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Anton Rubinstein - Piano Concerto No. 3 (1853)
I. Moderato Assai - 00:00
II. Moderato - 11:14
III. Allegro Non Troppo - 17:53
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a comp
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Anton Rubinstein - Piano Concerto No. 4 (1864)
I have decided to upload this recording. Which I think outshines the others.
I. Moderato Assai - 00:00
II. Andante - 11:31
III. Allegro - 22:18
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, B
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Anton Rubinstein - Piano Concerto No. 5 (1874)
I. Allegro Moderato - 00:00
II. Andante - 22:32
III. Allegro - 32:37
Anton Rubinstein was one of the Romantic era's most charismatic musical figures, and near the last in a line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. As a performer, some thought him at times to rival even Liszt himself. Rubinstein's reputation as one of Russia's seminal composers of the ni
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Anton Rubinstein - Symphony No. 2 "Ocean" (1851)
Painting Info - http://challenge.cgsociety.org/dreamscape/entry/marc-austin/work_in_progress/3713
I. Allegro Maestoso - 00:00
II. Adagio Non Tanto - 15:58
III. Allegro - 26:51
IV. Adagio - Allegro Con Fuoco - 33:02
Russian music and music in Russia owe a great debt to Anton Rubinstein. Nevertheless he found himself, in his life-time, in opposition to the polymath Stasov's Mighty Handful, led by
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Anton Rubinstein: Cello Concerto No 2 in D minor, Op. 96
Anton Rubinstein (1829-1894)
Cello Concerto No. 2 in D minor, Op. 96
I. Allegro moderato
II. Andante 11:19
III. Allegro - Moderato - Allegro vivace 16:45
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of N
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Anton Rubinstein - Melody in F
Title : Anton Rubinstein - Melody in F
Date : 1858
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Anton Rubinstein - Piano Concerto No.5 in E-flat major, Op.94 (1874)
Picture: Pillars by merl1ncz
Anton Rubinstein (November 28 [O.S. November 16] 1829 -- November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Piano Concerto No.5 in E-flat major, Op.94 (1874)
Mov.I: Allegro moderato 00:00
Mov.II: Andante 20:47
Mov.III: Allegro 30:59
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Anton Rubinstein /// Solo Piano Music ★ 2 Hours ★ Non Stop Classical Music
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982)).
As a pianist, Rubinstein ranks amongst the great 19th-century
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Anton Rubinstein - Piano Concertos No.1 and No.2
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982).
As a pianist, Rubinstein ranks amongst the great 19th-century k
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Anton Rubinstein - Romance in E flat Major, Op.44 No.1
http://www.noontimeconcerts.org/
Natalya Lundtvedt, piano performs Anton Rubinstein (1829-1894) Romance in E flat Major, Op.44 No.1
on Tuesday, August 18, 2015, at San Francisco's Noontime Concerts, Old St. Mary's Cathedral, 660 California at Grant Avenue in San Francisco. http://www.oldsaintmarys.org/
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Josef Hofmann plays Anton Rubinstein Piano Concerto No.4, Op.70 (Reiner 1937)
Josef Casimir Hofmann (1876- 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor.
Anton Rubinstein (1829- 94)
Piano Concerto No. 4, D minor, Op. 70
I. Moderato Assai (00:00)
II. Andante (12:15)
III. Allegro (22:37)
Fritz Reiner
The Curtis Insitute Student Orchestra
Recorded in 1937. Nov. 28
Metropolitan Opera House, New York City
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Anton Rubinstein - Ivan The Terrible (1869)
Anton Rubinstein was born at Vikhvatinets in the Podolsk district of the Russian Empire, on the borders of Moldavia, in 1829. A few years later his family moved to Moscow, and after early instruction on the piano from his mother he took lessons from a teacher there, a certain Villoing, later to be the teacher of his brother Nikolay. He gave his first public concert in Moscow at the age of ten. The
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(RARE!) Voice of Tchaikowsky & Anton Rubinstein On Edison Cylinder ! (1890)
This Edison phonograph cylinder recording from 1890 was made by Julius Block, a Russian Businessman of German descent (The Old Man with the Umbrella in this video) who became fascinated with the phonograph (and even convinced Tchaikovsky to sign an endorsement).
The recording was kept by Block until his death in 1934. His family donated the cylinder (with other cylinders made by Block) in a Ge
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Anton Rubinstein Sonata in f minor for Viola and Piano op.49
Ju, Pin-Lin Viola Recital
Anton Rubinstein Sonata in f minor for Viola and Piano op.49
I. Moderato
II. Andante
III. Moderato con moto
IV. Allegro assai
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Anton Rubinstein - String Quartet No. 2 (1855)
I. Moderato - 00:00
II. Allegro Molto Vivace - 10:21
III. Molto Lento - 15:00
IV. Moderato - 18:23
"Both of Anton Rubinstein's Op.17 string quartets, composed in the early 1850's, are noteworthy. The opening movement of No.2, Moderato, begins with a Fugue whose main theme is quite expressive. The spirited and syncopated accompaniment is quite effective. In the second movement, Allegro molto vivac
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Anton Rubinstein: Nero, Ballet Suite (1875)
Slovak Philharmonic Orchestra conducted by/ Orquesta Filarmónica Eslovaca dirigida por Michael Halász.
I. Choir & Ballet / Coro y Ballet (0:00)
II. Divertissement / Divertimento (7:04)
III. Festival March / Marcha Festiva (24:39)
IV. March of the Roman Legions / Marcha de las Legiones Romanas (30:23)
Anton Rubinstein was Russia’s (un)official first Romantic composer. Enjoying an equally admirabl
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Anton Rubinstein(1829-1894):Symphony Nº5 in G minor ,Op.107
I.Moderato assai:11:25
II.Allegro non troppo.Moderato assai:7:29
III.Andante:9:30
IV.Allegro vivace:11:06
George Enescu Philharmonic Orchestra/H.Andreescu
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Anton Rubinstein - Symphony No.2 in C-major, Op.42 "Ocean" (1880)
Anton Grigorevich Rubinstein (Анто́н Григо́рьевич Рубинште́йн) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Symphony No.2 in C-major, Op.42 "Ocean" (1851/1863/1880)
Mov.I: Moderato assai 00:00
Mov.II: Lento assai 11:4
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Anton Rubinstein - The Demon/ Антон Рубинштейн - Демон (2003) with English subtitles
with English subtitles (click 'cc')
Latvian National Opera
Music Director and Conductor: Normunds Vaicis
Samsons Izjumovs
Kristine Opolais
Romans Polisadovs
Guntars Runģis
More or less complete, but with a lot of cuts to the score
The custom subtitles are based upon the translation by Juan Gherzi.
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ANTON RUBINSTEIN.-Octeto en Re mayor Op.9
ANTON RUBINSTEIN.-
Octeto en Re mayor Op.9
Piano: Thomas Duis
Consorcio Classicum
RUBINSTEIN en España
El jueves 3 de febrero dio Rubinstein su segundo concierto
en Apolo, esta vez un recital, es decir, sin orquesta.
El teatro de la calle de Alcalá estaba lleno de bote en bote,
según El Lmparcial del 4 de febrero, aunque era un
concierto fuera de abono. Tan contradictorios eran los
juicios q
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Anton Rubinstein: Piano Concerto No. 2 in F Major, Op. 35 (Complete)
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, a label, or any holder of copyright, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Piano Concerto No. 2 in F Major, Op. 35
I. Allegro vivace assai 0:00
II. Adagio non troppo 18:33
III. Moderato 28:42
Alexander Pale
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Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op.34 VERY RARE
Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op34
Very rare recording of Rubinstein's song cycle, with lyrics by Mirzə Şəfi Vazeh.
See comment below from Marina Zoege von Manteuffel for an explanation of Tchaikovsky's translation of these lyrics. PIT's translations were from the German at the request of Rubinstein. Many thanks to Marina Zoege von Manteuffel for her inform
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Anton Rubinstein: Cello Concerto No. 1 in A minor, Op. 65
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Cello Concerto No. 1 in A minor, Op. 65
I. Moderato con moto 0:00
II. Adagio 12:12
III. Allegro con fuoco 22:15
Werner Thomas-Mifune, cello
Bamberg Symphony
Anton Rubinstein - Piano Concerto No. 3 (1853)
I. Moderato Assai - 00:00
II. Moderato - 11:14
III. Allegro Non Troppo - 17:53
Anton Rubinstein was a towering figure of Russian musical life, and one of the 1...
I. Moderato Assai - 00:00
II. Moderato - 11:14
III. Allegro Non Troppo - 17:53
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. The concertos were enormously popular in the later 19th and early 20th centuries and were not only performed by the composer himself, but by such stellar artists as Hans von Bülow, Ferruccio Busoni, Anna Esipova, and the composer's own brother, Nikolay. Josef Lhévinne chose to make his United States début in 1919 with the Fifth Concerto, and Josef Hofmann, himself a pupil of Rubinstein's, continued to perform frequently both the Third and Fourth Concertos well into the 1940's. The Fourth was at one time in the repertoires of both Rachmaninov and Paderewski. Rubinstein's Third and Fourth Concertos, like Rubinstein the performer, are grand in scope, and seething with passion, brilliance and poetry. In spite of occasional excesses, the listener is never in doubt of Romantic intensity on a huge scale. Both of these works were undeniable influences on Tchaikovsky's later written first two piano concertos.
The Third Concerto was composed in 1853-1854, given its first performance by Rubinstein himself with the London Philharmonic in 1857, then finally published a year later. Rubinstein relates that he had a dream in which the piano (in a church!) first asks to be accepted as an equal instrument of the orchestra. It is rebuffed by the other instruments, then rudely thrown out of the church. Leaving the psychiatrists to make what they will of this rather odd "programme", the Third Concerto is by far the most innovative of the five concertos; for in it are used cyclic and thematic recall procedures on a large scale. It is perhaps not coincidental that the work's dedication is to Ignaz Moscheies, who was himself an early pioneer in the use of such then revolutionary compositional devices. Although the opening movement can be fitted into a traditional sonata-form mould, Rubinstein intersperses several short solo piano cadenzas near the beginning, and omits both the traditional return to the main theme after the middle development section and the often expected large solo cadenza. Throughout the piano valiantly tries to match and even outdo the orchestra, as in the composer's own "dream". The second movement, after two bars of orchestral introduction, opens with the piano stating a melancholy, obsessively pleading melody. A warmly expressive middle section, now fully dominated by the piano, acts as a contrast before the eventual return of the opening section. The third movement is certainly in the most innovative from a compositional standpoint. Although cast in loose sonata-form, near the end there are five separate quotations of themes from the earlier movements. The coda makes use as well of modified thematic material from the first two movements. This cyclic recall of themes places Rubinstein's Third Concerto as an important forerunner of what would soon prove to be one of the most popular concerto forms of the 19th century.
wn.com/Anton Rubinstein Piano Concerto No. 3 (1853)
I. Moderato Assai - 00:00
II. Moderato - 11:14
III. Allegro Non Troppo - 17:53
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. The concertos were enormously popular in the later 19th and early 20th centuries and were not only performed by the composer himself, but by such stellar artists as Hans von Bülow, Ferruccio Busoni, Anna Esipova, and the composer's own brother, Nikolay. Josef Lhévinne chose to make his United States début in 1919 with the Fifth Concerto, and Josef Hofmann, himself a pupil of Rubinstein's, continued to perform frequently both the Third and Fourth Concertos well into the 1940's. The Fourth was at one time in the repertoires of both Rachmaninov and Paderewski. Rubinstein's Third and Fourth Concertos, like Rubinstein the performer, are grand in scope, and seething with passion, brilliance and poetry. In spite of occasional excesses, the listener is never in doubt of Romantic intensity on a huge scale. Both of these works were undeniable influences on Tchaikovsky's later written first two piano concertos.
The Third Concerto was composed in 1853-1854, given its first performance by Rubinstein himself with the London Philharmonic in 1857, then finally published a year later. Rubinstein relates that he had a dream in which the piano (in a church!) first asks to be accepted as an equal instrument of the orchestra. It is rebuffed by the other instruments, then rudely thrown out of the church. Leaving the psychiatrists to make what they will of this rather odd "programme", the Third Concerto is by far the most innovative of the five concertos; for in it are used cyclic and thematic recall procedures on a large scale. It is perhaps not coincidental that the work's dedication is to Ignaz Moscheies, who was himself an early pioneer in the use of such then revolutionary compositional devices. Although the opening movement can be fitted into a traditional sonata-form mould, Rubinstein intersperses several short solo piano cadenzas near the beginning, and omits both the traditional return to the main theme after the middle development section and the often expected large solo cadenza. Throughout the piano valiantly tries to match and even outdo the orchestra, as in the composer's own "dream". The second movement, after two bars of orchestral introduction, opens with the piano stating a melancholy, obsessively pleading melody. A warmly expressive middle section, now fully dominated by the piano, acts as a contrast before the eventual return of the opening section. The third movement is certainly in the most innovative from a compositional standpoint. Although cast in loose sonata-form, near the end there are five separate quotations of themes from the earlier movements. The coda makes use as well of modified thematic material from the first two movements. This cyclic recall of themes places Rubinstein's Third Concerto as an important forerunner of what would soon prove to be one of the most popular concerto forms of the 19th century.
- published: 19 Jan 2014
- views: 9219
Anton Rubinstein - Piano Concerto No. 4 (1864)
I have decided to upload this recording. Which I think outshines the others.
I. Moderato Assai - 00:00
II. Andante - 11:31
III. Allegro - 22:18
Anton Rubinst...
I have decided to upload this recording. Which I think outshines the others.
I. Moderato Assai - 00:00
II. Andante - 11:31
III. Allegro - 22:18
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. The concertos were enormously popular in the later 19th and early 20th centuries and were not only performed by the composer himself, but by such stellar artists as Hans von Bülow, Ferruccio Busoni, Anna Esipova, and the composer's own brother, Nikolay. Josef Lhévinne chose to make his United States début in 1919 with the Fifth Concerto, and Josef Hofmann, himself a pupil of Rubinstein's, continued to perform frequently both the Third and Fourth Concertos well into the 1940's. The Fourth was at one time in the repertoires of both Rachmaninov and Paderewski. Rubinstein's Third and Fourth Concertos, like Rubinstein the performer, are grand in scope, and seething with passion, brilliance and poetry. In spite of occasional excesses, the listener is never in doubt of Romantic intensity on a huge scale. Both of these works were undeniable influences on Tchaikovsky's later written first two piano concertos.
The Fourth Concerto, with its near ideal balance between the piano and orchestra, has proved the most popular of Rubinstein's concertos, and is the one on which the composer lavished the most care. First written in 1864, after two further published versions Rubinstein finally published a last revision in 1872. The first movement opens with an orchestral statement of the main theme, then leads into an explosive opening cadenza for the piano. The piano then restates the main theme, now clothed in massive fortissimo chords which in the hands of the composer must have overpowered any orchestral sound of the day. After progressing in fairly traditional sonata-form, Rubinstein adds a massive piano cadenza (which was undoubtedly an obvious pattern to parts of Tchaikovsky's later first movement cadenza to his concerto in B flat minor), then rounds off the movement by another massive statement of the main theme and a breathless coda. The second movement is primarily in F major, yet starts in D minor as a tonal link to the preceeding movement. The principal theme is first given by the piano, then is eventually returned for two further embellished and modified statements. Overall this movement contains some of Rubinstein's most serene and lovely writing. Although the last movement has a wild, Russian dance-like character, it nonetheless is closer in character to the krakowiak, which is actually a dance of Polish origin. The opening main theme, first presented by the piano, contains imitations of characteristic shouts and stamping of feet, as would be found in a similar Russian folk dance. The 19th-century Russian composer and Rubinstein's contemporary, César Cui, felt this movement to be "something like those wild dances that Gluck and Righini wrote ... somthing like the alla Turca one finds in Mozart". The breathless dance-like pace, occasionally relaxed with more lyrical passages, continues headlong to a frenzied coda that ends the concerto with an avalanche of virtuosity for the piano.
wn.com/Anton Rubinstein Piano Concerto No. 4 (1864)
I have decided to upload this recording. Which I think outshines the others.
I. Moderato Assai - 00:00
II. Andante - 11:31
III. Allegro - 22:18
Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. The concertos were enormously popular in the later 19th and early 20th centuries and were not only performed by the composer himself, but by such stellar artists as Hans von Bülow, Ferruccio Busoni, Anna Esipova, and the composer's own brother, Nikolay. Josef Lhévinne chose to make his United States début in 1919 with the Fifth Concerto, and Josef Hofmann, himself a pupil of Rubinstein's, continued to perform frequently both the Third and Fourth Concertos well into the 1940's. The Fourth was at one time in the repertoires of both Rachmaninov and Paderewski. Rubinstein's Third and Fourth Concertos, like Rubinstein the performer, are grand in scope, and seething with passion, brilliance and poetry. In spite of occasional excesses, the listener is never in doubt of Romantic intensity on a huge scale. Both of these works were undeniable influences on Tchaikovsky's later written first two piano concertos.
The Fourth Concerto, with its near ideal balance between the piano and orchestra, has proved the most popular of Rubinstein's concertos, and is the one on which the composer lavished the most care. First written in 1864, after two further published versions Rubinstein finally published a last revision in 1872. The first movement opens with an orchestral statement of the main theme, then leads into an explosive opening cadenza for the piano. The piano then restates the main theme, now clothed in massive fortissimo chords which in the hands of the composer must have overpowered any orchestral sound of the day. After progressing in fairly traditional sonata-form, Rubinstein adds a massive piano cadenza (which was undoubtedly an obvious pattern to parts of Tchaikovsky's later first movement cadenza to his concerto in B flat minor), then rounds off the movement by another massive statement of the main theme and a breathless coda. The second movement is primarily in F major, yet starts in D minor as a tonal link to the preceeding movement. The principal theme is first given by the piano, then is eventually returned for two further embellished and modified statements. Overall this movement contains some of Rubinstein's most serene and lovely writing. Although the last movement has a wild, Russian dance-like character, it nonetheless is closer in character to the krakowiak, which is actually a dance of Polish origin. The opening main theme, first presented by the piano, contains imitations of characteristic shouts and stamping of feet, as would be found in a similar Russian folk dance. The 19th-century Russian composer and Rubinstein's contemporary, César Cui, felt this movement to be "something like those wild dances that Gluck and Righini wrote ... somthing like the alla Turca one finds in Mozart". The breathless dance-like pace, occasionally relaxed with more lyrical passages, continues headlong to a frenzied coda that ends the concerto with an avalanche of virtuosity for the piano.
- published: 21 Jan 2014
- views: 32745
Anton Rubinstein - Piano Concerto No. 5 (1874)
I. Allegro Moderato - 00:00
II. Andante - 22:32
III. Allegro - 32:37
Anton Rubinstein was one of the Romantic era's most charismatic musical figures, and near ...
I. Allegro Moderato - 00:00
II. Andante - 22:32
III. Allegro - 32:37
Anton Rubinstein was one of the Romantic era's most charismatic musical figures, and near the last in a line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. As a performer, some thought him at times to rival even Liszt himself. Rubinstein's reputation as one of Russia's seminal composers of the nineteenth century has remained controversial to this day, with much of his vast compositional output remaining unexplored either on the concert platform or on recordings even in his own country.
Over the final 44 years of his life Rubinstein published eight works for piano and orchestra, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. During the later 19th and early 20th centuries the concertos achieved enormous popularity, not only when performed by the composer himself, but by such distinguished artists as Hans von Bülow, Busoni, Anna Essipova, Paderewski, Rachmaninov, and the composer's own brother Nikolai. Josef Hofmann, Rubinstein's most noted pupil, continued to perform both the Third and Fourth Concertos well into the 1940s, and Josef Lhévinne made his United States début in 1906 with the Fifth Concerto.
The Fifth Concerto was composed in 1874. It is by far the most gargantuan of any of Rubinstein's piano and orchestra works, both by virtue of its nearly fifty minutes of music and the extreme physical demands made on the soloist. Significantly, Rubinstein dedicated the Fifth Concerto to Charles Valentin Alkan (real name Morhange), the eccentric French pianist-composer whose own keyboard works often contain similar pianistic extravagances. Rubinstein's writing in the Fifth Concerto has been accused of being at times derivative of both Beethoven and Liszt. Such strong influences were perhaps inevitable for a composer such as Rubinstein, whose style was undeniably influenced both by the German school stemming from Beethoven and Mendelssohn, and by the keyboard wizardry of Liszt. Conversely, the influence that Rubinstein's compositions and performance style had on such contemporaries as Tchaikovsky, Balakirev, and both the young Busoni and Rachmaninov cannot be ignored. Tchaikovsky, who for the most part was caustic in his opinions of Rubinstein's compositions, in his own First Piano Concerto (which was finished close to a year after Rubinstein's Fifth Concerto) came perilously close to an outright plagiarizing of certain of Rubinstein's pianistic effects.
In the Fifth Concerto, as in his other piano concertos, Rubinstein largely adheres to traditional structure. The opening huge movement is in sonata form, complete with a solo piano cadenza. In the opening principal theme given by the orchestra there is a pentatonic flavour, which to the listener sounds vaguely Oriental. At the close of the movement's exposition section, the series of elephantine, powerful ascending chords played by the piano against the horns of the orchestra must have been a strong stimulus for Tchaikovsky's own famous opening to his First Concerto. Rubinstein's extreme demands for the soloist include extended octave passages and huge chords written expressly for the composer's own mammoth reach, and difficult trills in double notes for both hands.
The dark, sombre second movement is in three-part form, with rhapsodic passages in the piano which punctuate and answer the quiet, folk-like material initially given in the orchestra. After an impassioned solo piano cadenza finally signals the return to the opening material, Rubinstein now reverses the order of themes, then ends the movement with three pizzicatos and a muffled, ominious muttering of the timpani.
The finale is constructed in sonata-rondo form. Like the first movement, it is built on a huge scale, with enormous musical gestures and technical demands for the soloist. Following several statements of a wild, rollicking theme that might be nicknamed "The Hunt", Rubinstein has the piano play an Italian dance tune over a typical Central Italian drone bass of open fifths. (In the manuscript Rubinstein indicates this as a "Tarantella napolitaine populaire".) Considerable glittering technical display for the pianist follows, then a concluding explosion of upward moving interlocking octaves, reminiscent of the close of the first movement of Tchaikovsky's First Concerto, brings this titanic movement to a suitably brilliant conclusion.
wn.com/Anton Rubinstein Piano Concerto No. 5 (1874)
I. Allegro Moderato - 00:00
II. Andante - 22:32
III. Allegro - 32:37
Anton Rubinstein was one of the Romantic era's most charismatic musical figures, and near the last in a line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. As a performer, some thought him at times to rival even Liszt himself. Rubinstein's reputation as one of Russia's seminal composers of the nineteenth century has remained controversial to this day, with much of his vast compositional output remaining unexplored either on the concert platform or on recordings even in his own country.
Over the final 44 years of his life Rubinstein published eight works for piano and orchestra, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. During the later 19th and early 20th centuries the concertos achieved enormous popularity, not only when performed by the composer himself, but by such distinguished artists as Hans von Bülow, Busoni, Anna Essipova, Paderewski, Rachmaninov, and the composer's own brother Nikolai. Josef Hofmann, Rubinstein's most noted pupil, continued to perform both the Third and Fourth Concertos well into the 1940s, and Josef Lhévinne made his United States début in 1906 with the Fifth Concerto.
The Fifth Concerto was composed in 1874. It is by far the most gargantuan of any of Rubinstein's piano and orchestra works, both by virtue of its nearly fifty minutes of music and the extreme physical demands made on the soloist. Significantly, Rubinstein dedicated the Fifth Concerto to Charles Valentin Alkan (real name Morhange), the eccentric French pianist-composer whose own keyboard works often contain similar pianistic extravagances. Rubinstein's writing in the Fifth Concerto has been accused of being at times derivative of both Beethoven and Liszt. Such strong influences were perhaps inevitable for a composer such as Rubinstein, whose style was undeniably influenced both by the German school stemming from Beethoven and Mendelssohn, and by the keyboard wizardry of Liszt. Conversely, the influence that Rubinstein's compositions and performance style had on such contemporaries as Tchaikovsky, Balakirev, and both the young Busoni and Rachmaninov cannot be ignored. Tchaikovsky, who for the most part was caustic in his opinions of Rubinstein's compositions, in his own First Piano Concerto (which was finished close to a year after Rubinstein's Fifth Concerto) came perilously close to an outright plagiarizing of certain of Rubinstein's pianistic effects.
In the Fifth Concerto, as in his other piano concertos, Rubinstein largely adheres to traditional structure. The opening huge movement is in sonata form, complete with a solo piano cadenza. In the opening principal theme given by the orchestra there is a pentatonic flavour, which to the listener sounds vaguely Oriental. At the close of the movement's exposition section, the series of elephantine, powerful ascending chords played by the piano against the horns of the orchestra must have been a strong stimulus for Tchaikovsky's own famous opening to his First Concerto. Rubinstein's extreme demands for the soloist include extended octave passages and huge chords written expressly for the composer's own mammoth reach, and difficult trills in double notes for both hands.
The dark, sombre second movement is in three-part form, with rhapsodic passages in the piano which punctuate and answer the quiet, folk-like material initially given in the orchestra. After an impassioned solo piano cadenza finally signals the return to the opening material, Rubinstein now reverses the order of themes, then ends the movement with three pizzicatos and a muffled, ominious muttering of the timpani.
The finale is constructed in sonata-rondo form. Like the first movement, it is built on a huge scale, with enormous musical gestures and technical demands for the soloist. Following several statements of a wild, rollicking theme that might be nicknamed "The Hunt", Rubinstein has the piano play an Italian dance tune over a typical Central Italian drone bass of open fifths. (In the manuscript Rubinstein indicates this as a "Tarantella napolitaine populaire".) Considerable glittering technical display for the pianist follows, then a concluding explosion of upward moving interlocking octaves, reminiscent of the close of the first movement of Tchaikovsky's First Concerto, brings this titanic movement to a suitably brilliant conclusion.
- published: 21 Jan 2014
- views: 15367
Anton Rubinstein - Symphony No. 2 "Ocean" (1851)
Painting Info - http://challenge.cgsociety.org/dreamscape/entry/marc-austin/work_in_progress/3713
I. Allegro Maestoso - 00:00
II. Adagio Non Tanto - 15:58
III....
Painting Info - http://challenge.cgsociety.org/dreamscape/entry/marc-austin/work_in_progress/3713
I. Allegro Maestoso - 00:00
II. Adagio Non Tanto - 15:58
III. Allegro - 26:51
IV. Adagio - Allegro Con Fuoco - 33:02
Russian music and music in Russia owe a great debt to Anton Rubinstein. Nevertheless he found himself, in his life-time, in opposition to the polymath Stasov's Mighty Handful, led by Balakirev, while a younger generation of composers, as Stravinsky tell us, would use his name as characteristic of all that was meretricious. "C'est Rubinstein" was the ultimate condemnation of a new composition that failed to please. Subsequent musical opinion has tended to continue the denigration of Rubinstein, condemned for his facility and, indeed, for the very technical proficiency of his composition and the obvious virtuosity of his performances as a pianist. Liszt, perhaps fearing a rival near the throne, spoke of him as the "pseudomusician of the Future"; César Cui wrote of him as not a Russian composer but "merely a Russian who composes, his music allied rather to that of Germany". Jibes of this kind have continued. Sacheverell Sitwell, in his biography of Liszt, describes Rubinstein as "a fountain of bad music", while a scholar of the eminence of Gerald Abraham can refer to him as "a highly competent imitator of Mendelssohn or Schumann".
There is no doubt that a great deal of the prejudice against Rubinstein was excited by anti-semitism. Jewish emancipation brought a measure of freedom, political rights and greater opportunities, but suspicion, jealousy and hostility remained. Rubinstein, moreover, like Mendelssohn, was something of a cosmopolitan, in his own words "considered a Russian in Germany and a German in Russia"
Anton Rubinstein was born in the Podolsk district of Russia in 1829. He had piano lessons from his mother, before studying with Alexandre Villoing in Moscow. He gave his first public concert at the age of nine, thereafter touring Europe. In Paris he met Liszt and Chopin, in the Netherlands members of the Russian Imperial family and in England Queen Victoria. In 1844 his family settled in Berlin, where, for two years, Rubinstein was able to take lessons from Glinka's teacher, Siegfried Dehn. In 1846 his father died and his family, including his younger brother Nikolay, returned to Russia, while he moved to Vienna, supporting himself as best he could. In later years he was to be critical of the failure of Liszt to give him any practical help. In 1846 he had played to Liszt, who was well known for the encouragement that he gave to young musicians. Possibly Liszt sensed competition from Rubinstein. "A talented man must win the goal of his ambition by his own unassisted efforts" was his comment. Two months later he visited Rubinstein, in his attic in Vienna, "accompanied by his usual retinue, his so-called courtiers, who followed him wherever he went". The visit had no practical result, and Rubinstein was obliged to continue "by his own unassisted efforts".
Rubinstein spent the winter of 1848/1849 in Russia. A meeting with the Grand Duchess Elena Pavlovna, sister-in-law of the Tsar, and formerly Princess of Saxe-Altenburg, led to her continued patronage. Rubinstein was given an apartment in one of her palaces, and became, in his own words, her "musical stoker". The relationship proved an important one. With her support plans were drawn up for changes in Russian musical education, resulting in the foundation, in 1859, of the Russian Musical Society, which promoted concerts, conducted by Rubinstein, and in 1862 the St Petersburg Conservatory was established, with Rubinstein as its first director and Tchaikovsky among its first pupils. In 1867 he resigned from both positions, although he was to return as director of the Conservatory twenty years later, after a career in which he established himself as one of the greatest pianists of the time, as a composer of international reputation, and as a conductor. By the time of his jubilee, in 1889, he enjoyed the greatest fame. In spite of this, the Russian Symphonic Evening in his memory, two weeks after his death in late 1894, failed to attract an audience. "So much for the public's famed love of Rubinstein", remarked Rimsky-Korsakov's memorialist, Yestrebstev.
wn.com/Anton Rubinstein Symphony No. 2 Ocean (1851)
Painting Info - http://challenge.cgsociety.org/dreamscape/entry/marc-austin/work_in_progress/3713
I. Allegro Maestoso - 00:00
II. Adagio Non Tanto - 15:58
III. Allegro - 26:51
IV. Adagio - Allegro Con Fuoco - 33:02
Russian music and music in Russia owe a great debt to Anton Rubinstein. Nevertheless he found himself, in his life-time, in opposition to the polymath Stasov's Mighty Handful, led by Balakirev, while a younger generation of composers, as Stravinsky tell us, would use his name as characteristic of all that was meretricious. "C'est Rubinstein" was the ultimate condemnation of a new composition that failed to please. Subsequent musical opinion has tended to continue the denigration of Rubinstein, condemned for his facility and, indeed, for the very technical proficiency of his composition and the obvious virtuosity of his performances as a pianist. Liszt, perhaps fearing a rival near the throne, spoke of him as the "pseudomusician of the Future"; César Cui wrote of him as not a Russian composer but "merely a Russian who composes, his music allied rather to that of Germany". Jibes of this kind have continued. Sacheverell Sitwell, in his biography of Liszt, describes Rubinstein as "a fountain of bad music", while a scholar of the eminence of Gerald Abraham can refer to him as "a highly competent imitator of Mendelssohn or Schumann".
There is no doubt that a great deal of the prejudice against Rubinstein was excited by anti-semitism. Jewish emancipation brought a measure of freedom, political rights and greater opportunities, but suspicion, jealousy and hostility remained. Rubinstein, moreover, like Mendelssohn, was something of a cosmopolitan, in his own words "considered a Russian in Germany and a German in Russia"
Anton Rubinstein was born in the Podolsk district of Russia in 1829. He had piano lessons from his mother, before studying with Alexandre Villoing in Moscow. He gave his first public concert at the age of nine, thereafter touring Europe. In Paris he met Liszt and Chopin, in the Netherlands members of the Russian Imperial family and in England Queen Victoria. In 1844 his family settled in Berlin, where, for two years, Rubinstein was able to take lessons from Glinka's teacher, Siegfried Dehn. In 1846 his father died and his family, including his younger brother Nikolay, returned to Russia, while he moved to Vienna, supporting himself as best he could. In later years he was to be critical of the failure of Liszt to give him any practical help. In 1846 he had played to Liszt, who was well known for the encouragement that he gave to young musicians. Possibly Liszt sensed competition from Rubinstein. "A talented man must win the goal of his ambition by his own unassisted efforts" was his comment. Two months later he visited Rubinstein, in his attic in Vienna, "accompanied by his usual retinue, his so-called courtiers, who followed him wherever he went". The visit had no practical result, and Rubinstein was obliged to continue "by his own unassisted efforts".
Rubinstein spent the winter of 1848/1849 in Russia. A meeting with the Grand Duchess Elena Pavlovna, sister-in-law of the Tsar, and formerly Princess of Saxe-Altenburg, led to her continued patronage. Rubinstein was given an apartment in one of her palaces, and became, in his own words, her "musical stoker". The relationship proved an important one. With her support plans were drawn up for changes in Russian musical education, resulting in the foundation, in 1859, of the Russian Musical Society, which promoted concerts, conducted by Rubinstein, and in 1862 the St Petersburg Conservatory was established, with Rubinstein as its first director and Tchaikovsky among its first pupils. In 1867 he resigned from both positions, although he was to return as director of the Conservatory twenty years later, after a career in which he established himself as one of the greatest pianists of the time, as a composer of international reputation, and as a conductor. By the time of his jubilee, in 1889, he enjoyed the greatest fame. In spite of this, the Russian Symphonic Evening in his memory, two weeks after his death in late 1894, failed to attract an audience. "So much for the public's famed love of Rubinstein", remarked Rimsky-Korsakov's memorialist, Yestrebstev.
- published: 26 Jul 2013
- views: 27193
Anton Rubinstein: Cello Concerto No 2 in D minor, Op. 96
Anton Rubinstein (1829-1894)
Cello Concerto No. 2 in D minor, Op. 96
I. Allegro moderato
II. Andante 11:19
III. Allegro - Moderato - Allegro vivace 16:45
Ant...
Anton Rubinstein (1829-1894)
Cello Concerto No. 2 in D minor, Op. 96
I. Allegro moderato
II. Andante 11:19
III. Allegro - Moderato - Allegro vivace 16:45
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
wn.com/Anton Rubinstein Cello Concerto No 2 In D Minor, Op. 96
Anton Rubinstein (1829-1894)
Cello Concerto No. 2 in D minor, Op. 96
I. Allegro moderato
II. Andante 11:19
III. Allegro - Moderato - Allegro vivace 16:45
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
- published: 07 Jun 2013
- views: 15414
Anton Rubinstein - Melody in F
Title : Anton Rubinstein - Melody in F
Date : 1858...
Title : Anton Rubinstein - Melody in F
Date : 1858
wn.com/Anton Rubinstein Melody In F
Title : Anton Rubinstein - Melody in F
Date : 1858
- published: 06 Jul 2008
- views: 773706
Anton Rubinstein - Piano Concerto No.5 in E-flat major, Op.94 (1874)
Picture: Pillars by merl1ncz
Anton Rubinstein (November 28 [O.S. November 16] 1829 -- November 20 [O.S. November 8] 1894) was a Russian pianist, composer and c...
Picture: Pillars by merl1ncz
Anton Rubinstein (November 28 [O.S. November 16] 1829 -- November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Piano Concerto No.5 in E-flat major, Op.94 (1874)
Mov.I: Allegro moderato 00:00
Mov.II: Andante 20:47
Mov.III: Allegro 30:59
Pianist: Joseph Banowetz
Orchestra: Slovak Radio Symphony Orchestra, Bratislava
Conductor: Robert Stankovsky
wn.com/Anton Rubinstein Piano Concerto No.5 In E Flat Major, Op.94 (1874)
Picture: Pillars by merl1ncz
Anton Rubinstein (November 28 [O.S. November 16] 1829 -- November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Piano Concerto No.5 in E-flat major, Op.94 (1874)
Mov.I: Allegro moderato 00:00
Mov.II: Andante 20:47
Mov.III: Allegro 30:59
Pianist: Joseph Banowetz
Orchestra: Slovak Radio Symphony Orchestra, Bratislava
Conductor: Robert Stankovsky
- published: 11 Dec 2013
- views: 8681
Anton Rubinstein /// Solo Piano Music ★ 2 Hours ★ Non Stop Classical Music
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg C...
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982)).
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble.
wn.com/Anton Rubinstein Solo Piano Music ★ 2 Hours ★ Non Stop Classical Music
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982)).
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble.
- published: 29 Dec 2014
- views: 7970
Anton Rubinstein - Piano Concertos No.1 and No.2
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg C...
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982).
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble.
wn.com/Anton Rubinstein Piano Concertos No.1 And No.2
Anton Grigorevich Rubinstein was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory (but was not related to the later Polish pianist Arthur Rubinstein (1887–1982).
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble.
- published: 14 Jan 2015
- views: 8021
Anton Rubinstein - Romance in E flat Major, Op.44 No.1
http://www.noontimeconcerts.org/
Natalya Lundtvedt, piano performs Anton Rubinstein (1829-1894) Romance in E flat Major, Op.44 No.1
on Tuesday, August 18, 2015,...
http://www.noontimeconcerts.org/
Natalya Lundtvedt, piano performs Anton Rubinstein (1829-1894) Romance in E flat Major, Op.44 No.1
on Tuesday, August 18, 2015, at San Francisco's Noontime Concerts, Old St. Mary's Cathedral, 660 California at Grant Avenue in San Francisco. http://www.oldsaintmarys.org/
wn.com/Anton Rubinstein Romance In E Flat Major, Op.44 No.1
http://www.noontimeconcerts.org/
Natalya Lundtvedt, piano performs Anton Rubinstein (1829-1894) Romance in E flat Major, Op.44 No.1
on Tuesday, August 18, 2015, at San Francisco's Noontime Concerts, Old St. Mary's Cathedral, 660 California at Grant Avenue in San Francisco. http://www.oldsaintmarys.org/
- published: 21 Aug 2015
- views: 2322
Josef Hofmann plays Anton Rubinstein Piano Concerto No.4, Op.70 (Reiner 1937)
Josef Casimir Hofmann (1876- 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor.
Anton Rubinstein (1829- 94)
Piano Concerto N...
Josef Casimir Hofmann (1876- 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor.
Anton Rubinstein (1829- 94)
Piano Concerto No. 4, D minor, Op. 70
I. Moderato Assai (00:00)
II. Andante (12:15)
III. Allegro (22:37)
Fritz Reiner
The Curtis Insitute Student Orchestra
Recorded in 1937. Nov. 28
Metropolitan Opera House, New York City
wn.com/Josef Hofmann Plays Anton Rubinstein Piano Concerto No.4, Op.70 (Reiner 1937)
Josef Casimir Hofmann (1876- 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor.
Anton Rubinstein (1829- 94)
Piano Concerto No. 4, D minor, Op. 70
I. Moderato Assai (00:00)
II. Andante (12:15)
III. Allegro (22:37)
Fritz Reiner
The Curtis Insitute Student Orchestra
Recorded in 1937. Nov. 28
Metropolitan Opera House, New York City
- published: 24 Apr 2015
- views: 2608
Anton Rubinstein - Ivan The Terrible (1869)
Anton Rubinstein was born at Vikhvatinets in the Podolsk district of the Russian Empire, on the borders of Moldavia, in 1829. A few years later his family moved...
Anton Rubinstein was born at Vikhvatinets in the Podolsk district of the Russian Empire, on the borders of Moldavia, in 1829. A few years later his family moved to Moscow, and after early instruction on the piano from his mother he took lessons from a teacher there, a certain Villoing, later to be the teacher of his brother Nikolay. He gave his first public concert in Moscow at the age of ten. There followed four years of touring as a child virtuoso, years that took him to Paris, to Scandinavia, Austria and Germany, and to London, where he played for Queen Victoria. In 1844 the family settled in Berlin, where Rubinstein took lessons in harmony and counterpoint from Glinka's former teacher, the Prussian royal music librarian Siegfried Dehn.
In 1846 Rubinstein's father died and the rest of the family returned to Russia, while he remained abroad in Vienna and in Pressburg (the modern Bratislava), earning a living as he could by teaching and cynical about the support that the ever-generous Liszt had seemed to offer, which took the form of a visit to his garret, with his entourage of disciples. As a pianist Rubinstein was to rival Liszt in fame, and the latter speaks of him with grudging respect as a composer and player, a clever fellow, but unduly influenced by the classicism of Mendelssohn, adding a less charitable description of him as the pseudo-Musician of the future on the occasion of a visit to Weimar in 1854 for the first performance of his opera The Siberian Huntsman.
Rubinstein's fortunes had changed as a result of a meeting with members of the Russian Imperial family during the course of an earlier visit to Paris. On his return to Russia in the winter of 1848 he found support from the Grand Duchess Elena Pavlovna, a German princess and sister-in-law of the Tsar, and with her active encouragement he established in 1859 the Russian Musical Society and three years later the St Petersburg Conservatory. His brother Nikolay, whose childhood prowess as a pianist had had similar exposure, founded similar organizations in Moscow. Tchaikovsky was to be among the first pupils at the St Petersburg Conservatory and among the first teachers on the staff of its humbler counterpart in Moscow.
The new Conservatory aroused immediate enmity, in particular from the nationalist group of composers, bullied into collaboration by the eccentric Balakirev. Rubinstein had opened battle by attacking the whole notion of national opera, pointing to the alleged failure of Glinka's work. Balakirev, self-taught as a composer, objected to formal German musical training, and it was left to following generations to benefit from a profitable synthesis of the primitive nationalism of the Five and the cosmopolitan sophistication of the Conservatories. Rubinstein, however, coupled technical assurance with a less overtly Russian approach, although by the time of his death in 1894 he had come to a better understanding of Russian nationalism in music, while a younger generation had come to understand the necessity of professional musical training.
The musical portrait, Ivan the Terrible, is based on the work of Lev Alexandrovich Mey, the literary source of four of Rimsky-Korsakov's operas and of numerous songs by the Five and by Tchaikovsky. In particular Rimsky-Korsakov's first opera, generally known as The Maid of Pskov, which bears the alternative title Ivan the Terrible, is derived from a play by Mey recounting the story of the Tsar's attack on Novgorod, leading to the death of Tucha and his beloved Olga, the latter turning out to be the Tsar's daughter. Mey's drama serves as the source of Rubinstein's musical portrait, written in 1869, and arranged for piano duet by Tchaikovsky in the same year. Five years earlier Rubinstein had written a musical portrait of Goethe's hero, Faust and in 1870 there followed his musical picture after Cervantes, Don Quixote. Here was some concession, at least, to the extra-musical preoccupations espoused by Liszt in his symphonic poems, copies of some of which he had sent to Rubinstein in 1856. At the same time Ivan the Terrible does contain overtly Russian elements, although it may lack the crude inspiration of the untutored nationalists.
wn.com/Anton Rubinstein Ivan The Terrible (1869)
Anton Rubinstein was born at Vikhvatinets in the Podolsk district of the Russian Empire, on the borders of Moldavia, in 1829. A few years later his family moved to Moscow, and after early instruction on the piano from his mother he took lessons from a teacher there, a certain Villoing, later to be the teacher of his brother Nikolay. He gave his first public concert in Moscow at the age of ten. There followed four years of touring as a child virtuoso, years that took him to Paris, to Scandinavia, Austria and Germany, and to London, where he played for Queen Victoria. In 1844 the family settled in Berlin, where Rubinstein took lessons in harmony and counterpoint from Glinka's former teacher, the Prussian royal music librarian Siegfried Dehn.
In 1846 Rubinstein's father died and the rest of the family returned to Russia, while he remained abroad in Vienna and in Pressburg (the modern Bratislava), earning a living as he could by teaching and cynical about the support that the ever-generous Liszt had seemed to offer, which took the form of a visit to his garret, with his entourage of disciples. As a pianist Rubinstein was to rival Liszt in fame, and the latter speaks of him with grudging respect as a composer and player, a clever fellow, but unduly influenced by the classicism of Mendelssohn, adding a less charitable description of him as the pseudo-Musician of the future on the occasion of a visit to Weimar in 1854 for the first performance of his opera The Siberian Huntsman.
Rubinstein's fortunes had changed as a result of a meeting with members of the Russian Imperial family during the course of an earlier visit to Paris. On his return to Russia in the winter of 1848 he found support from the Grand Duchess Elena Pavlovna, a German princess and sister-in-law of the Tsar, and with her active encouragement he established in 1859 the Russian Musical Society and three years later the St Petersburg Conservatory. His brother Nikolay, whose childhood prowess as a pianist had had similar exposure, founded similar organizations in Moscow. Tchaikovsky was to be among the first pupils at the St Petersburg Conservatory and among the first teachers on the staff of its humbler counterpart in Moscow.
The new Conservatory aroused immediate enmity, in particular from the nationalist group of composers, bullied into collaboration by the eccentric Balakirev. Rubinstein had opened battle by attacking the whole notion of national opera, pointing to the alleged failure of Glinka's work. Balakirev, self-taught as a composer, objected to formal German musical training, and it was left to following generations to benefit from a profitable synthesis of the primitive nationalism of the Five and the cosmopolitan sophistication of the Conservatories. Rubinstein, however, coupled technical assurance with a less overtly Russian approach, although by the time of his death in 1894 he had come to a better understanding of Russian nationalism in music, while a younger generation had come to understand the necessity of professional musical training.
The musical portrait, Ivan the Terrible, is based on the work of Lev Alexandrovich Mey, the literary source of four of Rimsky-Korsakov's operas and of numerous songs by the Five and by Tchaikovsky. In particular Rimsky-Korsakov's first opera, generally known as The Maid of Pskov, which bears the alternative title Ivan the Terrible, is derived from a play by Mey recounting the story of the Tsar's attack on Novgorod, leading to the death of Tucha and his beloved Olga, the latter turning out to be the Tsar's daughter. Mey's drama serves as the source of Rubinstein's musical portrait, written in 1869, and arranged for piano duet by Tchaikovsky in the same year. Five years earlier Rubinstein had written a musical portrait of Goethe's hero, Faust and in 1870 there followed his musical picture after Cervantes, Don Quixote. Here was some concession, at least, to the extra-musical preoccupations espoused by Liszt in his symphonic poems, copies of some of which he had sent to Rubinstein in 1856. At the same time Ivan the Terrible does contain overtly Russian elements, although it may lack the crude inspiration of the untutored nationalists.
- published: 05 Nov 2013
- views: 6756
(RARE!) Voice of Tchaikowsky & Anton Rubinstein On Edison Cylinder ! (1890)
This Edison phonograph cylinder recording from 1890 was made by Julius Block, a Russian Businessman of German descent (The Old Man with the Umbrella in this vid...
This Edison phonograph cylinder recording from 1890 was made by Julius Block, a Russian Businessman of German descent (The Old Man with the Umbrella in this video) who became fascinated with the phonograph (and even convinced Tchaikovsky to sign an endorsement).
The recording was kept by Block until his death in 1934. His family donated the cylinder (with other cylinders made by Block) in a German Archive after his death. The recording was re-discovered in the Pushkin archive of St.Petersburg, Russia in 1997, and was labelled with the names of the participants: Anton Rubinstein (composer), Elizaveta Lavrovskaya (singer), Peter Tchaikovsky (composer), Vassily Safonov (pianist and conductor), Alexandra Hubert (pianist), Julius Block (the host himself).
One can imagine the scene - a group of eminent musicians each standing around this new 'wonderful invention', being gently encouraged to say something. So there are a few words of banter, some musical scales, whistles, etc., much of which is only just audible.
Here is the translated contents of this recording:
A. Rubinstein: What a wonderful thing [the phonograph].
J. Block: Finally.
E. Lawrowskaja: A disgusting...how he dares slyly to name me.
W. Safonov : (Sings a scale incorrectly).
P. Tchaikovsky: This trill could be better.
E. Lawrowskaja: (sings).
P. Tchaikovsky: Block is good, but Edison is even better.
E. Lawrowskaja: (sings) A-o, a-o.
W. Safonow: (In German) Peter Jurgenson in Moskau.
P. Tchaikovsky: Who just spoke? It seems to have been Safonow. (Whistles)
A Real Treasure from the Past!
* Note: There is a recent CD issue released by Marston Records(the company owned by Ward Marston, the famous recording restorer.) with 90 excerpts of Julius Block cylinders. It is worth buying!
wn.com/(Rare ) Voice Of Tchaikowsky Anton Rubinstein On Edison Cylinder (1890)
This Edison phonograph cylinder recording from 1890 was made by Julius Block, a Russian Businessman of German descent (The Old Man with the Umbrella in this video) who became fascinated with the phonograph (and even convinced Tchaikovsky to sign an endorsement).
The recording was kept by Block until his death in 1934. His family donated the cylinder (with other cylinders made by Block) in a German Archive after his death. The recording was re-discovered in the Pushkin archive of St.Petersburg, Russia in 1997, and was labelled with the names of the participants: Anton Rubinstein (composer), Elizaveta Lavrovskaya (singer), Peter Tchaikovsky (composer), Vassily Safonov (pianist and conductor), Alexandra Hubert (pianist), Julius Block (the host himself).
One can imagine the scene - a group of eminent musicians each standing around this new 'wonderful invention', being gently encouraged to say something. So there are a few words of banter, some musical scales, whistles, etc., much of which is only just audible.
Here is the translated contents of this recording:
A. Rubinstein: What a wonderful thing [the phonograph].
J. Block: Finally.
E. Lawrowskaja: A disgusting...how he dares slyly to name me.
W. Safonov : (Sings a scale incorrectly).
P. Tchaikovsky: This trill could be better.
E. Lawrowskaja: (sings).
P. Tchaikovsky: Block is good, but Edison is even better.
E. Lawrowskaja: (sings) A-o, a-o.
W. Safonow: (In German) Peter Jurgenson in Moskau.
P. Tchaikovsky: Who just spoke? It seems to have been Safonow. (Whistles)
A Real Treasure from the Past!
* Note: There is a recent CD issue released by Marston Records(the company owned by Ward Marston, the famous recording restorer.) with 90 excerpts of Julius Block cylinders. It is worth buying!
- published: 24 Dec 2008
- views: 213105
Anton Rubinstein Sonata in f minor for Viola and Piano op.49
Ju, Pin-Lin Viola Recital
Anton Rubinstein Sonata in f minor for Viola and Piano op.49
I. Moderato
II. Andante
III. Moderato con...
Ju, Pin-Lin Viola Recital
Anton Rubinstein Sonata in f minor for Viola and Piano op.49
I. Moderato
II. Andante
III. Moderato con moto
IV. Allegro assai
wn.com/Anton Rubinstein Sonata In F Minor For Viola And Piano Op.49
Ju, Pin-Lin Viola Recital
Anton Rubinstein Sonata in f minor for Viola and Piano op.49
I. Moderato
II. Andante
III. Moderato con moto
IV. Allegro assai
- published: 20 May 2013
- views: 7073
Anton Rubinstein - String Quartet No. 2 (1855)
I. Moderato - 00:00
II. Allegro Molto Vivace - 10:21
III. Molto Lento - 15:00
IV. Moderato - 18:23
"Both of Anton Rubinstein's Op.17 string quartets, composed ...
I. Moderato - 00:00
II. Allegro Molto Vivace - 10:21
III. Molto Lento - 15:00
IV. Moderato - 18:23
"Both of Anton Rubinstein's Op.17 string quartets, composed in the early 1850's, are noteworthy. The opening movement of No.2, Moderato, begins with a Fugue whose main theme is quite expressive. The spirited and syncopated accompaniment is quite effective. In the second movement, Allegro molto vivace, it is the tremendous forward motion rather than any theme which captures the listener's attention, although the middle section has a deeply felt expressive theme. The short third movement, Andante, played with mutes might be styled music of the spheres or heavens. The finale, Moderato, begins in an extraordinarily dramatic fashion. But the composer does not ignore lyricism as heard in the wonderful second theme."---Wilhelm Altmann writing in his Handbook for String Quartet Players
Anton Rubinstein (1829-1894) was one of the great piano virtuosi of the 19th century with a technique said to rival that of Liszt. He also gained renown as a composer and conductor. Rubinstein was one of those rare concert virtuosi whose contribution to music went far beyond performing. In 1862, he founded the St. Petersburg Conservatory and served as its first director. His efforts in developing Russian musical talent were perhaps the greatest of any single individual. Not only did he introduce European educational methods but he also established standards that were as rigorous as any conservatory in Europe.
While Rubinstein's compositions were extremely popular during his lifetime, after his death, they were criticized because they showed "no Russian influence" and were viewed as derivatives of prominent European contemporaries, especially of Mendelssohn. Despite the fact that commentator after commentator has repeated this assertion, almost as if it were a litany, it is nonetheless not entirely accurate. Although he was not part of the so-called emergent Russian national school as led by Rimsky Korsakov, it is not true that there is no Russian influence to be found in his music. This influence is just not as pronounced as in the works of Borodin, Mussorgsky or of Korsakov himself. However, listeners to Rubinstein's music, including String Quartet No.2, will not only hear the influence of Mendelssohn, but also hear Russian melody and rhythm of the sort used by Borodin and others 20 years later.
Rubinstein was a prolific composer writing in nearly every genre. Chamber music figures prominently amongst his works. He wrote 10 string quartets, at least 5 piano trios, a string quintet and a string sextet as well as several other chamber works. But, it must be admitted that many of these works do not rise above the commonplace. Rubinstein was simply too fluent a writer for his own good and lacked the patience to take pencil and eraser to the manuscript page to improve what he had just dashed off. Few composers could have produced anything at all of merit doing this, but Rubinstein, by the sheer prodigious quality of his talent, was frequently able to create works of astonishing beauty and quite good style.
wn.com/Anton Rubinstein String Quartet No. 2 (1855)
I. Moderato - 00:00
II. Allegro Molto Vivace - 10:21
III. Molto Lento - 15:00
IV. Moderato - 18:23
"Both of Anton Rubinstein's Op.17 string quartets, composed in the early 1850's, are noteworthy. The opening movement of No.2, Moderato, begins with a Fugue whose main theme is quite expressive. The spirited and syncopated accompaniment is quite effective. In the second movement, Allegro molto vivace, it is the tremendous forward motion rather than any theme which captures the listener's attention, although the middle section has a deeply felt expressive theme. The short third movement, Andante, played with mutes might be styled music of the spheres or heavens. The finale, Moderato, begins in an extraordinarily dramatic fashion. But the composer does not ignore lyricism as heard in the wonderful second theme."---Wilhelm Altmann writing in his Handbook for String Quartet Players
Anton Rubinstein (1829-1894) was one of the great piano virtuosi of the 19th century with a technique said to rival that of Liszt. He also gained renown as a composer and conductor. Rubinstein was one of those rare concert virtuosi whose contribution to music went far beyond performing. In 1862, he founded the St. Petersburg Conservatory and served as its first director. His efforts in developing Russian musical talent were perhaps the greatest of any single individual. Not only did he introduce European educational methods but he also established standards that were as rigorous as any conservatory in Europe.
While Rubinstein's compositions were extremely popular during his lifetime, after his death, they were criticized because they showed "no Russian influence" and were viewed as derivatives of prominent European contemporaries, especially of Mendelssohn. Despite the fact that commentator after commentator has repeated this assertion, almost as if it were a litany, it is nonetheless not entirely accurate. Although he was not part of the so-called emergent Russian national school as led by Rimsky Korsakov, it is not true that there is no Russian influence to be found in his music. This influence is just not as pronounced as in the works of Borodin, Mussorgsky or of Korsakov himself. However, listeners to Rubinstein's music, including String Quartet No.2, will not only hear the influence of Mendelssohn, but also hear Russian melody and rhythm of the sort used by Borodin and others 20 years later.
Rubinstein was a prolific composer writing in nearly every genre. Chamber music figures prominently amongst his works. He wrote 10 string quartets, at least 5 piano trios, a string quintet and a string sextet as well as several other chamber works. But, it must be admitted that many of these works do not rise above the commonplace. Rubinstein was simply too fluent a writer for his own good and lacked the patience to take pencil and eraser to the manuscript page to improve what he had just dashed off. Few composers could have produced anything at all of merit doing this, but Rubinstein, by the sheer prodigious quality of his talent, was frequently able to create works of astonishing beauty and quite good style.
- published: 19 Jan 2014
- views: 4574
Anton Rubinstein: Nero, Ballet Suite (1875)
Slovak Philharmonic Orchestra conducted by/ Orquesta Filarmónica Eslovaca dirigida por Michael Halász.
I. Choir & Ballet / Coro y Ballet (0:00)
II. Divertissem...
Slovak Philharmonic Orchestra conducted by/ Orquesta Filarmónica Eslovaca dirigida por Michael Halász.
I. Choir & Ballet / Coro y Ballet (0:00)
II. Divertissement / Divertimento (7:04)
III. Festival March / Marcha Festiva (24:39)
IV. March of the Roman Legions / Marcha de las Legiones Romanas (30:23)
Anton Rubinstein was Russia’s (un)official first Romantic composer. Enjoying an equally admirable career as pianist and educator, Rubinstein’s works for the orchestra focused mainly in symphonies, concertos and stage works. His opera Nero deals with the passions of the famed Roman Emperor, his rise and his ultimate downfall.
Anton Rubinstein fue el primer compositor romántico de Rusia. Teniendo igualmente una admirable carrera como pianista y educador, sus obras para orquesta se enfocan principalmente en sinfonías, conciertos y obras escénicas. Su ópera Nerón trata de las pasiones del afamado emperador romano, su auge y su eventual caída.
More info / más información: http://musicalhistories.blogspot.mx/2015/05/historical-scenes-iii-fascination-with.html
Image/ imagen: Nero’s Torches / Las Antorchas de Nerón. Henryk Siemradzki. 1876.
wn.com/Anton Rubinstein Nero, Ballet Suite (1875)
Slovak Philharmonic Orchestra conducted by/ Orquesta Filarmónica Eslovaca dirigida por Michael Halász.
I. Choir & Ballet / Coro y Ballet (0:00)
II. Divertissement / Divertimento (7:04)
III. Festival March / Marcha Festiva (24:39)
IV. March of the Roman Legions / Marcha de las Legiones Romanas (30:23)
Anton Rubinstein was Russia’s (un)official first Romantic composer. Enjoying an equally admirable career as pianist and educator, Rubinstein’s works for the orchestra focused mainly in symphonies, concertos and stage works. His opera Nero deals with the passions of the famed Roman Emperor, his rise and his ultimate downfall.
Anton Rubinstein fue el primer compositor romántico de Rusia. Teniendo igualmente una admirable carrera como pianista y educador, sus obras para orquesta se enfocan principalmente en sinfonías, conciertos y obras escénicas. Su ópera Nerón trata de las pasiones del afamado emperador romano, su auge y su eventual caída.
More info / más información: http://musicalhistories.blogspot.mx/2015/05/historical-scenes-iii-fascination-with.html
Image/ imagen: Nero’s Torches / Las Antorchas de Nerón. Henryk Siemradzki. 1876.
- published: 29 May 2015
- views: 710
Anton Rubinstein(1829-1894):Symphony Nº5 in G minor ,Op.107
I.Moderato assai:11:25
II.Allegro non troppo.Moderato assai:7:29
III.Andante:9:30
IV.Allegro vivace:11:06
George Enescu Philharmonic Orchestra/H.Andreescu...
I.Moderato assai:11:25
II.Allegro non troppo.Moderato assai:7:29
III.Andante:9:30
IV.Allegro vivace:11:06
George Enescu Philharmonic Orchestra/H.Andreescu
wn.com/Anton Rubinstein(1829 1894) Symphony Nº5 In G Minor ,Op.107
I.Moderato assai:11:25
II.Allegro non troppo.Moderato assai:7:29
III.Andante:9:30
IV.Allegro vivace:11:06
George Enescu Philharmonic Orchestra/H.Andreescu
- published: 17 Jun 2014
- views: 2663
Anton Rubinstein - Symphony No.2 in C-major, Op.42 "Ocean" (1880)
Anton Grigorevich Rubinstein (Анто́н Григо́рьевич Рубинште́йн) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist,...
Anton Grigorevich Rubinstein (Анто́н Григо́рьевич Рубинште́йн) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Symphony No.2 in C-major, Op.42 "Ocean" (1851/1863/1880)
Mov.I: Moderato assai 00:00
Mov.II: Lento assai 11:45
Mov.III: Andante 30:12
Mov.IV: Allegro 39:05
Mov.V: Andante 44:06
Mov.VI: Scherzo 53:14
Mov.VII: Andante 59:18
Orchestra: Slovak Philharmonic Orchestra
Conductor: Stephen Gunzenhauser
wn.com/Anton Rubinstein Symphony No.2 In C Major, Op.42 Ocean (1880)
Anton Grigorevich Rubinstein (Анто́н Григо́рьевич Рубинште́йн) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory.
Work: Symphony No.2 in C-major, Op.42 "Ocean" (1851/1863/1880)
Mov.I: Moderato assai 00:00
Mov.II: Lento assai 11:45
Mov.III: Andante 30:12
Mov.IV: Allegro 39:05
Mov.V: Andante 44:06
Mov.VI: Scherzo 53:14
Mov.VII: Andante 59:18
Orchestra: Slovak Philharmonic Orchestra
Conductor: Stephen Gunzenhauser
- published: 13 Mar 2015
- views: 2156
Anton Rubinstein - The Demon/ Антон Рубинштейн - Демон (2003) with English subtitles
with English subtitles (click 'cc')
Latvian National Opera
Music Director and Conductor: Normunds Vaicis
Samsons Izjumovs
Kristine Opolais
Romans Polisadovs
Gu...
with English subtitles (click 'cc')
Latvian National Opera
Music Director and Conductor: Normunds Vaicis
Samsons Izjumovs
Kristine Opolais
Romans Polisadovs
Guntars Runģis
More or less complete, but with a lot of cuts to the score
The custom subtitles are based upon the translation by Juan Gherzi.
wn.com/Anton Rubinstein The Demon Антон Рубинштейн Демон (2003) With English Subtitles
with English subtitles (click 'cc')
Latvian National Opera
Music Director and Conductor: Normunds Vaicis
Samsons Izjumovs
Kristine Opolais
Romans Polisadovs
Guntars Runģis
More or less complete, but with a lot of cuts to the score
The custom subtitles are based upon the translation by Juan Gherzi.
- published: 06 Sep 2012
- views: 15648
ANTON RUBINSTEIN.-Octeto en Re mayor Op.9
ANTON RUBINSTEIN.-
Octeto en Re mayor Op.9
Piano: Thomas Duis
Consorcio Classicum
RUBINSTEIN en España
El jueves 3 de febrero dio Rubinstein su segundo co...
ANTON RUBINSTEIN.-
Octeto en Re mayor Op.9
Piano: Thomas Duis
Consorcio Classicum
RUBINSTEIN en España
El jueves 3 de febrero dio Rubinstein su segundo concierto
en Apolo, esta vez un recital, es decir, sin orquesta.
El teatro de la calle de Alcalá estaba lleno de bote en bote,
según El Lmparcial del 4 de febrero, aunque era un
concierto fuera de abono. Tan contradictorios eran los
juicios que los inteligentes habían formado de su mérito,
afirma La Iberia Su recital se estructura otra vez en dos
partes, cada una de ellas con dos secciones. En la primera
sección tocó un arreglo de la Obertura de Egmont, de
Beethoven, seguida del Rondó en La menor K. 511 de
Mozart; una giga de Haendel y la Sonata núm. 21 en Do
mayor Op. 53 ele Beethoven, la llamada Waldstein y entre
nosotros Aurora. La segunda sección estuvo dedicada a
Chopin e incluía la Fantasia en Fa menor Op. 49, la Barcarola
Op. 60, una mazurca, un vals y un estudio.
Parece increíble que aquel Madrid pequeñito y zarzuelero
pudiera llenar en tres ocasiones el aforo de Apolo
con el mismo pianista, cuando hoy no alcanzaron a llenar
el Auditorio Nacional de Música los más afamados del
momento. Pues bien, todavía dio Rubinstein dos recitales
más en la capital española, anticipando así como dijimos,
lo que iban a ser sus ••Conciertos históricos».
a las 2 de la tarde, en el elegante salón-teatro de la Escuela
Nacional de Música y Declamación, es decir, en el
Conseivatorio, donde Rubinstein fue recibido por el director
del centro, el compositor Emilio Arrieta. El programa
allí desarrollado es, sin eluda, el más exigente desde
el punto de vista musical, de cuantos desarrolló en Madrid,
pues incluye la Fantasía cromática y fuga BWV 903
de Bach, la Sonata núm. 32 Op. 111 de Beethoven, las
Variaciones serias Op. 54 de Mendelssohn, los Momentos
musicales y la Wanderer Fantasía de Schubert y tres
obras propias: Miniaturas, Romanza y Serenata. Un tour
de forcé impresionante, que hizo acabar el recital a eso de
las seis de la tarde. Sabemos por La Iberia que la mayor
parte de nuestros músicos se bailaban presentes en el
concierto y no regateaban sus elogios a Rubinstein. Al pa-
recer, uno de los compositores españoles más importantes
-seguramente el mismo Arrieta-, dijo de él: arranca
del piano sonidos tan dulces como los trinos del ruiseñor
y tan enérgicos como el rugido del león.
wn.com/Anton Rubinstein. Octeto En Re Mayor Op.9
ANTON RUBINSTEIN.-
Octeto en Re mayor Op.9
Piano: Thomas Duis
Consorcio Classicum
RUBINSTEIN en España
El jueves 3 de febrero dio Rubinstein su segundo concierto
en Apolo, esta vez un recital, es decir, sin orquesta.
El teatro de la calle de Alcalá estaba lleno de bote en bote,
según El Lmparcial del 4 de febrero, aunque era un
concierto fuera de abono. Tan contradictorios eran los
juicios que los inteligentes habían formado de su mérito,
afirma La Iberia Su recital se estructura otra vez en dos
partes, cada una de ellas con dos secciones. En la primera
sección tocó un arreglo de la Obertura de Egmont, de
Beethoven, seguida del Rondó en La menor K. 511 de
Mozart; una giga de Haendel y la Sonata núm. 21 en Do
mayor Op. 53 ele Beethoven, la llamada Waldstein y entre
nosotros Aurora. La segunda sección estuvo dedicada a
Chopin e incluía la Fantasia en Fa menor Op. 49, la Barcarola
Op. 60, una mazurca, un vals y un estudio.
Parece increíble que aquel Madrid pequeñito y zarzuelero
pudiera llenar en tres ocasiones el aforo de Apolo
con el mismo pianista, cuando hoy no alcanzaron a llenar
el Auditorio Nacional de Música los más afamados del
momento. Pues bien, todavía dio Rubinstein dos recitales
más en la capital española, anticipando así como dijimos,
lo que iban a ser sus ••Conciertos históricos».
a las 2 de la tarde, en el elegante salón-teatro de la Escuela
Nacional de Música y Declamación, es decir, en el
Conseivatorio, donde Rubinstein fue recibido por el director
del centro, el compositor Emilio Arrieta. El programa
allí desarrollado es, sin eluda, el más exigente desde
el punto de vista musical, de cuantos desarrolló en Madrid,
pues incluye la Fantasía cromática y fuga BWV 903
de Bach, la Sonata núm. 32 Op. 111 de Beethoven, las
Variaciones serias Op. 54 de Mendelssohn, los Momentos
musicales y la Wanderer Fantasía de Schubert y tres
obras propias: Miniaturas, Romanza y Serenata. Un tour
de forcé impresionante, que hizo acabar el recital a eso de
las seis de la tarde. Sabemos por La Iberia que la mayor
parte de nuestros músicos se bailaban presentes en el
concierto y no regateaban sus elogios a Rubinstein. Al pa-
recer, uno de los compositores españoles más importantes
-seguramente el mismo Arrieta-, dijo de él: arranca
del piano sonidos tan dulces como los trinos del ruiseñor
y tan enérgicos como el rugido del león.
- published: 07 Jul 2015
- views: 362
Anton Rubinstein: Piano Concerto No. 2 in F Major, Op. 35 (Complete)
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, a label, or any h...
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, a label, or any holder of copyright, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Piano Concerto No. 2 in F Major, Op. 35
I. Allegro vivace assai 0:00
II. Adagio non troppo 18:33
III. Moderato 28:42
Alexander Paley, piano
State Symphony Orchestra
Igor Golovchin, conductor
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
wn.com/Anton Rubinstein Piano Concerto No. 2 In F Major, Op. 35 (Complete)
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, a label, or any holder of copyright, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Piano Concerto No. 2 in F Major, Op. 35
I. Allegro vivace assai 0:00
II. Adagio non troppo 18:33
III. Moderato 28:42
Alexander Paley, piano
State Symphony Orchestra
Igor Golovchin, conductor
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
- published: 22 May 2015
- views: 1277
Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op.34 VERY RARE
Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op34
Very rare recording of Rubinstein's song cycle, with lyrics by Mirzə Şəfi Vazeh.
See c...
Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op34
Very rare recording of Rubinstein's song cycle, with lyrics by Mirzə Şəfi Vazeh.
See comment below from Marina Zoege von Manteuffel for an explanation of Tchaikovsky's translation of these lyrics. PIT's translations were from the German at the request of Rubinstein. Many thanks to Marina Zoege von Manteuffel for her informed comments.
A link to the lyrics to all 12 of these songs and to the only other recording of them (you can purchase it from the singer) that I'm aware of: http://theartsongproject.com/anton-rubinstein-12-songs-lieder-by-bodenstedtmirza-schafi/
Вокальный цикл "Персидские песни"
Song Cycle “Persian Songs” (Friedrich von Bodenstedt after Mirzə Şəfi Vazeh adapted by Pyotr Ilyich Tchaikovsky)
1. Зулейка Suleika
2. Как солнце небесам Like the sun for the heavens
3. Как увижу твои ножки When I see your little feet
4. Мне розан жалобно сказал The rose has told me, lamenting
5. Тому, кто хочет жить легко To one who want to live with ease
6. Нас по одной дороге We're lead down the same path
7. Скинь чадру с головы Take off your veil
8. Нераспустившийся цветок The unopened flower
9. Клубится волною кипучею Кур The waves of turbulent Kurag
10. Над морем солнце The sun over the sea
11. Не будь сурова Do not be cross
12. Велел создатель солнцу Creator ordered to the sun
Boris Gmyrya
Anton Rubinstein
wn.com/Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op.34 Very Rare
Boris Gmyria Anton Rubinstein Persian Love Songs Complete Cycle Op34
Very rare recording of Rubinstein's song cycle, with lyrics by Mirzə Şəfi Vazeh.
See comment below from Marina Zoege von Manteuffel for an explanation of Tchaikovsky's translation of these lyrics. PIT's translations were from the German at the request of Rubinstein. Many thanks to Marina Zoege von Manteuffel for her informed comments.
A link to the lyrics to all 12 of these songs and to the only other recording of them (you can purchase it from the singer) that I'm aware of: http://theartsongproject.com/anton-rubinstein-12-songs-lieder-by-bodenstedtmirza-schafi/
Вокальный цикл "Персидские песни"
Song Cycle “Persian Songs” (Friedrich von Bodenstedt after Mirzə Şəfi Vazeh adapted by Pyotr Ilyich Tchaikovsky)
1. Зулейка Suleika
2. Как солнце небесам Like the sun for the heavens
3. Как увижу твои ножки When I see your little feet
4. Мне розан жалобно сказал The rose has told me, lamenting
5. Тому, кто хочет жить легко To one who want to live with ease
6. Нас по одной дороге We're lead down the same path
7. Скинь чадру с головы Take off your veil
8. Нераспустившийся цветок The unopened flower
9. Клубится волною кипучею Кур The waves of turbulent Kurag
10. Над морем солнце The sun over the sea
11. Не будь сурова Do not be cross
12. Велел создатель солнцу Creator ordered to the sun
Boris Gmyrya
Anton Rubinstein
- published: 12 Jul 2014
- views: 1535
Anton Rubinstein: Cello Concerto No. 1 in A minor, Op. 65
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desir...
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Cello Concerto No. 1 in A minor, Op. 65
I. Moderato con moto 0:00
II. Adagio 12:12
III. Allegro con fuoco 22:15
Werner Thomas-Mifune, cello
Bamberg Symphony Orchestra
Yuri Ahronovich, conductor
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
wn.com/Anton Rubinstein Cello Concerto No. 1 In A Minor, Op. 65
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desire the removal of this video please contact me.
Anton Rubinstein (1829-1894)
Cello Concerto No. 1 in A minor, Op. 65
I. Moderato con moto 0:00
II. Adagio 12:12
III. Allegro con fuoco 22:15
Werner Thomas-Mifune, cello
Bamberg Symphony Orchestra
Yuri Ahronovich, conductor
Anton Grigorevich Rubinstein (November 28, 1829 -- November 20, 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, two cello concertos, a violin concerto, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble. Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work until relatively late in his career, and in only a handful of compositions, including the 5th Symphony, 2nd Cello Concerto and Caprice Russe for piano and orchestra.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
- published: 11 May 2015
- views: 1413
-
SHURA CHERKASSKY RECITAL SCHUBERT, ANTON RUBINSTEIN, LISZT 1995 'live'
PART OF A RECITAL SHURA GAVE JUST EIGHT MONTHS BEFORE HIS DEATH IN LONDON ON 27TH DECEMBER 1995. HERE ARE THREE SCHUBERT IMPROMPTUS FROM THE D899 SET, ANTON RUBINSTEIN'S BARCAROLLE AND FAMOUS MELODY IN F, LISZT'S POLONAISE NO.2 AND MANA ZUCCA'S ZOAVES DRILL (ENCORE). CHERKASSKY'S TEACHER IN AMERICA WAS THE POLISH PIANIST JOSEF HOFMANN WHO HAD LESSONS WITH ANTON RUBINSTEIN. RUBINSTEIN'S FOURTH PI
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A. Piatti: Elegia per 2 violoncelli "in memoriam Anton Rubinstein"
Alfredo Piatti
Elegia per 2 violoncelli "in memoriam Anton Rubinstein" (1894)
Martin Pratissoli e Giovanni Gnocchi, violoncelli
live in Bologna, Chiostro di San Giacomo, 3 . 7 . 2011
Concerto finale della Classe di Violoncello dell'Accademia "Incontri col Maestro" di Imola.
Classi di Giovanni Gnocchi e Stefano Cerrato
-uploaded in HD at http://www.TunesToTube.com
-
Anton Rubinstein - String Quartet No. 1 (1855)
I. Moderato Con Moto - 00:00
II. Andante Con Moto - 10:11
III. Presto - Allegro Moderato - 17:41
IV. Allegro Assai - 23:54
Anton Rubinstein (1829-1894) was one of the great piano virtuosi of the 19th century with a technique said to rival that of Liszt. He also gained renown as a composer and conductor. Rubinstein was one of those rare concert virtuosi whose contribution to music went far beyond
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Josef Hofmann plays the 1st Movement of Anton Rubinstein's Piano Concerto No.4
'Live' from Josef Hofmann's Golden Jubilee Concert.
Fritz Reiner conducting the Curtis Institute Student Orchestra.
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Anton Rubinstein - Symphony No. 4 in D minor, Op. 95 'Dramatic' - I. Lento-Allegro moderato
Antón Grigórievich Rubinstéin
Symphony No. 4 in D minor, Op. 95 'Dramatic'
I. Lento-Allegro moderato
II. Presto
III. Adagio
IV. Largo-Allegro con fuoco
Slovak State Philharmonic Orchestra, Kosice
Robert Stankovsky - Conductor
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Anton Rubinstein: Réve Angélique Jouni Somero,piano
Jouni Somero plays Rubinstein(1829-94) Réve Angélique op.10/22 sample from Anton Rubinstein Piano Works Jouni Somero FC-Records FCRCD-9732 Recorded 2010 Order: www.naxosdirect.fi, www.fuga.fi More information www.fcrecords.fi www.finnconcert.fi
Jouni Somero (b. 1963) is one of the most active Finnish musicians on the scene today. So far he has given over 2,500 concerts all over the world, includ
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Yoram Chaiter singing Persian song No.9 by Anton Rubinstein
Bass Yoram Chaiter singing Persian song No.9 by Anton Rubinstein Клубится волною by Anton Rubinstein
Irena Zelikson piano
Recording engineer Eyal Zaliouk
From a live recital 30/6/13
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Anton Rubinstein - Symphony No. 3 in A major, Op. 56
I. Allegro risoluto - 00:00
II. Adagio - Moderato - 11:12
III. Scherzo: Allegro vivace assai - 19:17
IV. Finale: Allegro maestoso - 26:18
Slovak Radio Symphony Orchestra
Robert Stankovsky, Conductor
Painting by Claude Monet
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Anton Rubinstein - Sonho Angelical
Anton Rubinstein. Rússia, pianista, pianist, maestro.
Orquestra Sinfônica de Hamburgo. Symphony Orchestra of Hamburg. Sinfonieorchester Hamburg.
Regente: Pietro Di La Coronna.
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ANTON RUBINSTEIN LA ROSEE ETINCELLE THE DEW GLISTENS LIVE Derceto ATERGATIS
Anton Rubinstein La rosée étincelle(The dew glistens) Lied Live
(N°2 Album du Gaulois)
Derceto Atergatis Sopran-Illustration
Vladimir Ollivier Piano
SHURA CHERKASSKY RECITAL SCHUBERT, ANTON RUBINSTEIN, LISZT 1995 'live'
PART OF A RECITAL SHURA GAVE JUST EIGHT MONTHS BEFORE HIS DEATH IN LONDON ON 27TH DECEMBER 1995. HERE ARE THREE SCHUBERT IMPROMPTUS FROM THE D899 SET, ANTON RU...
PART OF A RECITAL SHURA GAVE JUST EIGHT MONTHS BEFORE HIS DEATH IN LONDON ON 27TH DECEMBER 1995. HERE ARE THREE SCHUBERT IMPROMPTUS FROM THE D899 SET, ANTON RUBINSTEIN'S BARCAROLLE AND FAMOUS MELODY IN F, LISZT'S POLONAISE NO.2 AND MANA ZUCCA'S ZOAVES DRILL (ENCORE). CHERKASSKY'S TEACHER IN AMERICA WAS THE POLISH PIANIST JOSEF HOFMANN WHO HAD LESSONS WITH ANTON RUBINSTEIN. RUBINSTEIN'S FOURTH PIANO CONCERTO WAS PART OF CHERKASSKY'S REPERTOIRE AS IT WAS HOFMANNS AND RACHMANINOFFS.
wn.com/Shura Cherkassky Recital Schubert, Anton Rubinstein, Liszt 1995 'live'
PART OF A RECITAL SHURA GAVE JUST EIGHT MONTHS BEFORE HIS DEATH IN LONDON ON 27TH DECEMBER 1995. HERE ARE THREE SCHUBERT IMPROMPTUS FROM THE D899 SET, ANTON RUBINSTEIN'S BARCAROLLE AND FAMOUS MELODY IN F, LISZT'S POLONAISE NO.2 AND MANA ZUCCA'S ZOAVES DRILL (ENCORE). CHERKASSKY'S TEACHER IN AMERICA WAS THE POLISH PIANIST JOSEF HOFMANN WHO HAD LESSONS WITH ANTON RUBINSTEIN. RUBINSTEIN'S FOURTH PIANO CONCERTO WAS PART OF CHERKASSKY'S REPERTOIRE AS IT WAS HOFMANNS AND RACHMANINOFFS.
- published: 13 Jun 2013
- views: 11352
A. Piatti: Elegia per 2 violoncelli "in memoriam Anton Rubinstein"
Alfredo Piatti
Elegia per 2 violoncelli "in memoriam Anton Rubinstein" (1894)
Martin Pratissoli e Giovanni Gnocchi, violoncelli
live in Bologna, Chiostro di S...
Alfredo Piatti
Elegia per 2 violoncelli "in memoriam Anton Rubinstein" (1894)
Martin Pratissoli e Giovanni Gnocchi, violoncelli
live in Bologna, Chiostro di San Giacomo, 3 . 7 . 2011
Concerto finale della Classe di Violoncello dell'Accademia "Incontri col Maestro" di Imola.
Classi di Giovanni Gnocchi e Stefano Cerrato
-uploaded in HD at http://www.TunesToTube.com
wn.com/A. Piatti Elegia Per 2 Violoncelli In Memoriam Anton Rubinstein
Alfredo Piatti
Elegia per 2 violoncelli "in memoriam Anton Rubinstein" (1894)
Martin Pratissoli e Giovanni Gnocchi, violoncelli
live in Bologna, Chiostro di San Giacomo, 3 . 7 . 2011
Concerto finale della Classe di Violoncello dell'Accademia "Incontri col Maestro" di Imola.
Classi di Giovanni Gnocchi e Stefano Cerrato
-uploaded in HD at http://www.TunesToTube.com
- published: 04 Jul 2011
- views: 2379
Anton Rubinstein - String Quartet No. 1 (1855)
I. Moderato Con Moto - 00:00
II. Andante Con Moto - 10:11
III. Presto - Allegro Moderato - 17:41
IV. Allegro Assai - 23:54
Anton Rubinstein (1829-1894) was on...
I. Moderato Con Moto - 00:00
II. Andante Con Moto - 10:11
III. Presto - Allegro Moderato - 17:41
IV. Allegro Assai - 23:54
Anton Rubinstein (1829-1894) was one of the great piano virtuosi of the 19th century with a technique said to rival that of Liszt. He also gained renown as a composer and conductor. Rubinstein was one of those rare concert virtuosi whose contribution to music went far beyond performing. In 1862, he founded the St. Petersburg Conservatory and served as its first director. His efforts in developing Russian musical talent were perhaps the greatest of any single individual. Not only did he introduce European educational methods but he also established standards that were as rigorous as any conservatory in Europe.
While Rubinstein's compositions were extremely popular during his lifetime, after his death, they were criticized because they showed "no Russian influence" and were viewed as derivatives of prominent European contemporaries, especially of Mendelssohn. Despite the fact that commentator after commentator has repeated this assertion, almost as if it were a litany, it is nonetheless not entirely accurate. Although he was not part of the so-called emergent Russian national school as led by Rimsky Korsakov, it is not true that there is no Russian influence to be found in his music. This influence is just not as pronounced as in the works of Borodin, Mussorgsky or of Korsakov himself. However, listeners to Rubinstein's String Quartet No.1, which dates from the mid 1850's, will not only hear the influence of Mendelssohn, but also hear Russian melody and rhythm of the sort used by Borodin and others 20 years later. Certainly the Presto, with its lovely trio in particular, sound quite a lot like the music Borodin penned in the 1870's.
Rubinstein was a prolific composer writing in nearly every genre. Chamber music figures prominently amongst his works. He wrote 10 string quartets, at least 5 piano trios, a string quintet and a string sextet as well as several other chamber works. But, it must be admitted that many of these works do not rise above the commonplace. Rubinstein was simply too fluent a writer for his own good and lacked the patience to take pencil and eraser to the manuscript page to improve what he had just dashed off. Few composers could have produced anything at all of merit doing this, but Rubinstein, by the sheer prodigious quality of his talent, was , on occasion, able to create works of astonishing beauty and quite good style. Writing of Rubinstein's string quartets, Wilhelm Altmann, the famous chamber music critic notes:
"Rubinstein, despite the fact that he was a piano virtuoso, wrote very skillfully for strings and it is beyond dispute that he mastered classical string quartet compositional technique." Of String Quartet No.1 in particular, he continues, "The first movement, Moderato, has for its main subject an especially suitable theme for string quartet, while the impressive second subject is both rich and pregnant with possibilities. The song-like second movement, Andante con moto, is of great elegance. The Presto which serves as a scherzo is based on a lively, playful figure. The finale, Allegro moderato, begins with a somewhat passionate, very characteristic quartet-like melody which leads to an ingratiating, lyrical second theme."
wn.com/Anton Rubinstein String Quartet No. 1 (1855)
I. Moderato Con Moto - 00:00
II. Andante Con Moto - 10:11
III. Presto - Allegro Moderato - 17:41
IV. Allegro Assai - 23:54
Anton Rubinstein (1829-1894) was one of the great piano virtuosi of the 19th century with a technique said to rival that of Liszt. He also gained renown as a composer and conductor. Rubinstein was one of those rare concert virtuosi whose contribution to music went far beyond performing. In 1862, he founded the St. Petersburg Conservatory and served as its first director. His efforts in developing Russian musical talent were perhaps the greatest of any single individual. Not only did he introduce European educational methods but he also established standards that were as rigorous as any conservatory in Europe.
While Rubinstein's compositions were extremely popular during his lifetime, after his death, they were criticized because they showed "no Russian influence" and were viewed as derivatives of prominent European contemporaries, especially of Mendelssohn. Despite the fact that commentator after commentator has repeated this assertion, almost as if it were a litany, it is nonetheless not entirely accurate. Although he was not part of the so-called emergent Russian national school as led by Rimsky Korsakov, it is not true that there is no Russian influence to be found in his music. This influence is just not as pronounced as in the works of Borodin, Mussorgsky or of Korsakov himself. However, listeners to Rubinstein's String Quartet No.1, which dates from the mid 1850's, will not only hear the influence of Mendelssohn, but also hear Russian melody and rhythm of the sort used by Borodin and others 20 years later. Certainly the Presto, with its lovely trio in particular, sound quite a lot like the music Borodin penned in the 1870's.
Rubinstein was a prolific composer writing in nearly every genre. Chamber music figures prominently amongst his works. He wrote 10 string quartets, at least 5 piano trios, a string quintet and a string sextet as well as several other chamber works. But, it must be admitted that many of these works do not rise above the commonplace. Rubinstein was simply too fluent a writer for his own good and lacked the patience to take pencil and eraser to the manuscript page to improve what he had just dashed off. Few composers could have produced anything at all of merit doing this, but Rubinstein, by the sheer prodigious quality of his talent, was , on occasion, able to create works of astonishing beauty and quite good style. Writing of Rubinstein's string quartets, Wilhelm Altmann, the famous chamber music critic notes:
"Rubinstein, despite the fact that he was a piano virtuoso, wrote very skillfully for strings and it is beyond dispute that he mastered classical string quartet compositional technique." Of String Quartet No.1 in particular, he continues, "The first movement, Moderato, has for its main subject an especially suitable theme for string quartet, while the impressive second subject is both rich and pregnant with possibilities. The song-like second movement, Andante con moto, is of great elegance. The Presto which serves as a scherzo is based on a lively, playful figure. The finale, Allegro moderato, begins with a somewhat passionate, very characteristic quartet-like melody which leads to an ingratiating, lyrical second theme."
- published: 17 Jan 2014
- views: 2386
Josef Hofmann plays the 1st Movement of Anton Rubinstein's Piano Concerto No.4
'Live' from Josef Hofmann's Golden Jubilee Concert.
Fritz Reiner conducting the Curtis Institute Student Orchestra....
'Live' from Josef Hofmann's Golden Jubilee Concert.
Fritz Reiner conducting the Curtis Institute Student Orchestra.
wn.com/Josef Hofmann Plays The 1St Movement Of Anton Rubinstein's Piano Concerto No.4
'Live' from Josef Hofmann's Golden Jubilee Concert.
Fritz Reiner conducting the Curtis Institute Student Orchestra.
- published: 15 Oct 2010
- views: 2549
Anton Rubinstein - Symphony No. 4 in D minor, Op. 95 'Dramatic' - I. Lento-Allegro moderato
Antón Grigórievich Rubinstéin
Symphony No. 4 in D minor, Op. 95 'Dramatic'
I. Lento-Allegro moderato
II. Presto
III. Adagio
IV. Largo-Allegro con fuoco
S...
Antón Grigórievich Rubinstéin
Symphony No. 4 in D minor, Op. 95 'Dramatic'
I. Lento-Allegro moderato
II. Presto
III. Adagio
IV. Largo-Allegro con fuoco
Slovak State Philharmonic Orchestra, Kosice
Robert Stankovsky - Conductor
wn.com/Anton Rubinstein Symphony No. 4 In D Minor, Op. 95 'Dramatic' I. Lento Allegro Moderato
Antón Grigórievich Rubinstéin
Symphony No. 4 in D minor, Op. 95 'Dramatic'
I. Lento-Allegro moderato
II. Presto
III. Adagio
IV. Largo-Allegro con fuoco
Slovak State Philharmonic Orchestra, Kosice
Robert Stankovsky - Conductor
- published: 09 Jul 2013
- views: 3193
Anton Rubinstein: Réve Angélique Jouni Somero,piano
Jouni Somero plays Rubinstein(1829-94) Réve Angélique op.10/22 sample from Anton Rubinstein Piano Works Jouni Somero FC-Records FCRCD-9732 Recorded 2010 Order: ...
Jouni Somero plays Rubinstein(1829-94) Réve Angélique op.10/22 sample from Anton Rubinstein Piano Works Jouni Somero FC-Records FCRCD-9732 Recorded 2010 Order: www.naxosdirect.fi, www.fuga.fi More information www.fcrecords.fi www.finnconcert.fi
Jouni Somero (b. 1963) is one of the most active Finnish musicians on the scene today. So far he has given over 2,500 concerts all over the world, including Australia, Japan, Ukraine, Germany, Sweden, Estonia, Kosovo, Russia, Brazil, Canada and Finland. He began studying the organ when he was eight years old but switched to the piano at the age of 12, studying the latter in Switzerland and at the Music Academy in Cologne under Professor Herbert Drechsel. Under the legendary Hungarian pianist Georges Cziffra he gained a deeper insight into the music of Liszt. Michael Ponti, the American virtuoso, has also acted as Somero's musical advisor. From 1981 to 1989 Somero lived in Germany, working as an assistant at the Music Academy of Düsseldorf and in other capacities. Since 1990 he has pursued his career solely as a concert pianist. He was awarded a diploma at the International Music Competition in Rio de Janeiro.
Jouni Somero's recording career began in 1989 (with Liszt's 12 Transcendental Etudes), since when he has made about 80 discs for different labels (Naxos, BMG, MILS, Jubal, FC-Records etc). These include Bach's Das Wohltemperierte Klavier and Die Kunst der Fuge, Liszt's Harmonies Poètiques et Religieuses, Liszt's transcriptions of Beethoven's Symphonies 1 and 5, Rebikov's Piano Works, Henselt's Concert Etudes, Op. 2, Schubert's Wanderer Fantasy, Mussorgsky's Pictures at an Exhibition, Rachmaninov's Piano Works ( Vol.1-4 ), An Anthology of Finnish Piano Music (Vol. 1-5 ) and the world premiere recording of several piano works by Felix Blumenfeld and Benjamin Godard. He also recorded the complete piano music of Sergei Bortkiewicz ( Vol.1-9 ).
Somero's wide repertoire includes almost all the solo piano works of Rachmaninov, Tchaikovsky and Bortkiewicz as well as seldom heard music by such composers as Alkan, Godard, Arensky, Godowsky, Henselt, Thalberg, Glinka, Blumenfeld, Rebikov, Reinhold, Rubinstein and Gottschalk. He has also made many piano arrangements of orchestral, operatic and pop music.
wn.com/Anton Rubinstein Réve Angélique Jouni Somero,Piano
Jouni Somero plays Rubinstein(1829-94) Réve Angélique op.10/22 sample from Anton Rubinstein Piano Works Jouni Somero FC-Records FCRCD-9732 Recorded 2010 Order: www.naxosdirect.fi, www.fuga.fi More information www.fcrecords.fi www.finnconcert.fi
Jouni Somero (b. 1963) is one of the most active Finnish musicians on the scene today. So far he has given over 2,500 concerts all over the world, including Australia, Japan, Ukraine, Germany, Sweden, Estonia, Kosovo, Russia, Brazil, Canada and Finland. He began studying the organ when he was eight years old but switched to the piano at the age of 12, studying the latter in Switzerland and at the Music Academy in Cologne under Professor Herbert Drechsel. Under the legendary Hungarian pianist Georges Cziffra he gained a deeper insight into the music of Liszt. Michael Ponti, the American virtuoso, has also acted as Somero's musical advisor. From 1981 to 1989 Somero lived in Germany, working as an assistant at the Music Academy of Düsseldorf and in other capacities. Since 1990 he has pursued his career solely as a concert pianist. He was awarded a diploma at the International Music Competition in Rio de Janeiro.
Jouni Somero's recording career began in 1989 (with Liszt's 12 Transcendental Etudes), since when he has made about 80 discs for different labels (Naxos, BMG, MILS, Jubal, FC-Records etc). These include Bach's Das Wohltemperierte Klavier and Die Kunst der Fuge, Liszt's Harmonies Poètiques et Religieuses, Liszt's transcriptions of Beethoven's Symphonies 1 and 5, Rebikov's Piano Works, Henselt's Concert Etudes, Op. 2, Schubert's Wanderer Fantasy, Mussorgsky's Pictures at an Exhibition, Rachmaninov's Piano Works ( Vol.1-4 ), An Anthology of Finnish Piano Music (Vol. 1-5 ) and the world premiere recording of several piano works by Felix Blumenfeld and Benjamin Godard. He also recorded the complete piano music of Sergei Bortkiewicz ( Vol.1-9 ).
Somero's wide repertoire includes almost all the solo piano works of Rachmaninov, Tchaikovsky and Bortkiewicz as well as seldom heard music by such composers as Alkan, Godard, Arensky, Godowsky, Henselt, Thalberg, Glinka, Blumenfeld, Rebikov, Reinhold, Rubinstein and Gottschalk. He has also made many piano arrangements of orchestral, operatic and pop music.
- published: 09 Mar 2011
- views: 8209
Yoram Chaiter singing Persian song No.9 by Anton Rubinstein
Bass Yoram Chaiter singing Persian song No.9 by Anton Rubinstein Клубится волною by Anton Rubinstein
Irena Zelikson piano
Recording engineer Eyal Zaliouk
From a...
Bass Yoram Chaiter singing Persian song No.9 by Anton Rubinstein Клубится волною by Anton Rubinstein
Irena Zelikson piano
Recording engineer Eyal Zaliouk
From a live recital 30/6/13
wn.com/Yoram Chaiter Singing Persian Song No.9 By Anton Rubinstein
Bass Yoram Chaiter singing Persian song No.9 by Anton Rubinstein Клубится волною by Anton Rubinstein
Irena Zelikson piano
Recording engineer Eyal Zaliouk
From a live recital 30/6/13
- published: 18 Aug 2013
- views: 519
Anton Rubinstein - Symphony No. 3 in A major, Op. 56
I. Allegro risoluto - 00:00
II. Adagio - Moderato - 11:12
III. Scherzo: Allegro vivace assai - 19:17
IV. Finale: Allegro maestoso - 26:18
Slovak Radio Symphony...
I. Allegro risoluto - 00:00
II. Adagio - Moderato - 11:12
III. Scherzo: Allegro vivace assai - 19:17
IV. Finale: Allegro maestoso - 26:18
Slovak Radio Symphony Orchestra
Robert Stankovsky, Conductor
Painting by Claude Monet
wn.com/Anton Rubinstein Symphony No. 3 In A Major, Op. 56
I. Allegro risoluto - 00:00
II. Adagio - Moderato - 11:12
III. Scherzo: Allegro vivace assai - 19:17
IV. Finale: Allegro maestoso - 26:18
Slovak Radio Symphony Orchestra
Robert Stankovsky, Conductor
Painting by Claude Monet
- published: 15 Jan 2013
- views: 5076
Anton Rubinstein - Sonho Angelical
Anton Rubinstein. Rússia, pianista, pianist, maestro.
Orquestra Sinfônica de Hamburgo. Symphony Orchestra of Hamburg. Sinfonieorchester Hamburg.
Regente: P...
Anton Rubinstein. Rússia, pianista, pianist, maestro.
Orquestra Sinfônica de Hamburgo. Symphony Orchestra of Hamburg. Sinfonieorchester Hamburg.
Regente: Pietro Di La Coronna.
wn.com/Anton Rubinstein Sonho Angelical
Anton Rubinstein. Rússia, pianista, pianist, maestro.
Orquestra Sinfônica de Hamburgo. Symphony Orchestra of Hamburg. Sinfonieorchester Hamburg.
Regente: Pietro Di La Coronna.
- published: 13 Aug 2010
- views: 11907
ANTON RUBINSTEIN LA ROSEE ETINCELLE THE DEW GLISTENS LIVE Derceto ATERGATIS
Anton Rubinstein La rosée étincelle(The dew glistens) Lied Live
(N°2 Album du Gaulois)
Derceto Atergatis Sopran-Illustration
Vladimir Ollivier Piano...
Anton Rubinstein La rosée étincelle(The dew glistens) Lied Live
(N°2 Album du Gaulois)
Derceto Atergatis Sopran-Illustration
Vladimir Ollivier Piano
wn.com/Anton Rubinstein La Rosee Etincelle The Dew Glistens Live Derceto Atergatis
Anton Rubinstein La rosée étincelle(The dew glistens) Lied Live
(N°2 Album du Gaulois)
Derceto Atergatis Sopran-Illustration
Vladimir Ollivier Piano
- published: 25 Mar 2015
- views: 261
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Romance in E Flat Major, Op 44 No. 1 - Anton Rubinstein
I first played this piece as a child (the adapted version) in one of my John Thompson books and strangely enough, this was probably one of the more vivid melodies that stuck in my head(other than Long Long Ago, lol).
I stumbled across it again recently whilst looking for a piece to practise in the Hal Leonard Piano Classics collection. There is also a beautiful cello version played by Piatigorsk
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Frédéric Chopin: 19 Nocturnes - Arthur Rubinstein (Audio video)
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
•
ARTHUR RUBINSTEIN plays FREDERIC CHOPIN
Frédéric Chopin (1810-1849)
♪ 19 Nocturnes
Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72
1. Op.9 No.1 in B flat minor [00:00]
2. Op.9 No.2 in E flat major [05:25]
3. Op.9 No.3 in B major [09:51]
4. Op.15 No.1 in F major [16:39]
5. Op.15 No.2 in F sharp major [20:58]
6. Op.15 No.3 in G minor
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Anton Rubinstein: Romance in F
Performer's note: This piece was played from an album which does not identify the set/opus to which this belongs. When I find out I shall amend the description.
Played by Phillip Sear
http://www.psear.co.uk
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Interview with Artur Rubinstein 1/3 - Subtitulado
"Life is what it gives you, what is in front of you!" Nothing more. =)
I DON'T CLAIM ANY RESPONSIBILITY OF THIS VIDEO. IT HAS COPYRIGHT AND I AM NOT PROFITING FROM IT ON YOUTUBE.
-
Interview with Artur Rubinstein 3/3 - Subtitulado
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Alexander Bakhchiev plays Anton Rubinstein Barcarolle Op.50, N0.3
Alexander Bakhchiev (1930- 2007),
a Russian pianist and teachter of the Moscow Conservatory.
Anton Rubinstein (1829- 94)
Barcarolle in G minor Op.50, N0.3
**********************
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The Demon - Final Scene Hvorostovsky/Grigoryan
Anton Rubinstein
The Demon
Moscow, Tchaikovsky Concert Hall
30/01/2015
with
Dmitri Hvorostovsky
Asmik Grigoryan
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Holocaust Survivor Rita Rubinstein Interview
The American Red Cross conducted a campaign encouraging interaction between youth and Holocaust survivors. Over the course of two weeks, nine interviews were collected in the Washington, DC area focusing on the legacy of those who died during the Holocaust and its survivors. Collectively, these interviews share a hope for the future, and call on today's youth and future generations to stand up aga
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Lidia Kalendareva - Anton Rubinstein Piano Concerto No.4
www.lidia-kalend.com
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L'amour de la Vie (The Love of Life)
L'amour de la Vie (The Love of Life,1969). Artur Rubinstein documentary film.
The following pieces (brief excerpts only) are played in this, in no particular order.
Chopin: Polonaise in A flat major, op 53 (Heroic) - more than once!
J. Brahms: Piano Concerto no. 1 in D minor, op. 15
Beethoven: Piano Concerto no. 3 in C minor, op. 37
Beethoven: Piano Concerto no. 5 in E flat major, op. 73
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Anton Rubinstein Concerto No.4, 1st Mvt. Thomas Dobrovic and the Oakville Chamber Orchestra
November 29, 2015 Oakville Chamber Orchestra Young Artists Concert, Thomas Dobrovich soloist
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Anton & Daniel Gerzenberg (Glinka, Rubinstein, Rachmaninoff) - Progetto Martha Argerich
Lugano, 19.6. 2012
Glinka: Capriccio on russian themes 0:00:33
Rubinstein: Sonata D-Major, op. 89
1. Moderato con moto - Allegro non troppo - Allegro - Allegro assai 0:09:47
2. Allegro molto vivace - Trio: Moderato 0:25:51
3. Andante - Moderato - Allegro non troppo - Allegro assai 0:34:17
Rachmaninoff: Six pieces, op. 11
1. Barcarolle 0:46:23
2. Scherzo 0:52:19
3. Russian Them
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CHERKASSKY and ASHKENAZY RUBINSTEIN'S CONCERTO NO.4 MELODY IN F MAJOR.
SHURA CHERKASSKY STUDIED WITH JOSEF HOFMANN WHO STUDIED WITH ANTON RUBINSTEIN. THE FOURTH CONCERTO WAS IN THE REPERTOIRE OF BOTH RACHMANINOFF AND HOFMANN. CHERKASSKY RECORDED THE CONCERTO IN 1994 WITH THE RPO AND ASHKENAZY AT THE AGE OF 85 JUST A YEAR BEFORE HIS SUDDEN DEATH. CHERKASSKY'S LUXURIOUS GOLDEN SINGING TONE IS ESPECIALLY NOTABLE IN THE ROMANTICALLY DREAMY SECOND MOVEMENT.
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Josef Hofmann plays Rubinstein Melody in F (1923 rec.)
Anton Rubinstein (1829-1894):
Deux Mélodies pour le piano, Op.3: no. 1 in F major (Moderato)
Josef Hofmann (1876-1957), piano
Recorded in 1923
"I recall that Rubinstein once said to me:
'Do you know why piano-playing is so difficult? Because it is prone to be either affected or else afflicted with mannerisms; and when these two pitfalls are luckily avoided then it is liable to be -- dry!
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08 Anton G. Rubinstein - Melodie in F
Anton G. Rubinstein (1829-1894) - Melodie in F
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Harve Presnell "If You Are But A Dream" 1963 [Remastered LP Stereo]
Rare and beautiful operatic recording from Harve Presnell's debut album "The World's Greatest Love Songs". "If You Are But A Dream" was written in 1942 by Moe Jaffe, Jack Fulton and Nat Bonx. The melody is based on Anton Rubinstein's "Romance in E flat, Op. 44, No. 1," popularly known as "Rubenstein's Romance". The song is closely associated with Frank Sinatra though many artists have recorded i
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The Art of Piano
The Art of Piano: Great Pianists of the 20th Century.
Eighteen of the world's most accomplished pianists share their talents in this collection of performances. Interviews and commentary are interspersed with archival television and film appearances of pianists such as Vladimir Horowitz, Ignace Paderewski, Rachmaninoff, Plante, Richter, and Gould. Sir Colin Davis, Daniel Barenboim, and Evgeny Kis
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Russian Piano School/Babayan, Dubal/Russian Sundays at the 92Y
http://www.92y.org/russiansundays
The Russian Piano School
Sergei Babayan, piano
David Dubal of the Juilliard School, presentation
Sun, Dec 7, 2008, 3:00pm, Lexington Avenue at 92nd Street
Founded by brothers Anton and Nikolay Rubinstein, the legendary Russian piano school developed a signature approach to piano performance that is celebrated for its profound musicality and masterful piani
Romance in E Flat Major, Op 44 No. 1 - Anton Rubinstein
I first played this piece as a child (the adapted version) in one of my John Thompson books and strangely enough, this was probably one of the more vivid melodi...
I first played this piece as a child (the adapted version) in one of my John Thompson books and strangely enough, this was probably one of the more vivid melodies that stuck in my head(other than Long Long Ago, lol).
I stumbled across it again recently whilst looking for a piece to practise in the Hal Leonard Piano Classics collection. There is also a beautiful cello version played by Piatigorsky somewhere on Youtube if you look for it!
There are a couple of trips in between the piece. Guess I need more practice! :P
wn.com/Romance In E Flat Major, Op 44 No. 1 Anton Rubinstein
I first played this piece as a child (the adapted version) in one of my John Thompson books and strangely enough, this was probably one of the more vivid melodies that stuck in my head(other than Long Long Ago, lol).
I stumbled across it again recently whilst looking for a piece to practise in the Hal Leonard Piano Classics collection. There is also a beautiful cello version played by Piatigorsky somewhere on Youtube if you look for it!
There are a couple of trips in between the piece. Guess I need more practice! :P
- published: 18 Oct 2010
- views: 10947
Frédéric Chopin: 19 Nocturnes - Arthur Rubinstein (Audio video)
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
•
ARTHUR RUBINSTEIN plays FREDERIC CHOPIN
Frédéric Chopin (1810-1849)
♪ 19 Nocturnes
Opp...
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
•
ARTHUR RUBINSTEIN plays FREDERIC CHOPIN
Frédéric Chopin (1810-1849)
♪ 19 Nocturnes
Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72
1. Op.9 No.1 in B flat minor [00:00]
2. Op.9 No.2 in E flat major [05:25]
3. Op.9 No.3 in B major [09:51]
4. Op.15 No.1 in F major [16:39]
5. Op.15 No.2 in F sharp major [20:58]
6. Op.15 No.3 in G minor [24:55]
7. Op.27 No.1 in C sharp minor [29:57]
8. Op.27 No.2 in D flat major [35:35]
9. Op.32 No.1 in B major [41:48]
10. Op.32 No.2 in A flat major [46:28]
11. Op.37 No.1 in G minor [52:15]
12. Op.37 No.2 in G major [58:35]
13. Op.48 No.1 in C minor [01:05:28]
14. Op.48 No.2 in F sharp minor [01:11:19]
15. Op.55 No.1 in F minor [01:18:37]
16. Op.55 No.2 in E flat major [01:24:16]
17. Op.62 No.1 in B major [01:30:05]
18. Op.62 No.2 in E major [01:36:55]
19. Op.72 No.1 in E minor [01:42:13]
Arthur Rubinstein, piano
Produced by Max Wilcox
RCA 1965
(HD 1080p - Audio video)
•
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
wn.com/Frédéric Chopin 19 Nocturnes Arthur Rubinstein (Audio Video)
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
•
ARTHUR RUBINSTEIN plays FREDERIC CHOPIN
Frédéric Chopin (1810-1849)
♪ 19 Nocturnes
Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72
1. Op.9 No.1 in B flat minor [00:00]
2. Op.9 No.2 in E flat major [05:25]
3. Op.9 No.3 in B major [09:51]
4. Op.15 No.1 in F major [16:39]
5. Op.15 No.2 in F sharp major [20:58]
6. Op.15 No.3 in G minor [24:55]
7. Op.27 No.1 in C sharp minor [29:57]
8. Op.27 No.2 in D flat major [35:35]
9. Op.32 No.1 in B major [41:48]
10. Op.32 No.2 in A flat major [46:28]
11. Op.37 No.1 in G minor [52:15]
12. Op.37 No.2 in G major [58:35]
13. Op.48 No.1 in C minor [01:05:28]
14. Op.48 No.2 in F sharp minor [01:11:19]
15. Op.55 No.1 in F minor [01:18:37]
16. Op.55 No.2 in E flat major [01:24:16]
17. Op.62 No.1 in B major [01:30:05]
18. Op.62 No.2 in E major [01:36:55]
19. Op.72 No.1 in E minor [01:42:13]
Arthur Rubinstein, piano
Produced by Max Wilcox
RCA 1965
(HD 1080p - Audio video)
•
Faces of Classical Music
http://facesofclassicalmusic.blogspot.com/
- published: 16 Oct 2014
- views: 1581355
Anton Rubinstein: Romance in F
Performer's note: This piece was played from an album which does not identify the set/opus to which this belongs. When I find out I shall amend the description...
Performer's note: This piece was played from an album which does not identify the set/opus to which this belongs. When I find out I shall amend the description.
Played by Phillip Sear
http://www.psear.co.uk
wn.com/Anton Rubinstein Romance In F
Performer's note: This piece was played from an album which does not identify the set/opus to which this belongs. When I find out I shall amend the description.
Played by Phillip Sear
http://www.psear.co.uk
- published: 12 Oct 2007
- views: 24490
Interview with Artur Rubinstein 1/3 - Subtitulado
"Life is what it gives you, what is in front of you!" Nothing more. =)
I DON'T CLAIM ANY RESPONSIBILITY OF THIS VIDEO. IT HAS COPYRIGHT AND I AM NOT PROFITING ...
"Life is what it gives you, what is in front of you!" Nothing more. =)
I DON'T CLAIM ANY RESPONSIBILITY OF THIS VIDEO. IT HAS COPYRIGHT AND I AM NOT PROFITING FROM IT ON YOUTUBE.
wn.com/Interview With Artur Rubinstein 1 3 Subtitulado
"Life is what it gives you, what is in front of you!" Nothing more. =)
I DON'T CLAIM ANY RESPONSIBILITY OF THIS VIDEO. IT HAS COPYRIGHT AND I AM NOT PROFITING FROM IT ON YOUTUBE.
- published: 07 Nov 2009
- views: 25522
Alexander Bakhchiev plays Anton Rubinstein Barcarolle Op.50, N0.3
Alexander Bakhchiev (1930- 2007),
a Russian pianist and teachter of the Moscow Conservatory.
Anton Rubinstein (1829- 94)
Barcarolle in G minor Op.50, N0.3
...
Alexander Bakhchiev (1930- 2007),
a Russian pianist and teachter of the Moscow Conservatory.
Anton Rubinstein (1829- 94)
Barcarolle in G minor Op.50, N0.3
**********************
wn.com/Alexander Bakhchiev Plays Anton Rubinstein Barcarolle Op.50, N0.3
Alexander Bakhchiev (1930- 2007),
a Russian pianist and teachter of the Moscow Conservatory.
Anton Rubinstein (1829- 94)
Barcarolle in G minor Op.50, N0.3
**********************
- published: 04 Jun 2015
- views: 120
The Demon - Final Scene Hvorostovsky/Grigoryan
Anton Rubinstein
The Demon
Moscow, Tchaikovsky Concert Hall
30/01/2015
with
Dmitri Hvorostovsky
Asmik Grigoryan...
Anton Rubinstein
The Demon
Moscow, Tchaikovsky Concert Hall
30/01/2015
with
Dmitri Hvorostovsky
Asmik Grigoryan
wn.com/The Demon Final Scene Hvorostovsky Grigoryan
Anton Rubinstein
The Demon
Moscow, Tchaikovsky Concert Hall
30/01/2015
with
Dmitri Hvorostovsky
Asmik Grigoryan
- published: 01 Feb 2015
- views: 13955
Holocaust Survivor Rita Rubinstein Interview
The American Red Cross conducted a campaign encouraging interaction between youth and Holocaust survivors. Over the course of two weeks, nine interviews were co...
The American Red Cross conducted a campaign encouraging interaction between youth and Holocaust survivors. Over the course of two weeks, nine interviews were collected in the Washington, DC area focusing on the legacy of those who died during the Holocaust and its survivors. Collectively, these interviews share a hope for the future, and call on today's youth and future generations to stand up against prejudice and prevent future genocides.
Rita Rubinstein is a Holocaust survivor and a volunteer with the US Holocaust Memorial Museum. She was interviewed by Sumita Tellakat. They spoke about her experiences during and following the Holocaust. She shared her hope for a future without war and suffering.
The American Red Cross supports Holocaust survivors through its Restoring Family Links program. Through this service, families separated by World War II can be reconnected to their loved ones, or obtain documentation concerning their fate. To learn more about this program, please visit www.redcross.org/reconnectingfamilies.
wn.com/Holocaust Survivor Rita Rubinstein Interview
The American Red Cross conducted a campaign encouraging interaction between youth and Holocaust survivors. Over the course of two weeks, nine interviews were collected in the Washington, DC area focusing on the legacy of those who died during the Holocaust and its survivors. Collectively, these interviews share a hope for the future, and call on today's youth and future generations to stand up against prejudice and prevent future genocides.
Rita Rubinstein is a Holocaust survivor and a volunteer with the US Holocaust Memorial Museum. She was interviewed by Sumita Tellakat. They spoke about her experiences during and following the Holocaust. She shared her hope for a future without war and suffering.
The American Red Cross supports Holocaust survivors through its Restoring Family Links program. Through this service, families separated by World War II can be reconnected to their loved ones, or obtain documentation concerning their fate. To learn more about this program, please visit www.redcross.org/reconnectingfamilies.
- published: 15 Apr 2015
- views: 213
L'amour de la Vie (The Love of Life)
L'amour de la Vie (The Love of Life,1969). Artur Rubinstein documentary film.
The following pieces (brief excerpts only) are played in this, in no particular...
L'amour de la Vie (The Love of Life,1969). Artur Rubinstein documentary film.
The following pieces (brief excerpts only) are played in this, in no particular order.
Chopin: Polonaise in A flat major, op 53 (Heroic) - more than once!
J. Brahms: Piano Concerto no. 1 in D minor, op. 15
Beethoven: Piano Concerto no. 3 in C minor, op. 37
Beethoven: Piano Concerto no. 5 in E flat major, op. 73
Artur Rubinstein: transcription of Beethovens string quartet op. 59 no. 1,slow movement.
Artur Rubinstein: transcription of the beginning of the Adagio (second movement) of Schubert's String Quintet in C, D 956
F. Chopin: Nocturne op. 27 no. 2
F. Chopin: Etude no. 23 in A minor, op. 25 no. 11
H. Villa-Lobos: Polichinelle
R. Schumann: Des Abends from the Fantasiestücke, op. 12
S. Prokofiev: March from "Love of Three Oranges" ballet
Beethoven: Sonata no 23 in F minor, op 57 (Appassionata)
F. Liszt: Nocturne op 62 no 3
F. Mendelssohn: Spinning song op 67 no 4
M. de Falla: Ritual Fire Dance
Grieg: Piano Concerto in A minor, op. 16 - finale
wn.com/L'Amour De La Vie (The Love Of Life)
L'amour de la Vie (The Love of Life,1969). Artur Rubinstein documentary film.
The following pieces (brief excerpts only) are played in this, in no particular order.
Chopin: Polonaise in A flat major, op 53 (Heroic) - more than once!
J. Brahms: Piano Concerto no. 1 in D minor, op. 15
Beethoven: Piano Concerto no. 3 in C minor, op. 37
Beethoven: Piano Concerto no. 5 in E flat major, op. 73
Artur Rubinstein: transcription of Beethovens string quartet op. 59 no. 1,slow movement.
Artur Rubinstein: transcription of the beginning of the Adagio (second movement) of Schubert's String Quintet in C, D 956
F. Chopin: Nocturne op. 27 no. 2
F. Chopin: Etude no. 23 in A minor, op. 25 no. 11
H. Villa-Lobos: Polichinelle
R. Schumann: Des Abends from the Fantasiestücke, op. 12
S. Prokofiev: March from "Love of Three Oranges" ballet
Beethoven: Sonata no 23 in F minor, op 57 (Appassionata)
F. Liszt: Nocturne op 62 no 3
F. Mendelssohn: Spinning song op 67 no 4
M. de Falla: Ritual Fire Dance
Grieg: Piano Concerto in A minor, op. 16 - finale
- published: 14 Mar 2012
- views: 52967
Anton Rubinstein Concerto No.4, 1st Mvt. Thomas Dobrovic and the Oakville Chamber Orchestra
November 29, 2015 Oakville Chamber Orchestra Young Artists Concert, Thomas Dobrovich soloist...
November 29, 2015 Oakville Chamber Orchestra Young Artists Concert, Thomas Dobrovich soloist
wn.com/Anton Rubinstein Concerto No.4, 1St Mvt. Thomas Dobrovic And The Oakville Chamber Orchestra
November 29, 2015 Oakville Chamber Orchestra Young Artists Concert, Thomas Dobrovich soloist
- published: 03 Dec 2015
- views: 59
Anton & Daniel Gerzenberg (Glinka, Rubinstein, Rachmaninoff) - Progetto Martha Argerich
Lugano, 19.6. 2012
Glinka: Capriccio on russian themes 0:00:33
Rubinstein: Sonata D-Major, op. 89
1. Moderato con moto - Allegro non troppo - Allegro - ...
Lugano, 19.6. 2012
Glinka: Capriccio on russian themes 0:00:33
Rubinstein: Sonata D-Major, op. 89
1. Moderato con moto - Allegro non troppo - Allegro - Allegro assai 0:09:47
2. Allegro molto vivace - Trio: Moderato 0:25:51
3. Andante - Moderato - Allegro non troppo - Allegro assai 0:34:17
Rachmaninoff: Six pieces, op. 11
1. Barcarolle 0:46:23
2. Scherzo 0:52:19
3. Russian Theme 0:55:45
4. Waltz 1:00:19
5. Romance 1:04:46
6. Slava (Glory) 1:08:27
Encores:
Balakirev: 7 Legendes 1:15:13
6. The brothers robbers and the sister - attaca:
7. Animals and birds
Slonimsky: Polka 1:19:25
wn.com/Anton Daniel Gerzenberg (Glinka, Rubinstein, Rachmaninoff) Progetto Martha Argerich
Lugano, 19.6. 2012
Glinka: Capriccio on russian themes 0:00:33
Rubinstein: Sonata D-Major, op. 89
1. Moderato con moto - Allegro non troppo - Allegro - Allegro assai 0:09:47
2. Allegro molto vivace - Trio: Moderato 0:25:51
3. Andante - Moderato - Allegro non troppo - Allegro assai 0:34:17
Rachmaninoff: Six pieces, op. 11
1. Barcarolle 0:46:23
2. Scherzo 0:52:19
3. Russian Theme 0:55:45
4. Waltz 1:00:19
5. Romance 1:04:46
6. Slava (Glory) 1:08:27
Encores:
Balakirev: 7 Legendes 1:15:13
6. The brothers robbers and the sister - attaca:
7. Animals and birds
Slonimsky: Polka 1:19:25
- published: 28 Jun 2012
- views: 3149
CHERKASSKY and ASHKENAZY RUBINSTEIN'S CONCERTO NO.4 MELODY IN F MAJOR.
SHURA CHERKASSKY STUDIED WITH JOSEF HOFMANN WHO STUDIED WITH ANTON RUBINSTEIN. THE FOURTH CONCERTO WAS IN THE REPERTOIRE OF BOTH RACHMANINOFF AND HOFMANN. CH...
SHURA CHERKASSKY STUDIED WITH JOSEF HOFMANN WHO STUDIED WITH ANTON RUBINSTEIN. THE FOURTH CONCERTO WAS IN THE REPERTOIRE OF BOTH RACHMANINOFF AND HOFMANN. CHERKASSKY RECORDED THE CONCERTO IN 1994 WITH THE RPO AND ASHKENAZY AT THE AGE OF 85 JUST A YEAR BEFORE HIS SUDDEN DEATH. CHERKASSKY'S LUXURIOUS GOLDEN SINGING TONE IS ESPECIALLY NOTABLE IN THE ROMANTICALLY DREAMY SECOND MOVEMENT.
wn.com/Cherkassky And Ashkenazy Rubinstein'S Concerto No.4 Melody In F Major.
SHURA CHERKASSKY STUDIED WITH JOSEF HOFMANN WHO STUDIED WITH ANTON RUBINSTEIN. THE FOURTH CONCERTO WAS IN THE REPERTOIRE OF BOTH RACHMANINOFF AND HOFMANN. CHERKASSKY RECORDED THE CONCERTO IN 1994 WITH THE RPO AND ASHKENAZY AT THE AGE OF 85 JUST A YEAR BEFORE HIS SUDDEN DEATH. CHERKASSKY'S LUXURIOUS GOLDEN SINGING TONE IS ESPECIALLY NOTABLE IN THE ROMANTICALLY DREAMY SECOND MOVEMENT.
- published: 21 May 2015
- views: 584
Josef Hofmann plays Rubinstein Melody in F (1923 rec.)
Anton Rubinstein (1829-1894):
Deux Mélodies pour le piano, Op.3: no. 1 in F major (Moderato)
Josef Hofmann (1876-1957), piano
Recorded in 1923
"I recall...
Anton Rubinstein (1829-1894):
Deux Mélodies pour le piano, Op.3: no. 1 in F major (Moderato)
Josef Hofmann (1876-1957), piano
Recorded in 1923
"I recall that Rubinstein once said to me:
'Do you know why piano-playing is so difficult? Because it is prone to be either affected or else afflicted with mannerisms; and when these two pitfalls are luckily avoided then it is liable to be -- dry! The truth lies between those three mischiefs!'"
Josef Hofmann
wn.com/Josef Hofmann Plays Rubinstein Melody In F (1923 Rec.)
Anton Rubinstein (1829-1894):
Deux Mélodies pour le piano, Op.3: no. 1 in F major (Moderato)
Josef Hofmann (1876-1957), piano
Recorded in 1923
"I recall that Rubinstein once said to me:
'Do you know why piano-playing is so difficult? Because it is prone to be either affected or else afflicted with mannerisms; and when these two pitfalls are luckily avoided then it is liable to be -- dry! The truth lies between those three mischiefs!'"
Josef Hofmann
- published: 30 Jul 2011
- views: 3618
08 Anton G. Rubinstein - Melodie in F
Anton G. Rubinstein (1829-1894) - Melodie in F...
Anton G. Rubinstein (1829-1894) - Melodie in F
wn.com/08 Anton G. Rubinstein Melodie In F
Anton G. Rubinstein (1829-1894) - Melodie in F
- published: 30 Jan 2011
- views: 376
Harve Presnell "If You Are But A Dream" 1963 [Remastered LP Stereo]
Rare and beautiful operatic recording from Harve Presnell's debut album "The World's Greatest Love Songs". "If You Are But A Dream" was written in 1942 by Moe ...
Rare and beautiful operatic recording from Harve Presnell's debut album "The World's Greatest Love Songs". "If You Are But A Dream" was written in 1942 by Moe Jaffe, Jack Fulton and Nat Bonx. The melody is based on Anton Rubinstein's "Romance in E flat, Op. 44, No. 1," popularly known as "Rubenstein's Romance". The song is closely associated with Frank Sinatra though many artists have recorded it. The stunning dream scene video is from a 2008 performance of "Oklahoma" in London. (edited)
wn.com/Harve Presnell If You Are But A Dream 1963 Remastered Lp Stereo
Rare and beautiful operatic recording from Harve Presnell's debut album "The World's Greatest Love Songs". "If You Are But A Dream" was written in 1942 by Moe Jaffe, Jack Fulton and Nat Bonx. The melody is based on Anton Rubinstein's "Romance in E flat, Op. 44, No. 1," popularly known as "Rubenstein's Romance". The song is closely associated with Frank Sinatra though many artists have recorded it. The stunning dream scene video is from a 2008 performance of "Oklahoma" in London. (edited)
- published: 25 Jul 2014
- views: 3689
The Art of Piano
The Art of Piano: Great Pianists of the 20th Century.
Eighteen of the world's most accomplished pianists share their talents in this collection of performances...
The Art of Piano: Great Pianists of the 20th Century.
Eighteen of the world's most accomplished pianists share their talents in this collection of performances. Interviews and commentary are interspersed with archival television and film appearances of pianists such as Vladimir Horowitz, Ignace Paderewski, Rachmaninoff, Plante, Richter, and Gould. Sir Colin Davis, Daniel Barenboim, and Evgeny Kissin provide insights into these performers' personal and professional lives.
Editorial Review
Spanning a century of keyboard virtuosity, The Art of Piano offers priceless mementos of great pianists from Ignaz Jan Paderewski to Glenn Gould. In a format as entertaining as it is educational, this video (broadcast on PBS stations) includes vintage film and video clips, interviews, and commentary by contemporary pianists such as Evgeny Kissin and Daniel Barenboim. Pianophiles will relish the chance to see many of the idols who are normally only heard in recordings in action: Josef Hofmann punching out Rachmaninov's C-sharp Minor Prelude with elemental force; György Cziffra's hands in a blur of energy performing Liszt's "Grand Galop Chromatique"; Alfred Cortot instructing a student to "dream this piece, not play it"; and Glenn Gould vocalizing along with Bach. Historical events frame some of the memorable scenes, such as Emil Gilels playing for Russian soldiers on the front lines in 1943, while a continent away Myra Hess plays Mozart during the Battle of Britain. Some of the most astonishing images are taken from a 1928 silent film that captures the hands of Anton Rubinstein, Vladimir Horowitz, and Wilhelm Backhaus at normal speed and in slow motion. Somehow, the essence of each of these diverse personalities comes across simply through the approach and play of their fingers at the keyboard. Visual impressions aside, the music comes through loud and clear. Although longer concertos and sonatas are heard only in excerpts, several shorter etudes and preludes are allowed to unfold in their entirety. (For those eager to hear more, The Art of Piano has also been released as a three-CD set.) With its abundance of history and music, this delightful program will whet any viewer's appetite for deeper exploration of the legacy of recorded piano music.
Barnes & Noble - Scott Paulin
Donald Sturrock: director, screenwriter
Christian Labrande, screenwriter
Release Date: 7/26/2011
Original Release: 1999
Time: 1:47:00
wn.com/The Art Of Piano
The Art of Piano: Great Pianists of the 20th Century.
Eighteen of the world's most accomplished pianists share their talents in this collection of performances. Interviews and commentary are interspersed with archival television and film appearances of pianists such as Vladimir Horowitz, Ignace Paderewski, Rachmaninoff, Plante, Richter, and Gould. Sir Colin Davis, Daniel Barenboim, and Evgeny Kissin provide insights into these performers' personal and professional lives.
Editorial Review
Spanning a century of keyboard virtuosity, The Art of Piano offers priceless mementos of great pianists from Ignaz Jan Paderewski to Glenn Gould. In a format as entertaining as it is educational, this video (broadcast on PBS stations) includes vintage film and video clips, interviews, and commentary by contemporary pianists such as Evgeny Kissin and Daniel Barenboim. Pianophiles will relish the chance to see many of the idols who are normally only heard in recordings in action: Josef Hofmann punching out Rachmaninov's C-sharp Minor Prelude with elemental force; György Cziffra's hands in a blur of energy performing Liszt's "Grand Galop Chromatique"; Alfred Cortot instructing a student to "dream this piece, not play it"; and Glenn Gould vocalizing along with Bach. Historical events frame some of the memorable scenes, such as Emil Gilels playing for Russian soldiers on the front lines in 1943, while a continent away Myra Hess plays Mozart during the Battle of Britain. Some of the most astonishing images are taken from a 1928 silent film that captures the hands of Anton Rubinstein, Vladimir Horowitz, and Wilhelm Backhaus at normal speed and in slow motion. Somehow, the essence of each of these diverse personalities comes across simply through the approach and play of their fingers at the keyboard. Visual impressions aside, the music comes through loud and clear. Although longer concertos and sonatas are heard only in excerpts, several shorter etudes and preludes are allowed to unfold in their entirety. (For those eager to hear more, The Art of Piano has also been released as a three-CD set.) With its abundance of history and music, this delightful program will whet any viewer's appetite for deeper exploration of the legacy of recorded piano music.
Barnes & Noble - Scott Paulin
Donald Sturrock: director, screenwriter
Christian Labrande, screenwriter
Release Date: 7/26/2011
Original Release: 1999
Time: 1:47:00
- published: 11 Apr 2015
- views: 249
Russian Piano School/Babayan, Dubal/Russian Sundays at the 92Y
http://www.92y.org/russiansundays
The Russian Piano School
Sergei Babayan, piano
David Dubal of the Juilliard School, presentation
Sun, Dec 7, 2008, 3:00pm...
http://www.92y.org/russiansundays
The Russian Piano School
Sergei Babayan, piano
David Dubal of the Juilliard School, presentation
Sun, Dec 7, 2008, 3:00pm, Lexington Avenue at 92nd Street
Founded by brothers Anton and Nikolay Rubinstein, the legendary Russian piano school developed a signature approach to piano performance that is celebrated for its profound musicality and masterful pianism. These traditions continue to flourish by way of disciples such as Sergei Babayan, who studied at the Moscow Conservatory with teachers Gornostayeva, Naumov, Pletnev and Vlasenko. David Dubal of the Juilliard School talks about the history and traditions of the Russian piano school.
Sergei Babayan has won first prize in several major international competitions and has performed in major concert halls throughout Germany. He is an enthusiastic advocate of new music and has an immense repertoire. David Dubal is a pianist, teacher, writer and broadcaster. An acknowledged authority on piano literature, Dubals acclaimed books include The Art of the Piano, Evenings with Horowitz, Reflections from the Keyboard and Conversations with Menuhin.
wn.com/Russian Piano School Babayan, Dubal Russian Sundays At The 92Y
http://www.92y.org/russiansundays
The Russian Piano School
Sergei Babayan, piano
David Dubal of the Juilliard School, presentation
Sun, Dec 7, 2008, 3:00pm, Lexington Avenue at 92nd Street
Founded by brothers Anton and Nikolay Rubinstein, the legendary Russian piano school developed a signature approach to piano performance that is celebrated for its profound musicality and masterful pianism. These traditions continue to flourish by way of disciples such as Sergei Babayan, who studied at the Moscow Conservatory with teachers Gornostayeva, Naumov, Pletnev and Vlasenko. David Dubal of the Juilliard School talks about the history and traditions of the Russian piano school.
Sergei Babayan has won first prize in several major international competitions and has performed in major concert halls throughout Germany. He is an enthusiastic advocate of new music and has an immense repertoire. David Dubal is a pianist, teacher, writer and broadcaster. An acknowledged authority on piano literature, Dubals acclaimed books include The Art of the Piano, Evenings with Horowitz, Reflections from the Keyboard and Conversations with Menuhin.
- published: 28 Oct 2008
- views: 7160