- published: 02 Oct 2015
- views: 714437
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Del autor sé que es de Wuhan (China) y nombró el tema como "g minor de Bach". Actualmente debería tener 25 años. Estudió en un conservatorio de música. En el 2010 compartió esta canción en un foro musical utilizando un nickname y escribió al pie de la publicación lo siguiente: "Dedicado al gran Bach, aunque no sé si hubiese sido de su agrado".
Johann Joachim Quantz (1697 - 1773)
6 flute sonatas: No 6 in G major - without Qv no
6 flöjtsonater: Nr 6 i G dur - utan Qv nummer
Flute / Flöjt: Jean-Pierre Rampal
Harpsichord / Cembalo: Robert Veyron-Lacroix
Album: "La flûte à la cour de Frédéric II et de Louis XV "
Movements / Satser:
00:00 I. Grave. Andante
02:23 II. Allemande
03:55 III. Larghetto
05:30 IV. Presto
- published: 26 Sep 2014
- views: 835
Directed, shot and edited by Michele Sartor.
Performed by Claudio Ronco and Emanuela Vozza.
Filmed at Ca’ Pier (Venice) on December 22, 2015.
[00:25] 1. Brillante
[03:52] 2. Adagio
[06:46] 3. Rondò
[11:04] The Gaze of Music project
***
For commercial use of this video please contact: licensing@sartor.it
Visit www.sartor.it if you are interested in making your own music video.
***
After more than ten years of giving concerts together, we have decided to undertake a series of recordings played on period instruments.
We are beginning with a selection of twenty-six sonatas composed by virtuoso cellists of the eighteenth century. Some are already part of the modern repertoire, and others have never been recorded or performed in our time.
Scan the list of composers we have chosen for our project, and you will find two names that are still famous, those of Luigi Boccherini and Jean-Baptiste Bréval. However, there are also others of the same quality who are almost unknown today.
Among these are James Cervetto Jr., Giovanni Battista Cirri, Salvatore Lanzetti, Martin Berteau and Jean Zewalt Triemer, all extraordinary musicians, accustomed to the stages of the great theaters of their time and holding positions of prestige in the aristocratic courts of Europe.
The twenty-six compositions brought together on the first five CDs are a portion of a larger work in progress, entitled "Lo Sguardo della Musica" (The Gaze of Music).
We gave our project this title because we wanted to suggest the idea of “seeing” this music as though it were the visual realization of a rare melody, one beyond time and history, a female gazing at us through a crack in a half-closed door.
Beyond that door there is a world not yet born, yet it is suggested by the arts of an era that through them left us a legacy of its dream.
By sharing it we search for beauty in the arts as a means of recapturing paradise lost, of recovering a heaven in which we can find a new and more harmonious way of living.
***
Lo Sguardo della Musica is an indipendent musical project by Claudio Ronco and Emanuela Vozza, created in collaboration
with Michele Sartor and PaRDes, a Contemporary Art Research Workshop, based in Mirano, Venice.
Our thanks to Carlo, Luigi and Loana Checchini of Ca’ Pier cultural events in Venice, and to Rita and Giuseppe Cuccodoro
for giving us the splendid ancient cellos we are playing in this recording.
***
This record is available on Compact Disc and High Definition files on www.losguardodellamusica.it
- published: 04 Feb 2016
- views: 696
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles.
He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism.
The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were no copyright protections. Eccles seems to have had no moral qualms about publishing other composers' work as his own. Out of 40 movements in this book of sonatas, 19 are known to be by other authors. Eighteen were written by the Italian composer Giuseppe Valentini (1681-1753). Valentini was a student of G.B. Bononcini and was well known in Rome during the first half of the Eighteenth Century. The borrowings are all from his Allettamenti da camera, Op. 8 (1714). Eccles must have had a fondness for these works, as he lifted them note for note in most cases. In what was to become his Sonata prima, Eccles lowered each movement by a half step (semitone); perhaps in order to put them in an easier key to play. Usually, he just reproduced the movements verbatim, but he did cut the final 16 measures from the Presto in Sonata quarta.
The other theft is from Francesco Bonporti's (1672 -1749) Invenzione a violino solo, e basso continuo, Op. 10. From this enigmatic set, Eccles only borrowed one movement and changed it from Presto to Allegro. He also added a few double stops, but not nearly as many as were added by Twentieth Century editor Joseph Salmon. This movement is the second in Eccles's Sonata #11, by far his most famous work.
- published: 25 Dec 2011
- views: 47326
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debussy. Youthful chamber music.
"They're an effortless partnership, making make much of the work's smoochy, romantic leanings, the high beauty of many of its passages, and its light, clear textures." - Charlotte Gardner, BBC Review.
Please support artists and buy their music!
- published: 29 Apr 2014
- views: 70938
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
- published: 11 Nov 2013
- views: 19
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
- published: 11 Nov 2013
- views: 30
Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d)
1. Allegro moderato
2. Andantino sostenuto e cantabile
3. Rondeau. Allegro
Henryk Szeryng, violin and Ingrid Haebler, piano
Mozart composed his sonatas for violin and piano in spurts. There are the dozen-plus that he wrote during the 1760s when not yet even a teenager, the six Mannheim sonatas of 1778, the six sonatas of 1781, and finally the four glorious late works put to paper during the mid- and late 1780s. The Sonata for violin and piano No. 26 in B flat major, K. 317d (formerly K. 378), comes from the 1781 set, though it seems that the piece might actually have been composed two years earlier (in 1779) than its five companion pieces. Mozart moved to Vienna in March 1781; these six violin sonatas, minus perhaps the present work (which, if it does date from 1779, counts among the Salzburg works), were composed over the course of his first months as a resident of the bustling Austrian metropolis, and they were the first music of his to be published in the city (as Op. 2).
The sonata is of the three-movement variety standard before Beethoven made a habit of including a minuet/scherzo in the chamber music sequence of events. The movements are Allegro moderato, Andante sostenuto e cantabile, and Allegro (rondo). The first movement is of a breadth and melodic suppleness unknown to the violin sonata before Mozart made it his own; the transition passages burst forth with thematic life of their own, the sweet-tasting opening melody and the sprightly, punctuated parallel thirds of the second theme (in F major, naturally) being laced together by upwards of a half dozen unique little motives. The suave rhythmic overlay of the E flat major Andantino (triplets against dotted figures) offers just a hint of the "Elvira Madigan" Piano Concerto, still half a decade in the future, especially considering the upward-reaching nature of the dotted figures. The refrain theme of the rondo finale spins gently downward upon gossamer ornaments. The first episode is in G minor. The second, which appears after a truncated rendition of the refrain, is a wonderful interruption of meter and rhythm: 3/8 is replaced by a 4/4 meter filled with running eighth-note triplets. This new idea is so fun and so arresting that a complete break is necessary to remind the two players that they must return once more to the carefree refrain theme if they are in fact to finish the movement!
- published: 03 Apr 2016
- views: 1796
An early work by composer Witold Maliszewski (1973-1939),published in 1902.
Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin)
Painting - Ferdynand Ruszczyc "Nec mergitur" (1904-05)
Witold Maliszewski was a founder of conservatory in Odessa, a pupil of Rimsky-Korsakov and a teacher of Lutosławski
Personally I like very much Adagio molto. So romantic :)
Parts:
I - Allegro cantabile
II - Adagio molto [08:47]
III - Tema con variazioni [16:29]
- published: 13 Mar 2016
- views: 199
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown)
Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [?jo?z?f ?ha?d?n] ( listen); 31 March 1732 -- 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
- published: 16 Nov 2013
- views: 117
Eccles
Eccles may refer to:
Places
England
- Eccles (UK Parliament constituency) — an electoral division represented in the House of Commons of the United Kingdom
Scotland
France
United States
People
See Eccles (surname)
Transport
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Eccles
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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2:51G MINOR BACH - Piano Tiles 2
G MINOR BACH - Piano Tiles 2G MINOR BACH - Piano Tiles 2
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M Descargar partitura PDF: https://drive.google.com/file/d/0BwLmcZnUUOzEZ0NrSmg4enVQams Descargar audio MIDI: https://drive.google.com/file/d/0BwLmcZnUUOzENkpWXzJxQy1Kb0k/view Del autor sé que es de Wuhan (China) y nombró el tema como "g minor de Bach". Actualmente debería tener 25 años. Estudió en un conservatorio de música. En el 2010 compartió esta canción en un foro musical utilizando un nickname y escribió al pie de la publicación lo siguiente: "Dedicado al gran Bach, aunque no sé si hubiese sido de su agrado". -
7:32Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G majorJohann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
Johann Joachim Quantz (1697 - 1773) 6 flute sonatas: No 6 in G major - without Qv no 6 flöjtsonater: Nr 6 i G dur - utan Qv nummer Flute / Flöjt: Jean-Pierre Rampal Harpsichord / Cembalo: Robert Veyron-Lacroix Album: "La flûte à la cour de Frédéric II et de Louis XV " Movements / Satser: 00:00 I. Grave. Andante 02:23 II. Allemande 03:55 III. Larghetto 05:30 IV. Presto -
13:16J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
Directed, shot and edited by Michele Sartor. Performed by Claudio Ronco and Emanuela Vozza. Filmed at Ca’ Pier (Venice) on December 22, 2015. [00:25] 1. Brillante [03:52] 2. Adagio [06:46] 3. Rondò [11:04] The Gaze of Music project *** For commercial use of this video please contact: licensing@sartor.it Visit www.sartor.it if you are interested in making your own music video. *** After more than ten years of giving concerts together, we have decided to undertake a series of recordings played on period instruments. We are beginning with a selection of twenty-six sonatas composed by virtuoso cellists of the eighteenth century. Some are already part of the modern repertoire, and others have never been recorded or performed in our time. Scan the list of composers we have chosen for our project, and you will find two names that are still famous, those of Luigi Boccherini and Jean-Baptiste Bréval. However, there are also others of the same quality who are almost unknown today. Among these are James Cervetto Jr., Giovanni Battista Cirri, Salvatore Lanzetti, Martin Berteau and Jean Zewalt Triemer, all extraordinary musicians, accustomed to the stages of the great theaters of their time and holding positions of prestige in the aristocratic courts of Europe. The twenty-six compositions brought together on the first five CDs are a portion of a larger work in progress, entitled "Lo Sguardo della Musica" (The Gaze of Music). We gave our project this title because we wanted to suggest the idea of “seeing” this music as though it were the visual realization of a rare melody, one beyond time and history, a female gazing at us through a crack in a half-closed door. Beyond that door there is a world not yet born, yet it is suggested by the arts of an era that through them left us a legacy of its dream. By sharing it we search for beauty in the arts as a means of recapturing paradise lost, of recovering a heaven in which we can find a new and more harmonious way of living. *** Lo Sguardo della Musica is an indipendent musical project by Claudio Ronco and Emanuela Vozza, created in collaboration with Michele Sartor and PaRDes, a Contemporary Art Research Workshop, based in Mirano, Venice. Our thanks to Carlo, Luigi and Loana Checchini of Ca’ Pier cultural events in Venice, and to Rita and Giuseppe Cuccodoro for giving us the splendid ancient cellos we are playing in this recording. *** This record is available on Compact Disc and High Definition files on www.losguardodellamusica.it -
7:24Henry Eccles - Sonata in G Minor for Violoncello and Continuo
Henry Eccles - Sonata in G Minor for Violoncello and ContinuoHenry Eccles - Sonata in G Minor for Violoncello and Continuo
Simca Heled, violoncello. Edward Brewer, harpsichord. Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles. He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism. The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were no copyright protections. Eccles seems to have had no moral qualms about publishing other composers' work as his own. Out of 40 movements in this book of sonatas, 19 are known to be by other authors. Eighteen were written by the Italian composer Giuseppe Valentini (1681-1753). Valentini was a student of G.B. Bononcini and was well known in Rome during the first half of the Eighteenth Century. The borrowings are all from his Allettamenti da camera, Op. 8 (1714). Eccles must have had a fondness for these works, as he lifted them note for note in most cases. In what was to become his Sonata prima, Eccles lowered each movement by a half step (semitone); perhaps in order to put them in an easier key to play. Usually, he just reproduced the movements verbatim, but he did cut the final 16 measures from the Presto in Sonata quarta. The other theft is from Francesco Bonporti's (1672 -1749) Invenzione a violino solo, e basso continuo, Op. 10. From this enigmatic set, Eccles only borrowed one movement and changed it from Presto to Allegro. He also added a few double stops, but not nearly as many as were added by Twentieth Century editor Joseph Salmon. This movement is the second in Eccles's Sonata #11, by far his most famous work. -
21:31Claude Debussy - Piano Trio in G major (1879)
Claude Debussy - Piano Trio in G major (1879)Claude Debussy - Piano Trio in G major (1879)
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debussy. Youthful chamber music. "They're an effortless partnership, making make much of the work's smoochy, romantic leanings, the high beauty of many of its passages, and its light, clear textures." - Charlotte Gardner, BBC Review. Please support artists and buy their music! -
10:26Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown) Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period. -
17:10Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown) Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period. -
19:18Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
Wolfgang Amadeus Mozart (1756-1791) Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d) 1. Allegro moderato 2. Andantino sostenuto e cantabile 3. Rondeau. Allegro Henryk Szeryng, violin and Ingrid Haebler, piano Mozart composed his sonatas for violin and piano in spurts. There are the dozen-plus that he wrote during the 1760s when not yet even a teenager, the six Mannheim sonatas of 1778, the six sonatas of 1781, and finally the four glorious late works put to paper during the mid- and late 1780s. The Sonata for violin and piano No. 26 in B flat major, K. 317d (formerly K. 378), comes from the 1781 set, though it seems that the piece might actually have been composed two years earlier (in 1779) than its five companion pieces. Mozart moved to Vienna in March 1781; these six violin sonatas, minus perhaps the present work (which, if it does date from 1779, counts among the Salzburg works), were composed over the course of his first months as a resident of the bustling Austrian metropolis, and they were the first music of his to be published in the city (as Op. 2). The sonata is of the three-movement variety standard before Beethoven made a habit of including a minuet/scherzo in the chamber music sequence of events. The movements are Allegro moderato, Andante sostenuto e cantabile, and Allegro (rondo). The first movement is of a breadth and melodic suppleness unknown to the violin sonata before Mozart made it his own; the transition passages burst forth with thematic life of their own, the sweet-tasting opening melody and the sprightly, punctuated parallel thirds of the second theme (in F major, naturally) being laced together by upwards of a half dozen unique little motives. The suave rhythmic overlay of the E flat major Andantino (triplets against dotted figures) offers just a hint of the "Elvira Madigan" Piano Concerto, still half a decade in the future, especially considering the upward-reaching nature of the dotted figures. The refrain theme of the rondo finale spins gently downward upon gossamer ornaments. The first episode is in G minor. The second, which appears after a truncated rendition of the refrain, is a wonderful interruption of meter and rhythm: 3/8 is replaced by a 4/4 meter filled with running eighth-note triplets. This new idea is so fun and so arresting that a complete break is necessary to remind the two players that they must return once more to the carefree refrain theme if they are in fact to finish the movement! -
35:16Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
An early work by composer Witold Maliszewski (1973-1939),published in 1902. Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin) Painting - Ferdynand Ruszczyc "Nec mergitur" (1904-05) Witold Maliszewski was a founder of conservatory in Odessa, a pupil of Rimsky-Korsakov and a teacher of Lutosławski Personally I like very much Adagio molto. So romantic :) Parts: I - Allegro cantabile II - Adagio molto [08:47] III - Tema con variazioni [16:29] -
3:37Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown) Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [?jo?z?f ?ha?d?n] ( listen); 31 March 1732 -- 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
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G MINOR BACH - Piano Tiles 2
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M Descargar partitura PDF: https://drive.google.com/file/d/0BwLmcZnUUOzEZ0NrSmg4enVQams Descargar audio MIDI: https://drive.google.com/file/d/0BwLmcZnUUOzENkpWXzJxQy1Kb0k/view Del autor sé que es de Wuhan (China) y nombró el tema como "g minor de Bach". Actualmente debería tener 25 años. Estudió en un conservatorio de música. En el 2010 compartió esta canción en un foro musical utilizando un nickname y escribió al pie de la publicación lo siguiente: "Dedicado al gran Bach, aunque no sé si hubiese sido de su agrado". -
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
Johann Joachim Quantz (1697 - 1773) 6 flute sonatas: No 6 in G major - without Qv no 6 flöjtsonater: Nr 6 i G dur - utan Qv nummer Flute / Flöjt: Jean-Pierre Rampal Harpsichord / Cembalo: Robert Veyron-Lacroix Album: "La flûte à la cour de Frédéric II et de Louis XV " Movements / Satser: 00:00 I. Grave. Andante 02:23 II. Allemande 03:55 III. Larghetto 05:30 IV. Presto -
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
Directed, shot and edited by Michele Sartor. Performed by Claudio Ronco and Emanuela Vozza. Filmed at Ca’ Pier (Venice) on December 22, 2015. [00:25] 1. Brillante [03:52] 2. Adagio [06:46] 3. Rondò [11:04] The Gaze of Music project *** For commercial use of this video please contact: licensing@sartor.it Visit www.sartor.it if you are interested in making your own music video. *** After more than ten years of giving concerts together, we have decided to undertake a series of recordings played on period instruments. We are beginning with a selection of twenty-six sonatas composed by virtuoso cellists of the eighteenth century. Some are already part of the modern repertoire, and others have never been recorded or performed in our time. Scan the list of composers we have chosen f... -
Henry Eccles - Sonata in G Minor for Violoncello and Continuo
Simca Heled, violoncello. Edward Brewer, harpsichord. Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles. He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism. The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were ... -
Claude Debussy - Piano Trio in G major (1879)
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debussy. Youthful chamber music. "They're an effortless partnership, making make much of the work's smoochy, romantic leanings, the high beauty of many of its passages, and its light, clear textures." - Charlotte Gardner, BBC Review. Please support artists and buy their music! -
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown) Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical tal... -
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown) Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical ... -
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
Wolfgang Amadeus Mozart (1756-1791) Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d) 1. Allegro moderato 2. Andantino sostenuto e cantabile 3. Rondeau. Allegro Henryk Szeryng, violin and Ingrid Haebler, piano Mozart composed his sonatas for violin and piano in spurts. There are the dozen-plus that he wrote during the 1760s when not yet even a teenager, the six Mannheim sonatas of 1778, the six sonatas of 1781, and finally the four glorious late works put to paper during the mid- and late 1780s. The Sonata for violin and piano No. 26 in B flat major, K. 317d (formerly K. 378), comes from the 1781 set, though it seems that the piece might actually have been composed two years earlier (in 1779) than its five companion pieces. Mozart moved to Vienna in March 1781; these s... -
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
An early work by composer Witold Maliszewski (1973-1939),published in 1902. Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin) Painting - Ferdynand Ruszczyc "Nec mergitur" (1904-05) Witold Maliszewski was a founder of conservatory in Odessa, a pupil of Rimsky-Korsakov and a teacher of Lutosławski Personally I like very much Adagio molto. So romantic :) Parts: I - Allegro cantabile II - Adagio molto [08:47] III - Tema con variazioni [16:29] -
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown) Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [?jo?z?f ?ha?d?n] ( listen); 31 March 1732 -- 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he...
G MINOR BACH - Piano Tiles 2
- Order: Reorder
- Duration: 2:51
- Updated: 02 Oct 2015
- views: 714437
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M
Descargar partitura PDF: https://drive.google.com/file/d/0BwLmcZnUUOzEZ0NrSmg4...
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M
Descargar partitura PDF: https://drive.google.com/file/d/0BwLmcZnUUOzEZ0NrSmg4enVQams
Descargar audio MIDI: https://drive.google.com/file/d/0BwLmcZnUUOzENkpWXzJxQy1Kb0k/view
Del autor sé que es de Wuhan (China) y nombró el tema como "g minor de Bach". Actualmente debería tener 25 años. Estudió en un conservatorio de música. En el 2010 compartió esta canción en un foro musical utilizando un nickname y escribió al pie de la publicación lo siguiente: "Dedicado al gran Bach, aunque no sé si hubiese sido de su agrado".
wn.com/G Minor Bach Piano Tiles 2
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M
Descargar partitura PDF: https://drive.google.com/file/d/0BwLmcZnUUOzEZ0NrSmg4enVQams
Descargar audio MIDI: https://drive.google.com/file/d/0BwLmcZnUUOzENkpWXzJxQy1Kb0k/view
Del autor sé que es de Wuhan (China) y nombró el tema como "g minor de Bach". Actualmente debería tener 25 años. Estudió en un conservatorio de música. En el 2010 compartió esta canción en un foro musical utilizando un nickname y escribió al pie de la publicación lo siguiente: "Dedicado al gran Bach, aunque no sé si hubiese sido de su agrado".
- published: 02 Oct 2015
- views: 714437
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
- Order: Reorder
- Duration: 7:32
- Updated: 26 Sep 2014
- views: 835
Johann Joachim Quantz (1697 - 1773)
6 flute sonatas: No 6 in G major - without Qv no
6 flöjtsonater: Nr 6 i G dur - utan Qv nummer
Flute / Flöjt: Jean-Pierre ...
Johann Joachim Quantz (1697 - 1773)
6 flute sonatas: No 6 in G major - without Qv no
6 flöjtsonater: Nr 6 i G dur - utan Qv nummer
Flute / Flöjt: Jean-Pierre Rampal
Harpsichord / Cembalo: Robert Veyron-Lacroix
Album: "La flûte à la cour de Frédéric II et de Louis XV "
Movements / Satser:
00:00 I. Grave. Andante
02:23 II. Allemande
03:55 III. Larghetto
05:30 IV. Presto
wn.com/Johann Joachim Quantz Unknown Qv No 6 Flute Sonatas No 6 In G Major
Johann Joachim Quantz (1697 - 1773)
6 flute sonatas: No 6 in G major - without Qv no
6 flöjtsonater: Nr 6 i G dur - utan Qv nummer
Flute / Flöjt: Jean-Pierre Rampal
Harpsichord / Cembalo: Robert Veyron-Lacroix
Album: "La flûte à la cour de Frédéric II et de Louis XV "
Movements / Satser:
00:00 I. Grave. Andante
02:23 II. Allemande
03:55 III. Larghetto
05:30 IV. Presto
- published: 26 Sep 2014
- views: 835
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
- Order: Reorder
- Duration: 13:16
- Updated: 04 Feb 2016
- views: 696
Directed, shot and edited by Michele Sartor.
Performed by Claudio Ronco and Emanuela Vozza.
Filmed at Ca’ Pier (Venice) on December 22, 2015.
[00:25] 1. Bri...
Directed, shot and edited by Michele Sartor.
Performed by Claudio Ronco and Emanuela Vozza.
Filmed at Ca’ Pier (Venice) on December 22, 2015.
[00:25] 1. Brillante
[03:52] 2. Adagio
[06:46] 3. Rondò
[11:04] The Gaze of Music project
***
For commercial use of this video please contact: licensing@sartor.it
Visit www.sartor.it if you are interested in making your own music video.
***
After more than ten years of giving concerts together, we have decided to undertake a series of recordings played on period instruments.
We are beginning with a selection of twenty-six sonatas composed by virtuoso cellists of the eighteenth century. Some are already part of the modern repertoire, and others have never been recorded or performed in our time.
Scan the list of composers we have chosen for our project, and you will find two names that are still famous, those of Luigi Boccherini and Jean-Baptiste Bréval. However, there are also others of the same quality who are almost unknown today.
Among these are James Cervetto Jr., Giovanni Battista Cirri, Salvatore Lanzetti, Martin Berteau and Jean Zewalt Triemer, all extraordinary musicians, accustomed to the stages of the great theaters of their time and holding positions of prestige in the aristocratic courts of Europe.
The twenty-six compositions brought together on the first five CDs are a portion of a larger work in progress, entitled "Lo Sguardo della Musica" (The Gaze of Music).
We gave our project this title because we wanted to suggest the idea of “seeing” this music as though it were the visual realization of a rare melody, one beyond time and history, a female gazing at us through a crack in a half-closed door.
Beyond that door there is a world not yet born, yet it is suggested by the arts of an era that through them left us a legacy of its dream.
By sharing it we search for beauty in the arts as a means of recapturing paradise lost, of recovering a heaven in which we can find a new and more harmonious way of living.
***
Lo Sguardo della Musica is an indipendent musical project by Claudio Ronco and Emanuela Vozza, created in collaboration
with Michele Sartor and PaRDes, a Contemporary Art Research Workshop, based in Mirano, Venice.
Our thanks to Carlo, Luigi and Loana Checchini of Ca’ Pier cultural events in Venice, and to Rita and Giuseppe Cuccodoro
for giving us the splendid ancient cellos we are playing in this recording.
***
This record is available on Compact Disc and High Definition files on www.losguardodellamusica.it
wn.com/J.B. Bréval, Sonata No. 5 In G Major, Op. 12 (From Lo Sguardo Della Musica The Gaze Of Music)
Directed, shot and edited by Michele Sartor.
Performed by Claudio Ronco and Emanuela Vozza.
Filmed at Ca’ Pier (Venice) on December 22, 2015.
[00:25] 1. Brillante
[03:52] 2. Adagio
[06:46] 3. Rondò
[11:04] The Gaze of Music project
***
For commercial use of this video please contact: licensing@sartor.it
Visit www.sartor.it if you are interested in making your own music video.
***
After more than ten years of giving concerts together, we have decided to undertake a series of recordings played on period instruments.
We are beginning with a selection of twenty-six sonatas composed by virtuoso cellists of the eighteenth century. Some are already part of the modern repertoire, and others have never been recorded or performed in our time.
Scan the list of composers we have chosen for our project, and you will find two names that are still famous, those of Luigi Boccherini and Jean-Baptiste Bréval. However, there are also others of the same quality who are almost unknown today.
Among these are James Cervetto Jr., Giovanni Battista Cirri, Salvatore Lanzetti, Martin Berteau and Jean Zewalt Triemer, all extraordinary musicians, accustomed to the stages of the great theaters of their time and holding positions of prestige in the aristocratic courts of Europe.
The twenty-six compositions brought together on the first five CDs are a portion of a larger work in progress, entitled "Lo Sguardo della Musica" (The Gaze of Music).
We gave our project this title because we wanted to suggest the idea of “seeing” this music as though it were the visual realization of a rare melody, one beyond time and history, a female gazing at us through a crack in a half-closed door.
Beyond that door there is a world not yet born, yet it is suggested by the arts of an era that through them left us a legacy of its dream.
By sharing it we search for beauty in the arts as a means of recapturing paradise lost, of recovering a heaven in which we can find a new and more harmonious way of living.
***
Lo Sguardo della Musica is an indipendent musical project by Claudio Ronco and Emanuela Vozza, created in collaboration
with Michele Sartor and PaRDes, a Contemporary Art Research Workshop, based in Mirano, Venice.
Our thanks to Carlo, Luigi and Loana Checchini of Ca’ Pier cultural events in Venice, and to Rita and Giuseppe Cuccodoro
for giving us the splendid ancient cellos we are playing in this recording.
***
This record is available on Compact Disc and High Definition files on www.losguardodellamusica.it
- published: 04 Feb 2016
- views: 696
Henry Eccles - Sonata in G Minor for Violoncello and Continuo
- Order: Reorder
- Duration: 7:24
- Updated: 25 Dec 2011
- views: 47326
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccle...
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles.
He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism.
The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were no copyright protections. Eccles seems to have had no moral qualms about publishing other composers' work as his own. Out of 40 movements in this book of sonatas, 19 are known to be by other authors. Eighteen were written by the Italian composer Giuseppe Valentini (1681-1753). Valentini was a student of G.B. Bononcini and was well known in Rome during the first half of the Eighteenth Century. The borrowings are all from his Allettamenti da camera, Op. 8 (1714). Eccles must have had a fondness for these works, as he lifted them note for note in most cases. In what was to become his Sonata prima, Eccles lowered each movement by a half step (semitone); perhaps in order to put them in an easier key to play. Usually, he just reproduced the movements verbatim, but he did cut the final 16 measures from the Presto in Sonata quarta.
The other theft is from Francesco Bonporti's (1672 -1749) Invenzione a violino solo, e basso continuo, Op. 10. From this enigmatic set, Eccles only borrowed one movement and changed it from Presto to Allegro. He also added a few double stops, but not nearly as many as were added by Twentieth Century editor Joseph Salmon. This movement is the second in Eccles's Sonata #11, by far his most famous work.
wn.com/Henry Eccles Sonata In G Minor For Violoncello And Continuo
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles.
He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism.
The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were no copyright protections. Eccles seems to have had no moral qualms about publishing other composers' work as his own. Out of 40 movements in this book of sonatas, 19 are known to be by other authors. Eighteen were written by the Italian composer Giuseppe Valentini (1681-1753). Valentini was a student of G.B. Bononcini and was well known in Rome during the first half of the Eighteenth Century. The borrowings are all from his Allettamenti da camera, Op. 8 (1714). Eccles must have had a fondness for these works, as he lifted them note for note in most cases. In what was to become his Sonata prima, Eccles lowered each movement by a half step (semitone); perhaps in order to put them in an easier key to play. Usually, he just reproduced the movements verbatim, but he did cut the final 16 measures from the Presto in Sonata quarta.
The other theft is from Francesco Bonporti's (1672 -1749) Invenzione a violino solo, e basso continuo, Op. 10. From this enigmatic set, Eccles only borrowed one movement and changed it from Presto to Allegro. He also added a few double stops, but not nearly as many as were added by Twentieth Century editor Joseph Salmon. This movement is the second in Eccles's Sonata #11, by far his most famous work.
- published: 25 Dec 2011
- views: 47326
Claude Debussy - Piano Trio in G major (1879)
- Order: Reorder
- Duration: 21:31
- Updated: 29 Apr 2014
- views: 70938
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debu...
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debussy. Youthful chamber music.
"They're an effortless partnership, making make much of the work's smoochy, romantic leanings, the high beauty of many of its passages, and its light, clear textures." - Charlotte Gardner, BBC Review.
Please support artists and buy their music!
wn.com/Claude Debussy Piano Trio In G Major (1879)
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fantastic set of musicians plays quite unknown piece by Claude Achille Debussy. Youthful chamber music.
"They're an effortless partnership, making make much of the work's smoochy, romantic leanings, the high beauty of many of its passages, and its light, clear textures." - Charlotte Gardner, BBC Review.
Please support artists and buy their music!
- published: 29 Apr 2014
- views: 70938
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
- Order: Reorder
- Duration: 10:26
- Updated: 11 Nov 2013
- views: 19
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; G...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
wn.com/Beethoven Concerto No.4 In G Major Op.58 Iii.Rondo Vi...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
- published: 11 Nov 2013
- views: 19
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
- Order: Reorder
- Duration: 17:10
- Updated: 11 Nov 2013
- views: 30
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
wn.com/Beethoven Concerto No.4 In G Major Op.58 I. Allegro M...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (performed by unknown)
Ludwig van Beethoven (i/?l?dv?? væn ?be?.to?v?n/; German: [?lu?tv?ç fan ?be?t.ho?f?n] ( listen); baptised 17 December 1770 -- 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.
- published: 11 Nov 2013
- views: 30
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
- Order: Reorder
- Duration: 19:18
- Updated: 03 Apr 2016
- views: 1796
Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d)
1. Allegro moderato
2. Andantino sostenuto e cantabile
...
Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d)
1. Allegro moderato
2. Andantino sostenuto e cantabile
3. Rondeau. Allegro
Henryk Szeryng, violin and Ingrid Haebler, piano
Mozart composed his sonatas for violin and piano in spurts. There are the dozen-plus that he wrote during the 1760s when not yet even a teenager, the six Mannheim sonatas of 1778, the six sonatas of 1781, and finally the four glorious late works put to paper during the mid- and late 1780s. The Sonata for violin and piano No. 26 in B flat major, K. 317d (formerly K. 378), comes from the 1781 set, though it seems that the piece might actually have been composed two years earlier (in 1779) than its five companion pieces. Mozart moved to Vienna in March 1781; these six violin sonatas, minus perhaps the present work (which, if it does date from 1779, counts among the Salzburg works), were composed over the course of his first months as a resident of the bustling Austrian metropolis, and they were the first music of his to be published in the city (as Op. 2).
The sonata is of the three-movement variety standard before Beethoven made a habit of including a minuet/scherzo in the chamber music sequence of events. The movements are Allegro moderato, Andante sostenuto e cantabile, and Allegro (rondo). The first movement is of a breadth and melodic suppleness unknown to the violin sonata before Mozart made it his own; the transition passages burst forth with thematic life of their own, the sweet-tasting opening melody and the sprightly, punctuated parallel thirds of the second theme (in F major, naturally) being laced together by upwards of a half dozen unique little motives. The suave rhythmic overlay of the E flat major Andantino (triplets against dotted figures) offers just a hint of the "Elvira Madigan" Piano Concerto, still half a decade in the future, especially considering the upward-reaching nature of the dotted figures. The refrain theme of the rondo finale spins gently downward upon gossamer ornaments. The first episode is in G minor. The second, which appears after a truncated rendition of the refrain, is a wonderful interruption of meter and rhythm: 3/8 is replaced by a 4/4 meter filled with running eighth-note triplets. This new idea is so fun and so arresting that a complete break is necessary to remind the two players that they must return once more to the carefree refrain theme if they are in fact to finish the movement!
wn.com/Mozart Violin Sonata No. 26, B Flat Major. K 378 Szeryng Haebler
Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin & piano No. 26 in B flat major, K. 378 (K. 317d)
1. Allegro moderato
2. Andantino sostenuto e cantabile
3. Rondeau. Allegro
Henryk Szeryng, violin and Ingrid Haebler, piano
Mozart composed his sonatas for violin and piano in spurts. There are the dozen-plus that he wrote during the 1760s when not yet even a teenager, the six Mannheim sonatas of 1778, the six sonatas of 1781, and finally the four glorious late works put to paper during the mid- and late 1780s. The Sonata for violin and piano No. 26 in B flat major, K. 317d (formerly K. 378), comes from the 1781 set, though it seems that the piece might actually have been composed two years earlier (in 1779) than its five companion pieces. Mozart moved to Vienna in March 1781; these six violin sonatas, minus perhaps the present work (which, if it does date from 1779, counts among the Salzburg works), were composed over the course of his first months as a resident of the bustling Austrian metropolis, and they were the first music of his to be published in the city (as Op. 2).
The sonata is of the three-movement variety standard before Beethoven made a habit of including a minuet/scherzo in the chamber music sequence of events. The movements are Allegro moderato, Andante sostenuto e cantabile, and Allegro (rondo). The first movement is of a breadth and melodic suppleness unknown to the violin sonata before Mozart made it his own; the transition passages burst forth with thematic life of their own, the sweet-tasting opening melody and the sprightly, punctuated parallel thirds of the second theme (in F major, naturally) being laced together by upwards of a half dozen unique little motives. The suave rhythmic overlay of the E flat major Andantino (triplets against dotted figures) offers just a hint of the "Elvira Madigan" Piano Concerto, still half a decade in the future, especially considering the upward-reaching nature of the dotted figures. The refrain theme of the rondo finale spins gently downward upon gossamer ornaments. The first episode is in G minor. The second, which appears after a truncated rendition of the refrain, is a wonderful interruption of meter and rhythm: 3/8 is replaced by a 4/4 meter filled with running eighth-note triplets. This new idea is so fun and so arresting that a complete break is necessary to remind the two players that they must return once more to the carefree refrain theme if they are in fact to finish the movement!
- published: 03 Apr 2016
- views: 1796
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
- Order: Reorder
- Duration: 35:16
- Updated: 13 Mar 2016
- views: 199
An early work by composer Witold Maliszewski (1973-1939),published in 1902.
Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin)
Painting - ...
An early work by composer Witold Maliszewski (1973-1939),published in 1902.
Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin)
Painting - Ferdynand Ruszczyc "Nec mergitur" (1904-05)
Witold Maliszewski was a founder of conservatory in Odessa, a pupil of Rimsky-Korsakov and a teacher of Lutosławski
Personally I like very much Adagio molto. So romantic :)
Parts:
I - Allegro cantabile
II - Adagio molto [08:47]
III - Tema con variazioni [16:29]
wn.com/Witold Maliszewski Violin Sonata In G Major Op.1 (1900)
An early work by composer Witold Maliszewski (1973-1939),published in 1902.
Performed by Stanisław Kawalla (piano) and Aleksandra Kawalla (violin)
Painting - Ferdynand Ruszczyc "Nec mergitur" (1904-05)
Witold Maliszewski was a founder of conservatory in Odessa, a pupil of Rimsky-Korsakov and a teacher of Lutosławski
Personally I like very much Adagio molto. So romantic :)
Parts:
I - Allegro cantabile
II - Adagio molto [08:47]
III - Tema con variazioni [16:29]
- published: 13 Mar 2016
- views: 199
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
- Order: Reorder
- Duration: 3:37
- Updated: 16 Nov 2013
- views: 117
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown)
Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [...
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown)
Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [?jo?z?f ?ha?d?n] ( listen); 31 March 1732 -- 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
wn.com/Joseph Haydn The Oxford Symphony No.92 In G Major I. ...
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (performed by unknown)
Franz Joseph Haydn (/?d?o?z?f ?ha?d?n/; German: [?jo?z?f ?ha?d?n] ( listen); 31 March 1732 -- 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
- published: 16 Nov 2013
- views: 117
-
Leff Pouishnoff plays Schubert Sonata No. 18 in G major D 894 (1/2)
I. Molto moderato e cantabile II. Andante rec. 1928 Leff Nicolas Pouishnoff (Russian: Лев Николаевич Пышнов, Lev Nikolayevich Pyshnov) (11 October [O.S. 29 September] 1891 -- 28 May 1959) was a Ukrainian-born pianist and composer, who made his home in the United Kingdom and whose career was largely in the West, from the 1920s onwards. He was especially associated with performances of the works of Frédéric Chopin. Pouishnoff, born into an aristocratic Russian family in either Kiev or Odessa, was drawn to the piano as a young child, and, having acquired some aptitude before the age of ten, gave two public concerts. His parents, not wishing him to be exploited, discouraged this, but after his father's death (when Leff was 9), financial constraints led to his accepting concert engage... -
Beethoven - Sonata for violin and piano in G major op. 30 nr 3 - fortepiano and melodica
Unfortunately, I cannot play the violin. But I can play the melodica, and the fortepiano. So, I can play this nice sonata (composed in 1802) quite alone. The melodica is a good substitute for the violin, because one can make all nuances, articulations, accents, dynamics, etc. There are three movements: 1. Allegro assai 2. Tempo di menuetto, ma molto moderato e grazioso (at 9:06) 3. Allegro vivace (at 19:04) -
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in G Major (1927)
Thank you all for the 75000 views! As a token of appreciation, here you have one of my most beloved piano concertos, yet quite unknown by Mario Castelnuovo-Tedesco. Enjoy! / ¡Gracias por las 75 mil visitas! Como recompensa, he aquí uno de los conciertos para piano de Mario Castelnuovo-Tedesco que si bien aún es desconocido, es de mis favoritos. ¡Que lo disfruten! Malmö Symphony Orchestra conducted / Orquesta Sinfónica de Malmö dirigida por Andrew Mogrelia. Piano: Alessandro Marangoni I. Allegro Giusto (0:00) II. Andantino alla Romanza (12:06) III. Vivo e festoso (20:49) Mario Castelnuovo-Tedesco was one of the most promising Italian composers of his generation. A talented musician, he befriended other large musical figures like Ildebrando Pizzetti and Alfredo Casella, who became one of ... -
Wim Winters plays new (2016) work by Kostas Papazafeiropoulos
Really excited to share this brand new sonata (2016) in F Major, opus 118, composed by the Greek composer Kostas Papazafeiropoulos (b.1983) Index of all recordings: http://authenticsound.be/youtube.html This sonata: 0:06 Allegro 7:18 Adagio 15:03 Menuet & trio 18:28 Allegretto (theme & variations) Note upfront... if you only have time for one part... and are a bit sceptical on new works in earlier styles... chose the adagio and stop thinking and comparing...! A (maybe not so much) philosophical stand point: I have stressed it before: we today, in general, are not used to new compositions in earlier styles, like the one you might be listening to at this moment. It appears to be a habit we lost in the last century or maybe even never had. I can tell, because I myself did not pay much... -
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter Hurford
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford 2. BWV 526 — Organ Sonata No.2 in C minor - Cathedral at Ratzeburg Germany 3. BWV 527 — Organ Sonata No.3 in D minor - The Chapel of Knox Grammar School Sydney Australia 4. BWV 528 — Organ Sonata No.4 in E minor - DTTO 5. BWV 529 — Organ Sonata No.5 in C major - DTTO 6. BWV 530 — Organ Sonata No.6 in G major - Cathedral at Ratzeburg Germany Picture in video: OXFORD -
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Joseph Joachim: Violin Concerto No. 3 in G Major
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. Joseph Joachim (1831-1907) Violin Concerto No. 3 in G Major (1875) I. Allegro non troppo 0:00 II. Andante 16:36 III. Allegro giocoso ed energico, ma non troppo vivace 25:18 Takako Nishizaki, violin Stuttgart Radio Symphony Orchestra Meir Minsky, conductor Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and violin teacher. Joachim was born in Kittsee, near Bratislava and Eisenstadt, in what is today's Burgenland area of Austria. In 1833 his family moved to Pest, where he studied violin with Stanisław Serwaczyński, the concertmaste... -
Sergei Rachmaninov - Études-Tableaux Op. 33
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943) - Performer: Vladimir Ovchinnikov - Year of recording: 1989 Etudes-Tableaux, for piano, Op. 33, written in 1911. 00:00 - I. Allegro non troppo in F minor 02:54 - II. Allegro in C major 05:15 - III. Grave - Meno mosso in C minor xx:xx - IV. Allegro in A minor (withdrawn, reused as Op. 39/6) 11:02 - V. Moderato in D minor 14:24 - VI. Non allegro - Presto in E flat minor 16:10 - VII. Allegro con fuoco in E flat major 18:11 - VIII. Moderato in G minor 22:37 - IX. Grave in C sharp minor The quantity and numbering of these Etudes is confusing because Rachmaninov withdrew three of the original nine prior to publication. The original nine were as follows: #1 in f minor, #2 in C major, #3 in c minor, #4 in a minor, #5 in...
Leff Pouishnoff plays Schubert Sonata No. 18 in G major D 894 (1/2)
- Order: Reorder
- Duration: 20:08
- Updated: 17 Jan 2011
- views: 1903
I. Molto moderato e cantabile
II. Andante
rec. 1928
Leff Nicolas Pouishnoff (Russian: Лев Николаевич Пышнов, Lev Nikolayevich Pyshnov) (11 October [O.S...
I. Molto moderato e cantabile
II. Andante
rec. 1928
Leff Nicolas Pouishnoff (Russian: Лев Николаевич Пышнов, Lev Nikolayevich Pyshnov) (11 October [O.S. 29 September] 1891 -- 28 May 1959) was a Ukrainian-born pianist and composer, who made his home in the United Kingdom and whose career was largely in the West, from the 1920s onwards. He was especially associated with performances of the works of Frédéric Chopin.
Pouishnoff, born into an aristocratic Russian family in either Kiev or Odessa, was drawn to the piano as a young child, and, having acquired some aptitude before the age of ten, gave two public concerts. His parents, not wishing him to be exploited, discouraged this, but after his father's death (when Leff was 9), financial constraints led to his accepting concert engagements, and he rapidly gained a reputation. Special arrangements were made for his schooling, where he had a particular interest in chemistry. At the age of 14 he joined the State Opera Company orchestra, but a chance meeting with Feodor Chaliapin persuaded him to pursue his piano studies.
[edit] Formal study and trainingHe studied at the St Petersburg Conservatory under Anna Yesipova (piano), with instruction from Rimsky-Korsakov, Liadov and Glazunov (composition) and Nikolai Tcherepnin (conducting). He was one of the most brilliant students of his time, and emerged in 1910 with a first class diploma, a Gold Medal, and a cash prize equivalent to £120 for a voyage to Europe. In that year he competed for the St Petersburg Rubinstein Prize against Arthur Rubinstein, Alexander Borovsky, Julius Isserlis, Edwin Fischer and Alfred Hoehn (the winner). However, instead of embarking at once on a high profile recital career, he chose instead to make a musical tour through various European countries, studying their music and meeting their musicians, which greatly broadened his experience.
Returning to Russia, he made a recital tour with the distinguished Hungarian violinist Leopold Auer, and followed this with a solo tour giving piano recitals, which resulted in many offers of engagements in the major European centres. His international reputation was growing when World War I interrupted his progress. Owing to short-sightedness, he was exempt from military service but, being confined to Russia, he played in military camps and gave a series of concerts for wounded and convalescent men in hospitals.
[edit] Career in the WestHe remained in Russia through the Russian Revolution, suffering considerable want, and in 1919 had the opportunity to make a concert tour in Persia (Iran), the first eminent European pianist to do so. After his successful completion of it he returned and soon afterwards escaped across the Russian frontier and made his way to Paris. In 1920 he moved on to London, where he was unknown, but gave his first and highly acclaimed recital at the Wigmore Hall on 2 February 1921, where he was greatly admired by Ernest Newman. From this point he made his home in Britain.
His career now burst upon the European scene. He made numerous orchestral appearances in Britain, in London at the Queen's Hall and Royal Albert Hall, with the Hallé Orchestra in Manchester and with the Scottish Orchestra. His many compositions for orchestra, violin and piano were still in MS in 1924, but his piano pieces were by then being published. He began to make regular visits to the principal cities of France, Germany, Belgium and the Netherlands, and was in the United States in the seasons of 1924-5 and 1925-6, when he toured major cities. His career eventually became worldwide.
In summer 1926 he devoted a whole week of recitals to playing over seventy of the principal works of Chopin, and repeated this in 1927 to much acclaim. In recordings he is heard around 1930 as an extremely articulate and intelligent accompanist to Frank Titterton in Schubert song repertoire. He was among the earliest pianists to broadcast from Savoy Hill in 1925, and in 1938 he became the first to be broadcast on television, from Alexandra Palace. During World War II he gave concerts to factory workers, miners and dockers, and made extensive tours among the forces in the Middle East.
Pouishnoff made a substantial number of recordings, especially of Chopin and Liszt. He had a very extensive technique, and a delicacy and sensitivity of nuance without effeminacy which won extremely high praise from some critics. He ended his own life, in London. His widow Dorothy, a former pupil, died only three weeks after he did.
(Wikipedia)
wn.com/Leff Pouishnoff Plays Schubert Sonata No. 18 In G Major D 894 (1 2)
I. Molto moderato e cantabile
II. Andante
rec. 1928
Leff Nicolas Pouishnoff (Russian: Лев Николаевич Пышнов, Lev Nikolayevich Pyshnov) (11 October [O.S. 29 September] 1891 -- 28 May 1959) was a Ukrainian-born pianist and composer, who made his home in the United Kingdom and whose career was largely in the West, from the 1920s onwards. He was especially associated with performances of the works of Frédéric Chopin.
Pouishnoff, born into an aristocratic Russian family in either Kiev or Odessa, was drawn to the piano as a young child, and, having acquired some aptitude before the age of ten, gave two public concerts. His parents, not wishing him to be exploited, discouraged this, but after his father's death (when Leff was 9), financial constraints led to his accepting concert engagements, and he rapidly gained a reputation. Special arrangements were made for his schooling, where he had a particular interest in chemistry. At the age of 14 he joined the State Opera Company orchestra, but a chance meeting with Feodor Chaliapin persuaded him to pursue his piano studies.
[edit] Formal study and trainingHe studied at the St Petersburg Conservatory under Anna Yesipova (piano), with instruction from Rimsky-Korsakov, Liadov and Glazunov (composition) and Nikolai Tcherepnin (conducting). He was one of the most brilliant students of his time, and emerged in 1910 with a first class diploma, a Gold Medal, and a cash prize equivalent to £120 for a voyage to Europe. In that year he competed for the St Petersburg Rubinstein Prize against Arthur Rubinstein, Alexander Borovsky, Julius Isserlis, Edwin Fischer and Alfred Hoehn (the winner). However, instead of embarking at once on a high profile recital career, he chose instead to make a musical tour through various European countries, studying their music and meeting their musicians, which greatly broadened his experience.
Returning to Russia, he made a recital tour with the distinguished Hungarian violinist Leopold Auer, and followed this with a solo tour giving piano recitals, which resulted in many offers of engagements in the major European centres. His international reputation was growing when World War I interrupted his progress. Owing to short-sightedness, he was exempt from military service but, being confined to Russia, he played in military camps and gave a series of concerts for wounded and convalescent men in hospitals.
[edit] Career in the WestHe remained in Russia through the Russian Revolution, suffering considerable want, and in 1919 had the opportunity to make a concert tour in Persia (Iran), the first eminent European pianist to do so. After his successful completion of it he returned and soon afterwards escaped across the Russian frontier and made his way to Paris. In 1920 he moved on to London, where he was unknown, but gave his first and highly acclaimed recital at the Wigmore Hall on 2 February 1921, where he was greatly admired by Ernest Newman. From this point he made his home in Britain.
His career now burst upon the European scene. He made numerous orchestral appearances in Britain, in London at the Queen's Hall and Royal Albert Hall, with the Hallé Orchestra in Manchester and with the Scottish Orchestra. His many compositions for orchestra, violin and piano were still in MS in 1924, but his piano pieces were by then being published. He began to make regular visits to the principal cities of France, Germany, Belgium and the Netherlands, and was in the United States in the seasons of 1924-5 and 1925-6, when he toured major cities. His career eventually became worldwide.
In summer 1926 he devoted a whole week of recitals to playing over seventy of the principal works of Chopin, and repeated this in 1927 to much acclaim. In recordings he is heard around 1930 as an extremely articulate and intelligent accompanist to Frank Titterton in Schubert song repertoire. He was among the earliest pianists to broadcast from Savoy Hill in 1925, and in 1938 he became the first to be broadcast on television, from Alexandra Palace. During World War II he gave concerts to factory workers, miners and dockers, and made extensive tours among the forces in the Middle East.
Pouishnoff made a substantial number of recordings, especially of Chopin and Liszt. He had a very extensive technique, and a delicacy and sensitivity of nuance without effeminacy which won extremely high praise from some critics. He ended his own life, in London. His widow Dorothy, a former pupil, died only three weeks after he did.
(Wikipedia)
- published: 17 Jan 2011
- views: 1903
Beethoven - Sonata for violin and piano in G major op. 30 nr 3 - fortepiano and melodica
- Order: Reorder
- Duration: 24:17
- Updated: 09 Jun 2016
- views: 136
Unfortunately, I cannot play the violin. But I can play the melodica, and the fortepiano. So, I can play this nice sonata (composed in 1802) quite alone. The me...
Unfortunately, I cannot play the violin. But I can play the melodica, and the fortepiano. So, I can play this nice sonata (composed in 1802) quite alone. The melodica is a good substitute for the violin, because one can make all nuances, articulations, accents, dynamics, etc.
There are three movements:
1. Allegro assai
2. Tempo di menuetto, ma molto moderato e grazioso (at 9:06)
3. Allegro vivace (at 19:04)
wn.com/Beethoven Sonata For Violin And Piano In G Major Op. 30 Nr 3 Fortepiano And Melodica
Unfortunately, I cannot play the violin. But I can play the melodica, and the fortepiano. So, I can play this nice sonata (composed in 1802) quite alone. The melodica is a good substitute for the violin, because one can make all nuances, articulations, accents, dynamics, etc.
There are three movements:
1. Allegro assai
2. Tempo di menuetto, ma molto moderato e grazioso (at 9:06)
3. Allegro vivace (at 19:04)
- published: 09 Jun 2016
- views: 136
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in G Major (1927)
- Order: Reorder
- Duration: 29:09
- Updated: 20 Apr 2015
- views: 3842
Thank you all for the 75000 views! As a token of appreciation, here you have one of my most beloved piano concertos, yet quite unknown by Mario Castelnuovo-Tede...
Thank you all for the 75000 views! As a token of appreciation, here you have one of my most beloved piano concertos, yet quite unknown by Mario Castelnuovo-Tedesco. Enjoy! / ¡Gracias por las 75 mil visitas! Como recompensa, he aquí uno de los conciertos para piano de Mario Castelnuovo-Tedesco que si bien aún es desconocido, es de mis favoritos. ¡Que lo disfruten!
Malmö Symphony Orchestra conducted / Orquesta Sinfónica de Malmö dirigida por Andrew Mogrelia. Piano: Alessandro Marangoni
I. Allegro Giusto (0:00)
II. Andantino alla Romanza (12:06)
III. Vivo e festoso (20:49)
Mario Castelnuovo-Tedesco was one of the most promising Italian composers of his generation. A talented musician, he befriended other large musical figures like Ildebrando Pizzetti and Alfredo Casella, who became one of his closest friends; at least until the enforcement of anti-Jewish laws in Fascist Italy, which forced Castelnuovo to flee to the USA, where he worked as a film composer and teacher, instructing no less than film music superstars Henry Mancini, Jerry Goldsmith and John Williams. Castelnuovo-Tedesco was quite an accomplished orchestrator, a well spotted element throughout his orchestral works and concertos. His first piano concerto is a very optimistic and flamboyant work of youth, composed with an everlasting sense of growth and development, culminating in a radiant dance for soloist and orchestra.
Mario Castelnuovo-Tedesco fue uno de los compositores italianos más prometedores de su generación. Músico de gran talento, hizo amistad con otras grandes figuras de la música como Ildebrando Pizzetti y Alfredo Casella, quién se volvió gran amigo suyo; al menos hasta el establecimiento de las leyes anti-judías de la Italia fascista, mismas que obligaron a Castelnuovo a exiliarse en EUA, donde trabajó como compositor para cine y profesor, habiendo instruido nadamás y nadamenos que a Henry Mancini, Jerry Goldsmith y a John Williams, superestrellas de la música fílmica. Castelnuovo-Tedesco fue un orquestador ingenioso, un elemento reconocible en todas sus obras orquestales y conciertos. Su primer concierto para piano es muy optimista y luminoso, compuesto con un sentido perenne de expansión y desarrollo, culminando en una radiante danza para el solista y la orquesta.
Image/ imagen: The Water-carriers at Livorno. / Las aguadoras de Livorno. Giovanni Fattori. 1865.
wn.com/Mario Castelnuovo Tedesco Piano Concerto No. 1 In G Major (1927)
Thank you all for the 75000 views! As a token of appreciation, here you have one of my most beloved piano concertos, yet quite unknown by Mario Castelnuovo-Tedesco. Enjoy! / ¡Gracias por las 75 mil visitas! Como recompensa, he aquí uno de los conciertos para piano de Mario Castelnuovo-Tedesco que si bien aún es desconocido, es de mis favoritos. ¡Que lo disfruten!
Malmö Symphony Orchestra conducted / Orquesta Sinfónica de Malmö dirigida por Andrew Mogrelia. Piano: Alessandro Marangoni
I. Allegro Giusto (0:00)
II. Andantino alla Romanza (12:06)
III. Vivo e festoso (20:49)
Mario Castelnuovo-Tedesco was one of the most promising Italian composers of his generation. A talented musician, he befriended other large musical figures like Ildebrando Pizzetti and Alfredo Casella, who became one of his closest friends; at least until the enforcement of anti-Jewish laws in Fascist Italy, which forced Castelnuovo to flee to the USA, where he worked as a film composer and teacher, instructing no less than film music superstars Henry Mancini, Jerry Goldsmith and John Williams. Castelnuovo-Tedesco was quite an accomplished orchestrator, a well spotted element throughout his orchestral works and concertos. His first piano concerto is a very optimistic and flamboyant work of youth, composed with an everlasting sense of growth and development, culminating in a radiant dance for soloist and orchestra.
Mario Castelnuovo-Tedesco fue uno de los compositores italianos más prometedores de su generación. Músico de gran talento, hizo amistad con otras grandes figuras de la música como Ildebrando Pizzetti y Alfredo Casella, quién se volvió gran amigo suyo; al menos hasta el establecimiento de las leyes anti-judías de la Italia fascista, mismas que obligaron a Castelnuovo a exiliarse en EUA, donde trabajó como compositor para cine y profesor, habiendo instruido nadamás y nadamenos que a Henry Mancini, Jerry Goldsmith y a John Williams, superestrellas de la música fílmica. Castelnuovo-Tedesco fue un orquestador ingenioso, un elemento reconocible en todas sus obras orquestales y conciertos. Su primer concierto para piano es muy optimista y luminoso, compuesto con un sentido perenne de expansión y desarrollo, culminando en una radiante danza para el solista y la orquesta.
Image/ imagen: The Water-carriers at Livorno. / Las aguadoras de Livorno. Giovanni Fattori. 1865.
- published: 20 Apr 2015
- views: 3842
Wim Winters plays new (2016) work by Kostas Papazafeiropoulos
- Order: Reorder
- Duration: 27:36
- Updated: 10 Apr 2016
- views: 784
Really excited to share this brand new sonata (2016) in F Major, opus 118, composed by the Greek composer Kostas Papazafeiropoulos (b.1983)
Index of all record...
Really excited to share this brand new sonata (2016) in F Major, opus 118, composed by the Greek composer Kostas Papazafeiropoulos (b.1983)
Index of all recordings: http://authenticsound.be/youtube.html
This sonata:
0:06 Allegro
7:18 Adagio
15:03 Menuet & trio
18:28 Allegretto (theme & variations)
Note upfront... if you only have time for one part... and are a bit sceptical on new works in earlier styles... chose the adagio and stop thinking and comparing...!
A (maybe not so much) philosophical stand point:
I have stressed it before: we today, in general, are not used to new compositions in earlier styles, like the one you might be listening to at this moment. It appears to be a habit we lost in the last century or maybe even never had. I can tell, because I myself did not pay much attention, if any, to works like that. New 'classical' music is really not my cup of tea, since I tend to become an instant music-idiot from the moment where a strong tonica-dominant relationship is left behind. Or sound on itself is centralised. For whatever strange reason that might be.
Anyway, this is the fourth work of Kostas that I'm privileged to record over a period of one year now. So I had the time to ask opinions of friends of all kind of interest and profession. The best friends of course, had to guess what it was they were listening to. I take 3 examples: one is artistic and managing director of a cultural centre with a lot of classical music programmed. The other is a real classic music fan, and my third friend is a civil engineer logistics and computer science (and opera lover).
I took the Sonata in G Major (not this sonata since this obviously is very recent)
https://www.youtube.com/watch?v=96V10Haw3GY&src;_vid=z4AXTySqwmw&annotation;_id=db916e5d-98de-4321-9524-ee1fdba790c4&feature;=cards
Being unknown of the date and name of the composer,
-the first one thought it was music by Müthel.
-the second one hesitated, thought on influences from Haydn
-the engineer thought on a composer that was influenced by Beethoven, but slightly later.
The third one of course had nothing to 'loose'. The first two were very prudent. The music sounded so convincing and yet they were a bit confused not to know the piece, nor the composer.
But all three really applauded the composition.
Then I came up with the name of Kostas and date of composition.
Result:
-no real interest with my first friend any more (no more than 'interesting')
-A diminution of the composition by my second friend, saying that 'I really knew so well how to play that kind of music that made it sound so well'. So, it was all thanks to me.
-The engineer didn't care. He thought it was fantastic music.
This... is so strange.
I am curious what this sonata will accomplish. Again, if only you have time to listen to one part, choose the adagio. It is one of the most suggestive adagios I know. Yes, composers like Kostas have to compete against Beethoven, Mozart, Haydn, ... but don't compare everything to Mozart's highlights ! That kills all initiatives!
Even stop finding names to compare with. That at least is what I had to do when diving into the music of Kostas one year ago. It has its own spot, and it needs to have its own spot, within the framework of the aesthetics of that time. It is the combination of technical mastering, understanding the style AND personality that can make works like this survive. And Kostas has all three.
He deserves, in my mind, a place at the top of today's composers, and honestly, I really don't understand why talents like this is facing so much troubles in standing out.
I really hope you enjoy the recording and his music. And you'll do him a BIG favour by letting him know your reaction in the comment boxes below!
Take care,
Wim
If you like this recording, please consider subscribing to this channel and sharing this video with your friends. It means a lot!
https://www.youtube.com/channel/UC8vR...
Connect with me on:
Facebook
https://www.facebook.com/Authentic-So...
Twitter
https://twitter.com/_WimWinters
Website:
http://www.authenticsound.be
wn.com/Wim Winters Plays New (2016) Work By Kostas Papazafeiropoulos
Really excited to share this brand new sonata (2016) in F Major, opus 118, composed by the Greek composer Kostas Papazafeiropoulos (b.1983)
Index of all recordings: http://authenticsound.be/youtube.html
This sonata:
0:06 Allegro
7:18 Adagio
15:03 Menuet & trio
18:28 Allegretto (theme & variations)
Note upfront... if you only have time for one part... and are a bit sceptical on new works in earlier styles... chose the adagio and stop thinking and comparing...!
A (maybe not so much) philosophical stand point:
I have stressed it before: we today, in general, are not used to new compositions in earlier styles, like the one you might be listening to at this moment. It appears to be a habit we lost in the last century or maybe even never had. I can tell, because I myself did not pay much attention, if any, to works like that. New 'classical' music is really not my cup of tea, since I tend to become an instant music-idiot from the moment where a strong tonica-dominant relationship is left behind. Or sound on itself is centralised. For whatever strange reason that might be.
Anyway, this is the fourth work of Kostas that I'm privileged to record over a period of one year now. So I had the time to ask opinions of friends of all kind of interest and profession. The best friends of course, had to guess what it was they were listening to. I take 3 examples: one is artistic and managing director of a cultural centre with a lot of classical music programmed. The other is a real classic music fan, and my third friend is a civil engineer logistics and computer science (and opera lover).
I took the Sonata in G Major (not this sonata since this obviously is very recent)
https://www.youtube.com/watch?v=96V10Haw3GY&src;_vid=z4AXTySqwmw&annotation;_id=db916e5d-98de-4321-9524-ee1fdba790c4&feature;=cards
Being unknown of the date and name of the composer,
-the first one thought it was music by Müthel.
-the second one hesitated, thought on influences from Haydn
-the engineer thought on a composer that was influenced by Beethoven, but slightly later.
The third one of course had nothing to 'loose'. The first two were very prudent. The music sounded so convincing and yet they were a bit confused not to know the piece, nor the composer.
But all three really applauded the composition.
Then I came up with the name of Kostas and date of composition.
Result:
-no real interest with my first friend any more (no more than 'interesting')
-A diminution of the composition by my second friend, saying that 'I really knew so well how to play that kind of music that made it sound so well'. So, it was all thanks to me.
-The engineer didn't care. He thought it was fantastic music.
This... is so strange.
I am curious what this sonata will accomplish. Again, if only you have time to listen to one part, choose the adagio. It is one of the most suggestive adagios I know. Yes, composers like Kostas have to compete against Beethoven, Mozart, Haydn, ... but don't compare everything to Mozart's highlights ! That kills all initiatives!
Even stop finding names to compare with. That at least is what I had to do when diving into the music of Kostas one year ago. It has its own spot, and it needs to have its own spot, within the framework of the aesthetics of that time. It is the combination of technical mastering, understanding the style AND personality that can make works like this survive. And Kostas has all three.
He deserves, in my mind, a place at the top of today's composers, and honestly, I really don't understand why talents like this is facing so much troubles in standing out.
I really hope you enjoy the recording and his music. And you'll do him a BIG favour by letting him know your reaction in the comment boxes below!
Take care,
Wim
If you like this recording, please consider subscribing to this channel and sharing this video with your friends. It means a lot!
https://www.youtube.com/channel/UC8vR...
Connect with me on:
Facebook
https://www.facebook.com/Authentic-So...
Twitter
https://twitter.com/_WimWinters
Website:
http://www.authenticsound.be
- published: 10 Apr 2016
- views: 784
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter Hurford
- Order: Reorder
- Duration: 75:34
- Updated: 14 Apr 2014
- views: 174971
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford
2. BWV 526 — Organ Sonata No.2 in C minor - Cathedral at Ratzeburg Germany
3. ...
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford
2. BWV 526 — Organ Sonata No.2 in C minor - Cathedral at Ratzeburg Germany
3. BWV 527 — Organ Sonata No.3 in D minor - The Chapel of Knox Grammar School Sydney Australia
4. BWV 528 — Organ Sonata No.4 in E minor - DTTO
5. BWV 529 — Organ Sonata No.5 in C major - DTTO
6. BWV 530 — Organ Sonata No.6 in G major - Cathedral at Ratzeburg Germany
Picture in video: OXFORD
wn.com/J.S.Bach Trio Sonatas For Organ Bwv 525 530, Peter Hurford
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford
2. BWV 526 — Organ Sonata No.2 in C minor - Cathedral at Ratzeburg Germany
3. BWV 527 — Organ Sonata No.3 in D minor - The Chapel of Knox Grammar School Sydney Australia
4. BWV 528 — Organ Sonata No.4 in E minor - DTTO
5. BWV 529 — Organ Sonata No.5 in C major - DTTO
6. BWV 530 — Organ Sonata No.6 in G major - Cathedral at Ratzeburg Germany
Picture in video: OXFORD
- published: 14 Apr 2014
- views: 174971
W. A. Mozart - KV deest - Piano Sonata in G minor
- Order: Reorder
- Duration: 21:06
- Updated: 27 Sep 2013
- views: 3492
Fragments completed by Anthony Goldstone and arranged as a sonata:
1. Allegro (after KV 312) (0:00)
2. Larghetto (after KV 569a) (6:35)
3. Allegretto - Adagio -...
Fragments completed by Anthony Goldstone and arranged as a sonata:
1. Allegro (after KV 312) (0:00)
2. Larghetto (after KV 569a) (6:35)
3. Allegretto - Adagio - Allegro (after KV 501) (13:14)
Performer: Anthony Goldstone, piano.
wn.com/W. A. Mozart Kv Deest Piano Sonata In G Minor
Joseph Joachim: Violin Concerto No. 3 in G Major
- Order: Reorder
- Duration: 35:40
- Updated: 05 May 2015
- views: 2729
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.
Joseph Joachim (1831-1907)
Violin Concerto No. 3 in G Major (1875)
I. Allegro non troppo 0:00
II. Andante 16:36
III. Allegro giocoso ed energico, ma non troppo vivace 25:18
Takako Nishizaki, violin
Stuttgart Radio Symphony Orchestra
Meir Minsky, conductor
Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and violin teacher.
Joachim was born in Kittsee, near Bratislava and Eisenstadt, in what is today's Burgenland area of Austria. In 1833 his family moved to Pest, where he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest. In 1839, Joachim continued his studies at the Vienna Conservatory. He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn.
On 27 May 1844 Joachim, at age not quite 13, in his London Philharmonic debut with Mendelssohn conducting, played the solo part in Beethoven's violin concerto. This was a triumph in several respects. Despite Beethoven's recognition as one of the greatest composers, and the ranking nowadays of his violin concerto as among the greatest few, it was far from being so ranked before Joachim's performance. But Joachim was very well prepared to play Beethoven's concerto, having written his own cadenzas for it and memorized the piece. Joachim's performance helped establish the Beethoven concerto as a pinnacle of the literature and made him popular in England for the rest of his long career.
Following Mendelssohn's death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David. In 1848, Franz Liszt took up residence in Weimar, determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avant-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the 'New German School' (Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel). In 1853, Joachim met the then publicly unknown 20-year-old Brahms, was highly impressed by him, and gave him a letter of recommendation to Robert Schumann. Brahms was received by Schumann and his wife Clara with great enthusiasm. After Robert's mental breakdown in 1854 and death in 1856, Joachim, Clara, and Brahms remained lifelong friends and shared musical views.
Joachim's time in Hanover was his most prolific period of composition. Then and during the rest of his career, he frequently performed with Clara Schumann.
On 10 May 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (1839–99). In 1866, Joachim moved to Berlin, where he was invited to help found a new department of the Royal Academy of Music. There he became the director of the Hochschule für ausübende Tonkunst, or High School for Musical Performance.
In 1884, Joachim and his wife separated after he became convinced that she was having an affair with the publisher Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double Concerto in A minor for violin and cello, Op. 102, as a peace offering to his old friend. It was co-dedicated to the first performers, Joachim and cellist Robert Hausmann.
In late 1895 both Brahms and Joachim were present at the opening of the new Tonhalle at Zurich, Switzerland; Brahms conducted and Joachim was assistant conductor. But in April, two years later, Joachim was to lose forever this revered friend, as Johannes Brahms died at the age of 64 at Vienna. At Meiningen, in December 1899, it was Joachim who made the speech when a statue to Brahms was unveiled.
Joachim remained in Berlin until his death in 1907.
wn.com/Joseph Joachim Violin Concerto No. 3 In G Major
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.
Joseph Joachim (1831-1907)
Violin Concerto No. 3 in G Major (1875)
I. Allegro non troppo 0:00
II. Andante 16:36
III. Allegro giocoso ed energico, ma non troppo vivace 25:18
Takako Nishizaki, violin
Stuttgart Radio Symphony Orchestra
Meir Minsky, conductor
Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and violin teacher.
Joachim was born in Kittsee, near Bratislava and Eisenstadt, in what is today's Burgenland area of Austria. In 1833 his family moved to Pest, where he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest. In 1839, Joachim continued his studies at the Vienna Conservatory. He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn.
On 27 May 1844 Joachim, at age not quite 13, in his London Philharmonic debut with Mendelssohn conducting, played the solo part in Beethoven's violin concerto. This was a triumph in several respects. Despite Beethoven's recognition as one of the greatest composers, and the ranking nowadays of his violin concerto as among the greatest few, it was far from being so ranked before Joachim's performance. But Joachim was very well prepared to play Beethoven's concerto, having written his own cadenzas for it and memorized the piece. Joachim's performance helped establish the Beethoven concerto as a pinnacle of the literature and made him popular in England for the rest of his long career.
Following Mendelssohn's death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David. In 1848, Franz Liszt took up residence in Weimar, determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avant-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the 'New German School' (Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel). In 1853, Joachim met the then publicly unknown 20-year-old Brahms, was highly impressed by him, and gave him a letter of recommendation to Robert Schumann. Brahms was received by Schumann and his wife Clara with great enthusiasm. After Robert's mental breakdown in 1854 and death in 1856, Joachim, Clara, and Brahms remained lifelong friends and shared musical views.
Joachim's time in Hanover was his most prolific period of composition. Then and during the rest of his career, he frequently performed with Clara Schumann.
On 10 May 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (1839–99). In 1866, Joachim moved to Berlin, where he was invited to help found a new department of the Royal Academy of Music. There he became the director of the Hochschule für ausübende Tonkunst, or High School for Musical Performance.
In 1884, Joachim and his wife separated after he became convinced that she was having an affair with the publisher Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double Concerto in A minor for violin and cello, Op. 102, as a peace offering to his old friend. It was co-dedicated to the first performers, Joachim and cellist Robert Hausmann.
In late 1895 both Brahms and Joachim were present at the opening of the new Tonhalle at Zurich, Switzerland; Brahms conducted and Joachim was assistant conductor. But in April, two years later, Joachim was to lose forever this revered friend, as Johannes Brahms died at the age of 64 at Vienna. At Meiningen, in December 1899, it was Joachim who made the speech when a statue to Brahms was unveiled.
Joachim remained in Berlin until his death in 1907.
- published: 05 May 2015
- views: 2729
Sergei Rachmaninov - Études-Tableaux Op. 33
- Order: Reorder
- Duration: 25:37
- Updated: 07 Nov 2015
- views: 32983
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performer: Vladimir Ovchinnikov
- Year of recording: 1989
Etudes-Tableaux, for pi...
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performer: Vladimir Ovchinnikov
- Year of recording: 1989
Etudes-Tableaux, for piano, Op. 33, written in 1911.
00:00 - I. Allegro non troppo in F minor
02:54 - II. Allegro in C major
05:15 - III. Grave - Meno mosso in C minor
xx:xx - IV. Allegro in A minor (withdrawn, reused as Op. 39/6)
11:02 - V. Moderato in D minor
14:24 - VI. Non allegro - Presto in E flat minor
16:10 - VII. Allegro con fuoco in E flat major
18:11 - VIII. Moderato in G minor
22:37 - IX. Grave in C sharp minor
The quantity and numbering of these Etudes is confusing because Rachmaninov withdrew three of the original nine prior to publication. The original nine were as follows: #1 in f minor, #2 in C major, #3 in c minor, #4 in a minor, #5 in d minor, #6 in e-flat minor, #7 in E-flat major, #8 in g minor, and #9 in c-sharp minor. Rachmaninov withdrew numbers 3 in c minor, 4 in a minor and 5 in d minor. The a minor Etude, originally number 4, was included in the Etudes-Tableaux, Opus 39 as number 6, and the other two, in c minor and d minor were published posthumously. The resulting set of Etudes-Tableaux, Opus 33, thereby became a set of six, #1 in f minor, #2 in C major, #3 (formerly #6) in e-flat minor, #4 (formerly #7) in E-flat major, #5 (formerly #8) in g minor, and #6 (formerly #9) in c-sharp minor. The two posthumously published Etudes are now usually reinstated in the set between numbers 2 and 3, creating a set of eight Etudes.
The style is identical to that of the Préludes, Opus 32, and, in fact, there is little technically to differentiate these pieces as distinctly Etudes rather than Préludes. On the other hand, the powerfully declamatory mood of these works seems to give them a more epic scale than the Préludes in spite of their similar length. This is presumably because of Rachmaninov's intention that these be more than just studies, but also "Tableaux" (pictures).
- #1, in f minor. This is a march in Rachmaninov's usual style. It is actually easier to play than most of the Préludes.
- #2, in C major. A lovely Nocturne, similar in mood and style to the Prélude Opus 32 #12. The right-hand melody soars above an arpeggiated left hand. Again, an Etude of only moderate difficulty.
- #3, in c minor (published posthumously). This is a slow and stately elegy. The second half in C major is less severe. Rachmaninov used the closing bars in the middle movement of his Fourth Piano Concerto, which may explain its withdrawal from the original set.
- #4, in d minor (published posthumously). Driving rhythms propel this staccato chord study. Brilliant and effective, it is unknown why Rachmaninov withdrew it from the original set.
- #5, in e-flat minor (originally #6, published as #3). Complex rapid figurations are the main feature of this breathtaking and difficult study. The harmony is fleeting and chromatic.
- #6, in E-flat major (originally #7, published as #4). Strongly reminiscent of the E major Prélude Opus 32, #3, this Etude is a brilliant and vigorously exciting March.
- #7, in g minor (originally #8, published as #5). This is an elegiac Nocturne that gradually builds to a dramatic and declamatory central cadenza. The shortened reprise builds to another climactic cadenza before the hushed final chords. It is an extraordinarily original conception.
- #8, in c-sharp minor (originally #9, published as #6). Rachmaninov makes effective use of the shift between major and minor sonorities in this bold and declamatory piece. The overall mood is tragic and powerful.
wn.com/Sergei Rachmaninov Études Tableaux Op. 33
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performer: Vladimir Ovchinnikov
- Year of recording: 1989
Etudes-Tableaux, for piano, Op. 33, written in 1911.
00:00 - I. Allegro non troppo in F minor
02:54 - II. Allegro in C major
05:15 - III. Grave - Meno mosso in C minor
xx:xx - IV. Allegro in A minor (withdrawn, reused as Op. 39/6)
11:02 - V. Moderato in D minor
14:24 - VI. Non allegro - Presto in E flat minor
16:10 - VII. Allegro con fuoco in E flat major
18:11 - VIII. Moderato in G minor
22:37 - IX. Grave in C sharp minor
The quantity and numbering of these Etudes is confusing because Rachmaninov withdrew three of the original nine prior to publication. The original nine were as follows: #1 in f minor, #2 in C major, #3 in c minor, #4 in a minor, #5 in d minor, #6 in e-flat minor, #7 in E-flat major, #8 in g minor, and #9 in c-sharp minor. Rachmaninov withdrew numbers 3 in c minor, 4 in a minor and 5 in d minor. The a minor Etude, originally number 4, was included in the Etudes-Tableaux, Opus 39 as number 6, and the other two, in c minor and d minor were published posthumously. The resulting set of Etudes-Tableaux, Opus 33, thereby became a set of six, #1 in f minor, #2 in C major, #3 (formerly #6) in e-flat minor, #4 (formerly #7) in E-flat major, #5 (formerly #8) in g minor, and #6 (formerly #9) in c-sharp minor. The two posthumously published Etudes are now usually reinstated in the set between numbers 2 and 3, creating a set of eight Etudes.
The style is identical to that of the Préludes, Opus 32, and, in fact, there is little technically to differentiate these pieces as distinctly Etudes rather than Préludes. On the other hand, the powerfully declamatory mood of these works seems to give them a more epic scale than the Préludes in spite of their similar length. This is presumably because of Rachmaninov's intention that these be more than just studies, but also "Tableaux" (pictures).
- #1, in f minor. This is a march in Rachmaninov's usual style. It is actually easier to play than most of the Préludes.
- #2, in C major. A lovely Nocturne, similar in mood and style to the Prélude Opus 32 #12. The right-hand melody soars above an arpeggiated left hand. Again, an Etude of only moderate difficulty.
- #3, in c minor (published posthumously). This is a slow and stately elegy. The second half in C major is less severe. Rachmaninov used the closing bars in the middle movement of his Fourth Piano Concerto, which may explain its withdrawal from the original set.
- #4, in d minor (published posthumously). Driving rhythms propel this staccato chord study. Brilliant and effective, it is unknown why Rachmaninov withdrew it from the original set.
- #5, in e-flat minor (originally #6, published as #3). Complex rapid figurations are the main feature of this breathtaking and difficult study. The harmony is fleeting and chromatic.
- #6, in E-flat major (originally #7, published as #4). Strongly reminiscent of the E major Prélude Opus 32, #3, this Etude is a brilliant and vigorously exciting March.
- #7, in g minor (originally #8, published as #5). This is an elegiac Nocturne that gradually builds to a dramatic and declamatory central cadenza. The shortened reprise builds to another climactic cadenza before the hushed final chords. It is an extraordinarily original conception.
- #8, in c-sharp minor (originally #9, published as #6). Rachmaninov makes effective use of the shift between major and minor sonorities in this bold and declamatory piece. The overall mood is tragic and powerful.
- published: 07 Nov 2015
- views: 32983
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2:51
G MINOR BACH - Piano Tiles 2
Descargar audio MP3: https://drive.google.com/file/d/0BwLmcZnUUOzEVVhRUGxfd1lDd2M
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published: 02 Oct 2015
G MINOR BACH - Piano Tiles 2
G MINOR BACH - Piano Tiles 2
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- published: 02 Oct 2015
- views: 714437
7:32
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
Johann Joachim Quantz (1697 - 1773)
6 flute sonatas: No 6 in G major - without Qv no
6 fl...
published: 26 Sep 2014
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
Johann Joachim Quantz - unknown Qv No - 6 flute sonatas: No 6 in G major
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- published: 26 Sep 2014
- views: 835
13:16
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
Directed, shot and edited by Michele Sartor.
Performed by Claudio Ronco and Emanuela Vozz...
published: 04 Feb 2016
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
J.B. Bréval, Sonata No. 5 in G major, Op. 12 (from Lo Sguardo della Musica/The Gaze of Music)
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- published: 04 Feb 2016
- views: 696
7:24
Henry Eccles - Sonata in G Minor for Violoncello and Continuo
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a vi...
published: 25 Dec 2011
Henry Eccles - Sonata in G Minor for Violoncello and Continuo
Henry Eccles - Sonata in G Minor for Violoncello and Continuo
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- published: 25 Dec 2011
- views: 47326
21:31
Claude Debussy - Piano Trio in G major (1879)
Jean-Efflam Bavouzet (piano), Daniel Rowland (violin) and Jacqueline Thomas (cello). Fanta...
published: 29 Apr 2014
Claude Debussy - Piano Trio in G major (1879)
Claude Debussy - Piano Trio in G major (1879)
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- published: 29 Apr 2014
- views: 70938
10:26
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vivace (perf...
published: 11 Nov 2013
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
Beethoven - Concerto No.4 in G Major Op.58 - III.Rondo vi...
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- published: 11 Nov 2013
- views: 19
17:10
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
Ludwig van Beethoven - Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro moderato (p...
published: 11 Nov 2013
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
Beethoven - Concerto No.4 in G Major Op.58 - I. Allegro m...
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- published: 11 Nov 2013
- views: 30
19:18
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin & piano No. 26 in B flat major, K. ...
published: 03 Apr 2016
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
Mozart - Violin Sonata No. 26, B-flat Major. K 378 [Szeryng/Haebler]
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- published: 03 Apr 2016
- views: 1796
35:16
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
An early work by composer Witold Maliszewski (1973-1939),published in 1902.
Performed by ...
published: 13 Mar 2016
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
Witold Maliszewski - Violin Sonata in G major Op.1 (1900)
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- published: 13 Mar 2016
- views: 199
3:37
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
Joseph Haydn - Joseph Haydn - The Oxford Symphony No.92 in G Major - I. Adagio (contd) (pe...
published: 16 Nov 2013
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
Joseph Haydn - The Oxford Symphony No.92 in G Major - I. ...
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- published: 16 Nov 2013
- views: 117
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20:08
Leff Pouishnoff plays Schubert Sonata No. 18 in G major D 894 (1/2)
I. Molto moderato e cantabile
II. Andante
rec. 1928
Leff Nicolas Pouishnoff (Russ...
published: 17 Jan 2011
Leff Pouishnoff plays Schubert Sonata No. 18 in G major D 894 (1/2)
Leff Pouishnoff plays Schubert Sonata No. 18 in G major D 894 (1/2)
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- published: 17 Jan 2011
- views: 1903
24:17
Beethoven - Sonata for violin and piano in G major op. 30 nr 3 - fortepiano and melodica
Unfortunately, I cannot play the violin. But I can play the melodica, and the fortepiano. ...
published: 09 Jun 2016
Beethoven - Sonata for violin and piano in G major op. 30 nr 3 - fortepiano and melodica
Beethoven - Sonata for violin and piano in G major op. 30 nr 3 - fortepiano and melodica
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- published: 09 Jun 2016
- views: 136
29:09
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in G Major (1927)
Thank you all for the 75000 views! As a token of appreciation, here you have one of my mos...
published: 20 Apr 2015
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in G Major (1927)
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in G Major (1927)
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- published: 20 Apr 2015
- views: 3842
27:36
Wim Winters plays new (2016) work by Kostas Papazafeiropoulos
Really excited to share this brand new sonata (2016) in F Major, opus 118, composed by the...
published: 10 Apr 2016
Wim Winters plays new (2016) work by Kostas Papazafeiropoulos
Wim Winters plays new (2016) work by Kostas Papazafeiropoulos
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- published: 10 Apr 2016
- views: 784
75:34
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter Hurford
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford
2. BWV 5...
published: 14 Apr 2014
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter Hurford
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter Hurford
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- published: 14 Apr 2014
- views: 174971
21:06
W. A. Mozart - KV deest - Piano Sonata in G minor
Fragments completed by Anthony Goldstone and arranged as a sonata:
1. Allegro (after KV 31...
published: 27 Sep 2013
W. A. Mozart - KV deest - Piano Sonata in G minor
W. A. Mozart - KV deest - Piano Sonata in G minor
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- published: 27 Sep 2013
- views: 3492
35:40
Joseph Joachim: Violin Concerto No. 3 in G Major
It is my express wish that any and all monies I might receive from publication of this vid...
published: 05 May 2015
Joseph Joachim: Violin Concerto No. 3 in G Major
Joseph Joachim: Violin Concerto No. 3 in G Major
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- published: 05 May 2015
- views: 2729
25:37
Sergei Rachmaninov - Études-Tableaux Op. 33
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performer: V...
published: 07 Nov 2015
Sergei Rachmaninov - Études-Tableaux Op. 33
Sergei Rachmaninov - Études-Tableaux Op. 33
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- published: 07 Nov 2015
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Leff Pouishnoff plays Schubert Sonata No. 18 in G ...
Beethoven - Sonata for violin and piano in G major...
Mario Castelnuovo-Tedesco: Piano Concerto No. 1 in...
Wim Winters plays new (2016) work by Kostas Papaza...
J.S.Bach Trio Sonatas for Organ BWV 525-530, Peter...
W. A. Mozart - KV deest - Piano Sonata in G minor...
Joseph Joachim: Violin Concerto No. 3 in G Major...
Sergei Rachmaninov - Études-Tableaux Op. 33...
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Lyrics list:lyrics
-
G Major
G Major
Everyone here's in trouble
The man with the megaphone
Smoke and mirrors and crystal balls and red alerts and all because
Of the king who hides behind the pawns
I can see what's really going on
I can see what's really going on
Everyone here's a bubble
Merrily floating on
Manicured suburban lawns and patriotic country songs
Pledge allegiance, sing along
I can see what's really going on
I can see what's really going on
Everyone here's in trouble
Angels abandon guard
History is cyclical
Crusaders and the biblical
Light the torches bang the gongs
I can see what's really going on
I can see what's really going on
Na na na na-na
Na na na na-na
Na na, na na
Na na, na na
Na na na na-na
Na na na na-na
Na na, na na
photo: U.S. Navy /
U.S. Warship Fires 3 Warning Shots At Iranian Boats In North Arabian Gulf
Edit WorldNews.com 25 Aug 2016
Navy ships and Iranian Revolutionary Guard boats in the Northern Arabian Gulf and resulted in U.S. forces firing three warning shots in the direction of an Iranian boat that was approaching another American ship head-on, The Associated Press reported Thursday ... fired flares.The same Iranian boat that harassed the USS Tempest also crossed in front of the USS Stout three times at a high rate of speed on Wednesday in the same region....
photo: Creative Commons / Gage Skidmore
Hillary Clinton is Spreading Islamist Extremism
Edit Dissident Voice 26 Aug 2016
If the West in general, and the United States in particular, left the Arab and Muslim world alone and in peace, we would most likely never see all those terrorist attacks, which are rocking the world from Indonesia to France ... “In so many parts of the world, the West created an absolutely new religion ... And in Bahrain, the Shi’a majority was literally raped by Saudi Arabia and its own ruthless rulers, with British advisors standing by....
photo: Creative Commons / Jean-Pol GRANDMONT
Explosion Rocks Sports Center in Belgium
Edit WorldNews.com 26 Aug 2016
A blast has destroyed half a sports center in Chimay, Belgium on Thursday night according to The Guardian ... There was only a small amount of people in the people but the town 120 km south of Brussels has a population of 10,000 ... A large section of the building had collapsed and it was unknown just how many people were or could be trapped in the rubble still....
photo: US DoS
Why US, Britain are key to ending Yemen horror
Edit CNN 26 Aug 2016
(CNN)US Secretary of State John Kerry was in the Saudi city of Jeddah this week, with Yemen's brutal civil war high on the agenda as he met officials from Britain, Saudi Arabia and the UAE. Yemen's warring parties are in the midst of a bloody stalemate ... The meeting in Saudi Arabia could have ended differently, however ... For all that they would have us believe otherwise UK and US are not mere bystanders in this....
photo: WN / Ahmed Deeb
Archaeologists Have Discovered A Brand New Ancient God
Edit IFL Science 25 Aug 2016
Researchers in Italy have spent the last several months translating an ancient text recovered from a 2,500-year-old Etruscan temple, and believe they may have stumbled upon the name of a previously unheard of goddess ... Occupying much of northern Italy from 400 to 800 BCE, the Etruscans are attributed with establishing many of the major cities that later become prominent centers of activity during the Roman Empire....
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Bela Bartok's Sonata for two pianos ad percussion by Multi-Story
Edit Skiddle 26 Aug 2016
Peckham Rye Multistorey Car Park in London ... Bela Bartok's famous Sonata comes to Peckham car park in a unique performance by Multi-Story ... Bela Bartok's Sonata for two pianos ad percussion by Multi-Story on Fri 26th August 2016. Multi-Story, winner of the RPS Music Award for Audiences & Engagement, presents its sixth Summer season in 2016....
Property offences No 1 in police's priority list
Edit The Times of India 26 Aug 2016
The newly appointed police commissioner of Nashik, Ravindra Singhal, has instructed his subordinates to take strict measures to curb the rising instances of property offences in the city. Crimes like house break-ins, chain snatchings, vehicle thefts, dacoities and thefts have become a regular feature on city streets and local newspapers ... Currently, he is in police custody till August 29....
EPRDF versus rudderless populism
Edit Topix 26 Aug 2016
This week two recent news items from Ethiopia had captured my attention. Both contained prescriptions for the ongoing standoff between the EPRDF government and a rudderless populist movement which, by the look of it, is hell-bent on trying to mug the nation's developmental democratic system by resorting to unauthorised street demonstrations, strikes and sit-ins ... ....
Apple issues urgent software patch for iPhones, iPads
Edit The Times of India 26 Aug 2016
Apple issued a patch on Thursday to fix a dangerous security hole in iPhones and iPads after researchers discovered that a prominent United Arab Emirates dissident's phone had been targeted with a previously unknown method of hacking ... Blass had tweeted that the iPhone 7 would be hitting the markets in the third week of September ... Apple hits the 1-billion mark in iPhone sales....
Backpage demands that appeals court block US Senate sex-trafficking subpoena
Edit Ars Technica 26 Aug 2016
Backpage demanded Wednesday that a federal appeals court continue blocking the online classified ad portal from having to comply with a Senate investigation and subpoena into how Backpage conducts its business, including providing the government with documents about the ins and outs of its editorial business model....
10 Things to Know for Friday
Edit The Roanoke Times 26 Aug 2016
WHAT'S BEING ASKED IN AFTERMATH OF DEADLY EARTHQUAKE ... The billionaire businessman defeated 16 rivals in the GOP primary by being the most anti-immigrant of them all — but now he's sounding a lot like the people he defeated ... WHY TURKEY IS RAMPING UP MILITARY PRESENCE IN SYRIA ... The move follows a botched attempt to break into the phone of an Arab activist in the Mideast using hitherto unknown espionage software....
NMSU filmmakers host fundraiser for their film 'Yochi'
Edit The Oklahoman 26 Aug 2016
LAS CRUCES - A celebratory fundraiser in support of the film "Yochi," by Ilana Lapid, an award-winning filmmaker, and New Mexico State University assistant professor, will be at 5 p.m. Wednesday in Mesilla ... In the film, Itza returns and strives to win back Yochi's trust ... Filmmakers are trying to raise $10,000 to pay for post-production expenses, enabling the team to complete the film in time for submission to major film festivals....
Why iPhone users need to update software -- now; Mississippi nuns killed (10 Things to ...
Edit The Times Picayune 26 Aug 2016
APPLE BOOSTS IPHONE SECURITY AFTER BREAK-IN TRY. A botched attempt to break into the iPhone of an Arab activist using hitherto unknown espionage software has trigged a global upgrade of Apple's mobile operating system, researchers said Thursday. The spyware took advantage of three previously undisclosed weaknesses in Apple's iPhone to take complete control of the devices, according to reports published Thursday....
Sodalicious files counterclaim in 'dirty' soda feud with Swig
Edit Deseret News 26 Aug 2016
SALT LAKE CITY — Sodalicious has filed a counterclaim against Swig in the ongoing legal battle between the two soda shops, contending Swig's initial lawsuit was filed in "bad faith" and demanding that its trademark of the term "dirty" be canceled, according to recently filed court documents. The counterclaim, submitted in U.S ... In May, Swig added Sodalicious' five co-owners as individual defendants in the case....
Apple boosts iPhone security
Edit Times Union 26 Aug 2016
A botched attempt to break into the iPhone of an Arab activist using hitherto unknown espionage software has triggered a global upgrade of Apple's mobile operating system, researchers said Thursday ... Promising to reveal details about torture in the United Arab Emirates' prisons, the unknown sender included a suspicious-looking link at the bottom of the message....
Stop Your Pet's Back-to-School Blues (City of Bellflower, CA)
Edit Public Technologies 26 Aug 2016
(Source. City of Bellflower, CA). SEAACA Provides Tips for Pet Owners. Dogs, cats, and other pets can suffer from separation anxiety, especially during the fall ... These behaviors may include.. • Excessive pacing, barking/meowing. • Urinating or defecating in the home or in unapproved areas. • Escape attempts ... pheromone aroma wall plug-ins, specially created CDs or stress relief garments available online or at local pet store) ... (noodl....
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