Mahler – Symphony No 4 – Abbado
May 10, 2020
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Gustav Mahler Symphony No 4 1 Bedächtig, nicht eilen 2 In gemächlicher Bewegung, ohne Hast 3 Ruhevoll, poco adagio 4 Sehr behaglich
Magdalena Kožená, mezzo-soprano Lucerne Festival Orchestra Claudio Abbado, conductor Live recording. Lucerne, August 2009
GUSTAVE MAHLER, Symphony #5 – Leonard Bernsstein,
March 7, 2020
Addiobelpassato
Wiener Philharmoniker
Symphony No 5 in C-sharp minor by Gustav Mahler
1. Trauermarsch. Ingemessenem Schritt.Streng. Wie in Kondukt
2. Stürmisch bewegt, mit grösster Vehemenz
3. Scherzo. Kräftig, nicht zu schnell
4. Adagietto. Sehr langsam
5. Rondo-Finale. Allegro-Allegro giocoso. Frisch
Wiener Philharmoniker Leonard Bernstein, conductor
Tchaikovsky – Symphony No.4 – Gergiev, VPO
July 18, 2019
Aurora Orchestra – Beethoven: Eroica Symphony no. 3
April 27, 2019
(A=430hz ) – Interactive Intro – Orchestra standing – Playing entire score from memory
Published on Jan 28, 2018
Leonard Bernstein Discusses Shostakovich 9th Symphony
March 8, 2019
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: https://youtu.be/4XbHLFkg_Mw?t=41m42s
Symphony #2: https://youtu.be/4MPuoOj5TIw?t=43m37s
Symphony #3: https://youtu.be/9Yr720ftjaA?t=1h29m
Symphony #4: https://youtu.be/YnfhInZLmUQ?t=44m25s
Symphony #5: https://youtu.be/vOvXhyldUko?t=51m7s
Symphony #6: https://youtu.be/YsEo1PsSmbg?t=33m3s
Symphony #7:
https://youtu.be/QdxvC7NNSLQ?t=11m25s Götterdämmerung: https://youtu.be/_ww4JHkloa8?t=3h30m45s
Symphony #8: https://youtu.be/O5n4TbNMq1Q?t=1h15m27s
Symphony #9: https://youtu.be/tkChdHBuoiQ?t=1h2m35s
Magnificent Counterpoint in the Finale of Mozart’s Jupiter Symphony
February 11, 2019
Published on Aug 2, 2016
Richard Atkinson analyzes the magnificent counterpoint in the finale of Mozart’s Jupiter Symphony, no. 41 in C major, K. 551, culminating in the coda, during which 5 of the previously introduced themes are combined at once, in five-part invertible counterpoint. This is a fair use educational commentary that uses excerpts from a recording by the Academy of St. Martin in the Fields, directed by Sir Neville Marriner.
GUSTAVE MAHLER – Symphony No. 8 – Bernstein, Conductor – Vienna Philharmonic Orchestra
January 8, 2019
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.
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Tchaikovsky Symphony NO.6 – Seoul Philharmonic Orchestra
December 3, 2018
Beethoven 5th Symphony – Analysis by Gerard Schwarz
September 12, 2018
MOZART – Symphony No. 40 Gm – K 550 – 1. Molto Allegro
July 13, 2018
AMADEUS MOZART – Linz Symphony , Mozart, Symphony No. 36
April 9, 2018
Johannes Brahms – Symphony No. 3 – New York Philharmonic
January 10, 2018
Why We Analyse Music | Julian Horton
August 29, 2017
Professor Julian Horton opens up a dialogue between music analysis and musicology, exploring ways in which motivic and formal analysis can reflect and interact with broader historical issues.
Looking in detail at the exposition in movement one of Brahms’ Symphony No. 1, Op. 68, we will investigate the relationship between functions in a sonata form and the dense network of motivic counterpoint from which they are constructed. This will then be contextualised with late-nineteenth-century debates about the appropriate mode of expression in a symphony, especially the Wagnerian view that Brahms had wrongly imported a domestic, chamber-musical style into a public genre.
For additional content, including recommended recordings, suggested reading and music examples, see http://www.sma.ac.uk/videos/episode-1/.
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Presented by Julian Horton
Directed by Neil Neenan (@neilneenan)
Produced by Kirstie Hewlett (@kirstie_hewlett)
Siegmund von Hausegger – Nature Symphony (1911)
August 19, 2017
Symphony for Percussion by Eric Ewazen
August 16, 2017
Ma Sicong – Symphony No. 2
June 21, 2017
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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
I Write The Music 