WATCH “MultiPiano” OTHER VIDEOS AT: “MultiPiano” Ensemble: Tomer Lev, Berenika Glixman, Daniel Borovitzky, Raviv Leibzirer Tel Aviv Soloists Ensemble / Barak Tal – Conductor Live / Israel Conservatory Hall, Tel Aviv / October 2013

ABOUT “MULTIPIANO”: “MultiPiano” is a unique keyboard project, presenting four of Israel’s virtuoso pianists in a celebration of pianos in ever-changing combinations – from one to four pianos, from 4 to 8 hands, with or without orchestra. The ensemble’s repertoire ranges from fully-fledged original masterworks to dazzling virtuoso arrangements.

Now in its fourth year, the ensemble has already performed on four continents, from Beijing Concert Hall to Buenos Aires’ Teatro Colon, from New-York’s Merkin Hall to London’s Henri Wood Hall, collaborating with such institutions as the English Chamber Orchestra, the Israel Chamber Orchestra, Buenos Aires Mozarteum Argentino and Conciertos Grapa, the Philharmonic Society of Lima, the music festivals of Taipei, Huallien, Ottawa, Tel Aviv and Jerusalem, as well as on television and radio networks from Asia to South America.

The MultiPiano project was launched in the 2010-11 season under the umbrella of the Buchmann-Mehta School of Music – a joint institution of Tel Aviv University and the Israel Philharmonic Orchestra. Featuring three of Israel`s most radiant young pianists and their mentor, Tomer Lev – one of the country’s most prominent musicians – the MultiPiano project attracted much international attention immediately upon its inauguration. In 2011 the group successfully toured the Far East, with performances in Beijing, Taipei, Kaohshiung and Tainan, including a Gala opening of the Kuandu Festival in Taiwan in cooperation with the Israeli Foreign Ministry.

In summer 2012 the group was presented throughout Latin America’s foremost concert halls in Argentina, Brazil, Uruguay and Peru, including Teatro Colon and the Gran Rex (Buenos Aires), Teatro Del Sodre (Montevideo) and a live broadcast performance in Radio Nacional of Argentina, televised by PBS (TV Publica). Additional presentations included performances for the respected Mozarteum Argentino concert agency, The Philharmonic Society of Lima (opening concert of the Jubilee Festival), Sao Paulo Friends of Tel Aviv University, and concerts in Rosario and Cordoba. Shortly thereafter the group performed for the second time in the Far East (Taipei and Hualien International Music Festival).

In spring of 2013 MultiPiano was presented at the Felicja Blumental Music Festival in Tel Aviv and the Israel Festival in Jerusalem, including solo performances with the Israel Chamber Orchestra (Bach-Vivaldi concerto for 4 pianos) and live broadcasts for Israel Radio (IBA). The Tel Aviv Soloists, Haifa Symphony and the Israel Netanya Kibbutz orchestras hosted MultiPiano for performances of Bach, Mozart, Poulenc and Levanon concerti for 2, 3 and 4 pianos. In addition, the ensemble had its third tour to the Far East (Beijing Concert Hall, Tienjin Grand Theatre, Chengdu Music Hall ).

In fall 2013 MultiPiano was presented in two North American tours, including performances at Merkin Hall in New York City, as well as in Montreal, Ottawa, and Chicago. The New York Times described their performance as “a celebration of Multi-hands and Multi-keyboards”.

In Spring 2014 the ensemble toured South America for the second time, as soloists with the Israel Netanya Kibbutz Chamber Orchestra, with concerts in Buenos Aires, Montevideo, Lima and Bogota. In Fall 2014 MultiPiano collaborated with the English Chamber Orchestra in a recording of Mozart Concertos for two and three pianos, as well as in a world premiere recording of Mozart’s “Larghetto and Allegro” – a 1781 fragment left unfinished and completed and orchestrated by Tomer Lev for two pianos and orchestra.


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Published on Mar 26, 2011

Keith Jarrett & Chick Corea Play MOZART with The New Japan Philharmonic

Tokyo Music Joy at Yu-Port Kani Hoken Hall in Shinagawa-Ku Tokyo Feburary 1st ,

1985 The New Japan Philharmonic Conductor : Yoshikazu Tanaka

Brilliant Classics
Published on May 31, 2019

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Tidal, Google Play):…

Physical Purchase:…

Mindaugas Piecaitis
Published on Jul 7, 2009

FREE! “Main Themes from CATcerto” piano version:

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Alexander Malofeev

Published on Jan 4, 2019

S.Rachmaninoff. Piano Concerto No.3 in D minor, Op.30. Soloist Alexandеr Malofeev (17 y.o.). Russian National Youth Symphony Orchestra

Conductor Dimitris Botinis. Tchaikovsky Concert Hall. 30/12/2018

Classical Vault 1

Published on Nov 28, 2013

Yitzhak Finnegan

With the Israeli Philharmonic Orchestra

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


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: […]





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:
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London Symphony Orchestra


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:…

“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