Classical Vault 1

Published on Nov 28, 2013


Yitzhak Finnegan

With the Israeli Philharmonic Orchestra

Pablo Villegas, Spanish Guitar http://www.pablovillegas.com Radio and Television Orchestra of Spain Conductor: Carlos Kalmar Teatro Monumental Madrid 24/04/2015 ______________________________________________________ Proud Cultural Ambassador of the Vivanco Foundation. http://vivancoculturadevino.es/en/ ______________________________________________________ Pablo Villegas, Guitarra Española http://www.pablovillegas.com Orquesta de Radio Televisión Española Director: Carlos Kalmar Teatro Monumental Madrid 24/04/2015 ___________________________________________ Embajador Cultural de la Fundación Vivanco. http://vivancoculturadevino.es/es/

 

Published on Sep 11, 2014

DUANE:   This Conductor, Carl Richter, is  not afraid to use bright contrasting Dynamics to feature each section of orchestra’s soloing.   After all, these are Concertos for Orchestra.   I hope you enjoy Bach’s great masterpiece.

El Jardín de Epicuro

Published on Feb 6, 2014
– Johann Sebastian Bach (1685 – 1750) Conciertos de Brandenburgo 1 – 6, BWV 1046 – 1051 Münchener Bach-Orchester, Karl Richter, director. Concierto de Brandeburgo Nº 1 en Fa mayor BWV 1046 [00:28~] 1º. Allegro [04:23~] 2º. Andante (en re menor) [08:12~] 3º. Allegro [12:53~] 4º. Menuetto; Trío I (2 oboes y fagot); Menuetto Polacca (violines y violas); Menuetto Trío II (2 cornos y 3 oboes); Menuetto. Concierto de Brandeburgo Nº 2 en Fa mayor BWV 1047 [20:50~] 1º. Allegro [26:00~] 2º. Andante (en re menor) [29:44~] 3º. Allegro assai Concierto de Brandeburgo Nº 3 en Sol mayor BWV 1048 [32:35~] 1º. Allegro [38:38~] 2º. Adagio [39:41~] 3º. Allegro Concierto de Brandeburgo Nº 4 en Sol mayor BWV 1049 [45:06~] 1º. Allegro [52:44~] 2º. Andante (en mi menor) [56:44~] 3º. Presto Concierto de Brandeburgo Nº 5 en Re mayor BWV 1050 [1:01:48~] 1º. Allegro [1:11:44~] 2º. Affettuoso (en si menor) [1:16:38~] 3º. Allegro Concierto de Brandeburgo Nº 6 en Si♭ mayor BWV 1051 [1:22:00~] 1º. Moderato [1:28:22~] 2º. Adagio ma non tanto (en Mi♭ mayor) [1:33:07~] 3º. Allegro – Lista de reproducción BACH – RICHTER: [https://www.youtube.com/playlist?list…]

 

 

 

thenameisgsarci 

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ublished on Jun 28, 2016

This was the last of Poulenc’s five concertos. While in the first fifteen years of his career Poulenc had made a reputation as a light-hearted composer, personal crises in the late 1930s awakened a dormant religious sensibility. Thereafter, including the war years, he had written music of considerably more seriousness of purpose, but even in them retained his lightness of touch and his ability to charm. After the war ended, restoring communication between Paris and America, the Boston Symphony Orchestra commissioned this piano concerto from Poulenc. It was premiered by that orchestra, conducted by Charles Munch on January 6, 1950, with the composer as soloist.

Now Poulenc returned, for this composition, to his earlier breezy style. The composition is in three movements, each smaller than the previous one; their lengths are about ten, five and a half, and four minutes. The piano is not treated as an individual protagonist against the orchestra, but as a part of the entire ensemble.

The concerto opens with the piano playing one of Poulenc’s rhythmic ideas of faux gruffness, which is countered by a lovely tune on English horn. Reminiscent of various Rachmaninoff themes, the movement meanders here and there, never quite making up its mind; there are subdued hints of the approaching Poulenc opera “Dialogues of the Carmelites.”

The slow second movement is tender, with a sense of some sadness, using a string melody introduced with softly marching rhythms in the horns. The movement then acquires a certain airy repose after the start.

The finale is called Rondeau à la française and is in a very fast tempo. In one of the final episodes, a tune appears which has been traced back to A la claire fontaine, an old sea chanty dating back to the time of Lafayette. Its first few notes are the same as that of Foster’s song “Old Folks at Home” (or “Swanee River”), which some French commentators have mid-identified as a “Negro spiritual.” Poulenc blends it, surprisingly, with a Brazilian maxixe rhythm.

The concerto was not particularly well received, though; and was noted that there was “more sympathy than real enthusiasm,” which the composer attributed to the notion that the audience had listened to too much Sibelius. One critic wrote in Le Figaro: “Certainly it isn’t a concerto at all but a little picture of manners, done up by a minor master.” But Poulenc wrote: “I lead an austere existence in this very Puritan town.”

(AllMusic, Wikipedia)

Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

Original audio: classical-music-online.net
Original sheet music: imslp.org

 

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London Symphony Orchestra

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Uploaded on Apr 1, 2011

Rinat Ibragimov, principal double bass of the London Symphony Orchestra together with Catherine Edwards, performs Jan Křtitel Vaňhal’s Double Bass Concerto, originally written in Es Major but performed here a semitone lower.

This popular piece of double bass repertoire is commonly called for in auditions, and here Rinat demonstrates its performance using the original bass part and the Viennese Tuning that would have been in vogue at the time of its composition.

Rinat plays a d-bass by Matheus Albany, a gift from his colleague and friend Alexander Stepanov. He uses Pirastro Eudoxa strings.

Watch Rinat’s performance of Karl Ditters von Ditterdorf’s bass concerto here:
http://www.youtube.com/watch?v=PNYuRb…

“Piano Concerton No. 20 in D Minor, K.466” I would be falling down in my role as civic booster if I did not mention that Sir Neville Marriner was music director of my hometown orchestra, The Minnesota Orchestra, between 1979-1986. But it was as founder and conductor of the Academy of St. Martin in the Fields […]

via Sir Neville Marriner, Founder & Conductor of the Academy of St. Martin in the Fields — LATE GREAT MUSIC REVUE

 

 

 

 

 

 

more Maurice Ravel (1875-1937), Piano Concerto in G major (1929-31); Stockholm Philharmonic Orchestra (Yuri Termirkanov, cond.) with Martha Argerich (piano), live, Stockholm, 2009

via Wednesday, August 3rd — music clip of the day

 

never enough Ludwig van Beethoven (1770-1827), Piano Concerto No. 3 in C minor; NHK Symphony Orchestra (Miltiades Caridis [1923-1998], cond.) with Annie Fischer (1914-1995), piano, live ********** lagniappe reading table Even now one is amazed by transience: how it outlasts us all. —Geoffrey Hill (1932-2016), from “Scenes with Harlequins” (TLS, 7/8/16)

via Tuesday, July 19th — music clip of the day