert-length works as Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are performed around the world. John edits the Oxford Choral Classics series, and, with Sir David Willcocks, co-edited four volumes of Carols for Choirs. In 1983 he formed his own choir The Cambridge Singers, with whom he has made numerous recordings on the Collegium Records label, and he appears regularly in several countries as a guest conductor and choral ambassador. John holds a Lambeth Doctorate in Music, and was awarded a CBE for services to music in 2007. Music: ‘The Holy City’ from Visions, by John Rutter. Performed by Kerson Leong (violin), The Temple Church Boys’ Choir, The Cambridge Singers, and the Aurora Orchestra. Used by kind permission of Collegium records. © Oxford University Press



Published on Nov 4, 2015

– Composer: Sergei Sergeyevich Prokofiev (23 April 1891 — 5 March 1953) – Orchestra: Warsaw National Philharmonic Orchestra – Conductor: Witold Rowicki – Soloist: Sviatoslav Richter – Year of recording: 1958 Piano Concerto No. 5 in G major, Op. 55, written in 1931-1932. 00:00 – I. Allegro con brio 05:06 – II. Moderato ben accentuato 09:06 – III. Toccata. Allegro con fuoco (più presto che la prima volta) 10:59 – IV. Larghetto 17:40 – V. Vivo After the Fourth Piano Concerto, for the left hand, the Fifth is the least popular of the five piano concertos
Prokofiev wrote. Yet the work offers much of great appeal and delivers a challenge to the finest virtuosos. The composer spoke of the Fifth’s abundance of melody, pointing out that each of its five movements contains four or more melodies. Those unfamiliar with the concerto might conclude from that statement that the work must be a large one; yet its duration is typically only 22 to 25 minutes. The formal structure of the concerto is unusual and rather episodic, hardly clinging to a typical sonata-allegro scheme. If a tag can be put on the work, one to capture both its music and performance features, it would be “athletic,” or perhaps “acrobatic.” –
The first movement, marked Allegro con brio, offers a colorful, jumpy main theme, containing wide leaps for the piano and much difficult writing. A lyrical clarinet melody contrasts well with the main material and the movement eventually comes to a brilliant conclusion with a final backward leap on the piano. – The second movement carries the marking Moderato ben accentuato, and while a bit less effervescent and driven, it is also lively in its march theme and contains glissandos and glissando-like elements that leap about and emphasize the grotesque and humorous nature of the main theme. Those coming to the concerto for the first time may find this colorful, rhythmic movement the most appealing of the five. –
The third movement Toccata derives its main theme from the opening of the first, and serves almost as a belated development section to it. Its furious pace (Allegro con fuoco) and challenging writing for the orchestra, especially for the string section, give the piece a mood of brilliance and breathlessness typical of the composer’s earlier Toccata and of other similar piano works. – The Larghetto fourth movement is the deepest of the five and also the most lyrical. Its main theme is gentle and lovely. A tense middle section is brilliantly conceived, with crashing chords on the piano at the climax accompanying the eerie orchestral rendering of the profound theme. – The finale, marked Vivo, contains a mixture of menace and humor, of otherworldliness and joy.
Near the end of the exposition a variation on a theme from the third movement appears, and at the same racing tempo. After a dreamy, unearthly middle section, the mood brightens and the piece ends brilliantly. Prokofiev was the soloist in the work’s premiere on 31 October 1932 in Berlin, led by Wilhelm Furtwängler and on the same program with Paul Hindemith as violist in Berlioz’s Harold in Italy. While Prokofiev was only midway though his career, he wrote unfortunately no more works for piano and orchestra after the tepidly-received Fifth Concerto.


You have to be true to yourself

but at the same time listen to others and take advice,

listen to live performances,

listen to multiple recordings of the same piece

and work out how you want it to sound.

Record yourself and listen back;

in my experience it doesn’t always sound

the way you think it does!

If, like me, you have the privilege of

working with composers,

make sure you spend a decent amount of time with them

and get into their sound world.

via Meet the Artist – Tim Psappha, percussionist — The Cross-Eyed Pianist




Saint-Saens Bassoon Sonata:



Published on Dec 19, 2016

Royal Concertgebouw Orchestra Chamber Soloists play Paul Hindemith. Bassoon Sonata (1938) – Helma van den Brinck, Bassoon; Sepp Grotenhuis, Piano;


Stravinsky The Rite of Spring (Two-piano arrangement by composer) Part I : Adoration of the Earth Part II : The Sacrifice (15:02) Yeol Eum Son, Da Sol Kim 손열음, 김다솔 Pianos

Latin American Composers

November 19, 2017







First gig:
Daily life
Published on Mar 14, 2016

So you want to be a composer? Some words of wisdom from Carl Vine AO.

Considered one of Australia’s 10 Greatest Composers (Limelight Magazine 2015), Carl Vine AO is also Senior Lecturer in Composition at the Sydney Conservatorium and Artistic Director of Musica Viva Australia. Read more about him at http://carlvine.com/

It’s the Boroondara Eisteddfod’s 25th birthday and we’re celebrating the range of careers open to music lovers. LIKE our Facebook page for more insights from Australia’s inspiring arts leaders:https://www.facebook.com/boroondaraei…

Music: Garden of Bronze (2015) by Peggy Polias, Federation Bells, http://federationbells.com.au/. Visit http://peggypolias.com to hear more.





The Romantic Era is a time when the larger forms become more mammoth than ever, and the miniature forms become more intimate than ever. In solo piano, we find both extremes, made possible through the sheer imagination, genius, and artistic brain powers of individuals, as well as the emerging technology of the modern piano and […]

via Simply Piano — Classical Music Thought Bubbles

“Too many pieces of music finish too long after the end.”

— Igor Stravinsky, composer, Russian Composer”

via “Too many pieces of music finish too long after the end.” — Art of Quotation

Composers of Ecuador

June 22, 2017




musicophage rex

Published on May 26, 2012

Symphony No. 2 (1958-59)

I. Allegro agitato –
II. Adagio maestoso –
III. Allegro

The second symphony of Chinese composer and violinist Ma Sicong (1912-1987), whose name is sometimes also rendered as Ma Sitzon. A native of Heifeng in Guangdong province, Ma became one of the first of his compatriots to become a professional violinist when he followed his older brother’s example and traveled to France at the age of eleven to study music at the conservatories of Nancy and Paris. His skill as a violinist and composer of violin music became legendary and he was known in China as the “King of the Violinists”. After the People’s Republic of China was established, Ma became the director of the China Central Conservatory of Music. In 1958, he served on the jury of the first International Tchaikovsky Competition in Moscow (that was Van Cliburn’s annus mirabilis). However, when the Cultural Revolution broke out in 1966, Ma and his colleagues at the conservatory fell into disfavour for teaching and playing Western-style classical music; they were all rounded up and sent to a reeducation camp, and their families were harassed by authorities. In 1967, Ma and his family managed to escape to Hong Kong, after which they settled in the United States permanently. Ma remained in exile for the rest of his life.

Ma’s Second Symphony was composed in 1958-59, and ostensibly, it takes as its subject the struggles of the Chinese Workers’ and Peasants’ Red Army. The composer claimed that there is a connection between his music and the poem “Loushan Pass” by Mao Zedong; however, the music can be also interpreted abstractly rather than programmatically. The vigorous first movement makes use of the Phrygian mode and it is in a fairly traditional sonata form. The second theme is derived from “Tian Xin Shun”, a folk song from north Shaanxi. After reaching a climactic moment of great intensity, the music transitions smoothly into the slow, sombre second movement, which bears some resemblance to a funeral march; it is an expression of mourning for fallen comrades-in-arms. However, the battle theme soon emerges again as the Army returns to the fray. The third and final movement is jubilant and lively, as the Army celebrates its victory. At one point the soldiers begin dancing the yangge, a popular rural folk-dance. In the end, a grand coda introduces a new heroic march theme that brings the work to a close.

Conductor: Cao Peng
Shanghai Philharmonic Orchestra








WAGNER – Tristan und Isolde – Prelude and Liebestod (Georg Solti – Chicago Symphony Orchestra)