silkroadproject·44 videos

Pipa virtuoso Wu Man moved from China to the U.S. in 1990. In this video, she discusses how she learned to play the pipa, a Chinese lute, and about joining the international Silk Road Ensemble. She explores her role as a musician navigating between cultures.

For more information, visit

To see Wu Man perform “Night Thoughts,” the piece featured in this video, watch…

YaleCourses·1,176 videos

Listening to Music (MUSI 112)

This lecture provides an introduction to basic classical music terminology, orchestral instruments, and acoustics. Professor Wright begins with a brief discussion of the distinctions between such broad terms as “song” and “piece,” briefly mentioning more specific terms for musical genres, such as “symphony” and “opera.” He then moves on to describe the differences between a “motive” and a “theme,” demonstrating the distinction between the two with the use of music by Beethoven and Tchaikovsky. Following this, he calls upon three guest instrumentalists on French horn, bassoon, and viola to give a brief performance-introduction to each instrument. He concludes the session with a discussion of acoustics, focusing on the concept of partials, and then brings the lecture to a close with commentary on Richard Strauss’s tone-poem, Death and Transfiguration.

aCentral Folque·50 videos

Moog Documentary

July 14, 2013

xBlame2workshopx·21 videos


TheMasterDecoder·15 videos

Stanley Druker, clarinet

This was performed by the New York Philharmonic, conducted by Zubin Mehta.

I. Cadenzas 0:00
II. Elegy 9:00
III. Antiphonal Toccata 17:35

The world premiere took place on December 6, 1977, in New York, with soloist Stanley Drucker and the New York Philharmonic directed by Leonard Bernstein. The piece and the performances were great successes. Commissioned by the Philharmonic, the Clarinet Concerto is dedicated to Drucker and Bernstein. Allan Kozinn, writing in the New York Times, lavished praise on the piece: “It is indeed a sophisticated work with a complex formal structure and a harmonic base that takes in everything from major/minor tonality to clusters and 12-tone rows… It also aims for visceral appeal.” The Philharmonic took the Concerto on European tours in 1977 and 1980.

When Corigliano received the commission for the Clarinet Concerto, he wanted to utilize every player in the group, giving many of them solos. At times, the piece sounds like a concerto for orchestra. Having had lessons with Drucker, Corigliano was intimately familiar with the clarinetist’s technique and was inspired to write a technically demanding clarinet part. Corigliano recalls that the sheer size of the score surprised Bernstein, who was expecting a much shorter piece.

Corigliano’s score calls for a plethora of percussion instruments and he uses them often. Antiphonal groups of brass and woodwinds, placed in the balconies of the hall, create an effect bordering on the theatrical.

The composer says of his Concerto, “I think of the first two movements as being terribly serious and the last as a kind of festival for all players.” The first movement, “Cadenzas”, consists of two virtuosic cadenzas separated by an orchestra-dominated interlude. The first cadenza, Ignis fatuus (Will-o-the-wisp), is a rapid, whispering series of runs on the clarinet supported by a dissonant chord (E flat, D, A, E) in the strings. The interlude begins as the orchestra plays transformations of the first clarinet run at a much slower tempo. When the clarinet enters it tries to increase the tempo before beginning a conversation with the trombones. Intensity grows until crashing percussion marks the beginning of the second cadenza, Corona solis (Crown of the sun). The melodic material and harmony of the first cadenza return, but are more energized. After a powerful climax involving the entire orchestra, the intensity diminishes until the sound disappears.

“Elegy” is the title of the second movement. Corigliano wrote the movement in memory of his father, creating a dialogue for the clarinet and violin. Two ideas dominate the movement, the first sounding in the strings, the second played on the solo clarinet. The same mood persists throughout the movement, which closes with a lengthy violin line supported by the clarinet.

In the finale, “Antiphonal Toccata”, brass and wind instruments are placed around the auditorium. Corigliano quotes the Sonata Pian e Forte of Giovanni Gabrieli, the sixteenth-century master of antiphonal instrumental choirs. This motif mutates into a 12-note chord that informs much of what occurs later. When the offstage instruments enter, they deliberately play music that is rhythmically unsynchronized with the onstage instruments.

Masahide Kurita·26 videos

Masahide Kurita Flute Academy Summer Concert 2009/The Solid Silvers:1st&picc.Masahide Kurita/2nd.Akihiko Torinomi/3rd.Tomomi Matsuzaka/4th&alt Fl.Junko Kinami 19th/July/2009 Utsunomiya, Tochigi, Japan

ComposersForum·198 videos

Lexi Zunker talks about the flute, how to write well for the instrument, and lists composers who write particularly well for it.

ComposersForum·198 videos

Lindsey Thompson talks about the oboe, how to write well for the instrument, and lists composers who write particularly well for it

brittanylasch·8 videos

Eric Ewazen Trombone Sonata
Brittany Lasch, Trombone
Performed January 30th, 2012
Sprague Hall at Yale School of Music

Wikipedia  —  Britten – Young Person’s Guide To The Orchestra

WSOrchesterfreunde·47 videos

Kölner Philharmonie – WDR Sinfonieorchester Köln
Benjamin Britten: The young people’s guide to the orchestra
conducted by: Jukka Pekka Saraste (Chefdirigent)