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J. S. Bach - Bourrée from Cello Suite No. 3 in C major
J. S. Bach - Bourrée from Cello Suite No. 3 in C major
Stefan Moberg plays the bourrée from J. S. Bach's third suite for solo cello in C major, BWV 1009. Recorded live in Caroli Church, Malmö, Sweden in May 2004.Stefan Moberg - recipient of the 2008 Guido Vecchi PrizeStefan Moberg was born in Gävle, Sweden in 1979, started playing the cello when he was 16 and made his debut in Elgar's cello concerto at the age of 18. At the Malmö Academy of Music he studied with Hege Waldeland, graduating with a Master's Degree in 2006. He also studied with Melissa Phelps at the Royal College of Music in London as an ERASMUS scholar. Currently, Stefan is studying with Professor Mats Rondin at the Malmö Academy of Music, graduating with an Artist's Diploma in 2008. Recent engagements include a very well received performance of the Prokofiev Sinfonia Concertante, op. 125 in die Philharmonie in Berlin in January 2008.As a soloist and member of different chamber music groups and orchestras, Stefan has performed throughout Scandinavia, Europe, North and South America and has appeared at the "Geneva Arts Festival" in Geneva, NY, USA and the "Festival Internacional de Música Clásica Contemporánea de Lima" in Lima, Peru among others. Stefan has also recorded for the German label CPO and the Swedish label Phono Suecia, as well as live recordings of chamber music for the Swedish Radio P2. Stefan's repertoire already includes the standard concertos by Elgar, Haydn, Saint-Saëns and Dvorak as well as contemporary concertos, like the one dedicated to Stefan by the young Swedish composer Daniel Fjellström.Stefan's great interest in and love for chamber music has developed in collaborations with trumpet player Håkan Hardenberger, pianist Imogen Cooper and violinists Levon Chilingirian and Gilles Apap. Through the Danish-Swedish Cultural Foundation Stefan was invited to perform in the series "Sweden's Premiere Young Artists" during 2007. Thanks to the generous support of SAS and Ericsson, Stefan is able to perform on a J. B. Ceruti cello, made in Cremona, Italy in 1810. [ More Detail ]
by bestmeanfrog 3min45sec, Views:178, Ratings:5.00pt, Votes:5, Comments:1, Added at:08/09/01 [ DownLoad ]
Haydn cello concerto movement III (orchestra and me )
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J.Brahms/Alfred Wallenstein Symphony No.2 in D Major Part4-5
================================Johannes Brahms Symphony No.2 in D Major Op.73The Los Angeles Philharmonic Orchestra/Alfred Wallenstein================================Related information:Alfred Wallenstein Part4Comparing Wallenstein to his mentor, Toscanini, is a little like comparing City Hall to Valhalla, yet both have their place and fuction. Toscanini was untouchable in the Romantic repertory but seldom ever programmed Baroque or post-World War I music. Wallenstein may have lacked warmth in Romantic music but gave excellent accounts of Bach and Handel, and in contemporary music had few peers. Furthermore, his precision and restraint served him well in the music of Mozart and Haydn, and his self-effacing style made him the ideal concerto accompanist.In this last category, no finer example can be found than the Mozart Piano Concerto series on which Wallenstein collaborated with Artur Rubenstein in the early 1960s. Where Toscanini might have been unyielding, Wallenstein's sympathetic approach resulted in a memorable rapport. Today's ears might find the full symphonic sound a bit heavy and an occasional orchestral entrance a hairsbreadth too early or late, but the achievement was unsurpassed in its day. Rubenstein and Wallenstein had also worked together in the 1950s with recordings of concertos by Chopin, Grieg, Liszt, and Saint-Saens. At about the same time Wallenstein also collaborated with Jascha Heifetz on violin concertos by Bach and Korngold. Perhaps Wallenstein's greatest accompanying achievement, though, was with cellist Pierre Fournier in Bloch's Schelomo. This intense work, with its dramatic orchestral part, drew eloquent conducting from Wallenstein's baton and the result, according to critic Arthur Cohn, surpassed the then-reigning Leonard Rose-Eugene Ormandy version.In Los Angeles, perhaps to balance an emphasis on contemporary music, Wallenstein programmed certain standard choral-orchestral works which had not been heard in the area for years. At first he enlisted the Occidental College chorus, then, when it was founded in 1946, the Roger Wagner Chorale. The latter ensemble, in combination with the Los Angeles Philharmonic and soloists such as Marilyn Horne, Jan Peerce, and Donald Gramm, gave unforgettable performances of Beethoven's Missa Solemnis and Ninth Symphony, Handel's Messiah, and Bach's Magnificat. The few extant recordings of these concerts give evidence to Wallenstein's forceful leadershipo and steady dramatic tension on the Monteverdi Magnificat and Respighi's Laud to the Nativity. A subsequent generation's enchantment with historically-minded performance practice has yet to obscure this achievement.http://www.american-music.org/publications/bullarchive/Meckna.html================================ *Note:Support the artist, their families and their legacy by purchasing their music. [ More Detail ]
by tHEnOOSEsWING 4min54sec, Views:171, Ratings:5.00pt, Votes:3, Comments:0, Added at:08/08/14 [ DownLoad ]
J.Brahms/Alfred Wallenstein Symphony No.2 in D Major Part2-5
================================Johannes Brahms Symphony No.2 in D Major Op.73The Los Angeles Philharmonic Orchestra/Alfred Wallenstein================================Related information:Alfred Wallenstein Part2On a trip to Europe in 1927, he was deeply moved by Arturo Toscanini's conducting at La Scala, and he arranged to have an audience. Two years later Wallenstein was summoned to join the Maestro as principal cellist with the New York Philharmonic. From 1929 until Toscanini's resignation in 1936, Wallenstein not only performed with the Philharmonic, but also, at Toscanini's suggestion, took up conducting. He also began an association with radio station WOR, where in 1931, as with many other conductors, he filled in at the last minute on the podium. The Mutual Network's executives were impressed, and by 1933 the Wallenstein Sinfonietta began the first commercially sponsored classical concert series on radio.As music director at WOR from 1935 to 1945, he set high standards. According to one scholar, "Wallenstein brought more good music to more people than probably any other conductor of the decade."2 He presented all the Bach cantatas on the Sundays for which they were composed; he programmed all twenty-six of the Mozart piano conceros, dozens of little-known Haydn and Mozart symphonies, and seven Mozart operas; he mounted the first American Opera Festival. American composers particularly interested him, and he scheduled their works frequently. "We have a large percentrage of excellent raw talent here waiting to be utilized," he recalled. "We have the orchestras, the audience, the technical equipment to insure good performance, so my aim is to find a place for contemporary as well as classical music."3The amount of work which went into these WOR broadcasts and the influence which they had on an eager American listening audience can hardly be overestimated. For example, the Mozart concerto series, which he did with Nadia Reisenberg during the 1939-40 season, meant not only the preparation of a new concerto every week but also the programming and rehearsal of other appropriate works to make a coherent concert. Like Sir Adrian Boult at the BBC, Wallenstein brought concert music to millions who would otherwise have gone without. In 1942, Wallenstein received the coveted Peabody Award for "pioneering in a quiet way for good music and encouraging and originating various unique broadcasts." This was the first of Wallenstein's many honors, including commendations from the National Federation of Music Clubs, The Ditson Award, and several honorary doctorates. He was also the first American conductor to be given the French Legion of Honor.http://www.american-music.org/publications/bullarchive/Meckna.html================================ *Note:Support the artist, their families and their legacy by purchasing their music. [ More Detail ]
by tHEnOOSEsWING 4min59sec, Views:52, Ratings:5.00pt, Votes:3, Comments:1, Added at:08/08/14 [ DownLoad ]
M.Sargent/Dohnányi "Suite romantique" (for orchestra)Part3-5
================================Ernst von Dohnányi Suite for orchestra in F sharp minor ("Suite romantique"), Op.19 1. Andante con variazioni (Andante con moto) Parts1&2-52. Scherzo (Allegretto vivace) Parts3-53. Romanza (Andante poco moto) Parts4-54. Rondo (Allegro vivace) Part5-5The Royal Philharmonic Orches6tra/Malcolm Sargent================================Related information:Sir Harold Malcolm Watts Sargent (29 April 1895 -- 3 October 1967) was an English conductor, organist and composer widely regarded as Britain's leading conductor of choral works.[1] The musical ensembles with which he was associated included the Ballets Russes, the Royal Choral Society, the D'Oyly Carte Opera Company, and the London Philharmonic, Hallé, Liverpool Philharmonic, BBC Symphony and Royal Philharmonic orchestras.As chief conductor of London's internationally famous summer music festival the Proms from 1948 to 1967, Sargent was one of the best-known English conductors.[2] His fame extended beyond the concert hall: to the British public, he was a familiar broadcaster in BBC radio talk shows, and generations of Gilbert and Sullivan devotees have known his recordings of the most popular Savoy Operas. Sargent toured widely throughout the world and was noted for his skill as a conductor, his debonair appearance, and his championship of British composers.Musical reputation and repertoireToscanini, Beecham and many others regarded Sargent as the finest choral conductor in the world.[61] Even orchestral musicians gave him credit: the principal violist of the BBC Symphony Orchestra wrote of him, "He is able to instil into the singers a life and efficiency they never dreamed of. You have only to see the eyes of a choral society screwing into him like hundreds of gimlets to understand what he means to them."[62] Although orchestral players resented Sargent for much of his career after the 1936 interview,[63] instrumental soloists generally liked working with him. The cellist Pierre Fournier called him a "guardian angel" and compared him favourably with George Szell and Herbert von Karajan. Artur Schnabel, Jascha Heifetz and Yehudi Menuhin thought similarly highly of him.[64] Cyril Smith wrote in his autobiography, "...he seems to sense what the pianist wants of the music even before he begins to play it.... He has an incredible speed of mind, and it has always been a great joy, as well as a rare professional experience, to work with him."[65] For this reason, among others, Sargent was continually in demand as a conductor for concertos.[66]The Times obituary said Sargent, "was of all British conductors in his day the most widely esteemed by the lay public... a fluent, attractive pianist, a brilliant score-reader, a skilful and effective arranger and orchestrator... as a conductor his stick technique was regarded by many as the most accomplished and reliable in the world.... [H]is taste... was moulded by the Victorian cathedral tradition into which he was born." It commented that, in his later years, his interpretations of the standard classical and romantic repertoire were "prepared... down to the last detail" but sometimes "unexuberant", though his performances of "the music composed within his lifetime... remained lucid and continually compelling."[35] The flute player Gerald Jackson wrote, "I feel that [Walton] conducts his own music as well as anyone else, with the possible exception of Sargent, who of course introduced and always makes a big thing of Belshazzar's Feast."[65]The composers whose works Sargent regularly conducted included, from the eighteenth century, J. S. Bach, Handel, Gluck, Mozart and Haydn; and from the nineteenth century, Beethoven, Berlioz, Schubert, Schumann, Mendelssohn, Brahms, Wagner, Tchaikovsky, Smetana, Sullivan and Dvořák. From the twentieth century, British composers in his repertoire included Bliss, Britten, Delius, Elgar (a favourite, especially Elgar's oratorios The Dream of Gerontius, The Apostles and The Kingdom and symphonies),[65] Holst, Tippett, Vaughan Williams and Walton. With the exception of the Berg Violin Concerto, Sargent avoided the works of the Second Viennese School but programmed works by Bartók, Dohnányi, Hindemith, Honneger, Kodály, Martinů, Poulenc, Prokofiev, Rachmaninoff, Shostakovich, Sibelius, Richard Strauss, Stravinsky and Szymanowski.[67]http://en.wikipedia.org/wiki/Malcolm_Sargent================================ *Note:Support the artist, their families and their legacy by purchasing their music. [ More Detail ]
by tHEnOOSEsWING 4min30sec, Views:428, Ratings:5.00pt, Votes:2, Comments:0, Added at:08/08/04 [ DownLoad ]
Haydn Symphony No. 45, "Farewell": Closing Adagio
This is a piano transcription of a portion of the closing Adagio from Haydn's "Farewell" Symphony in F sharp minor, no. 45. The Farewell Symphony is unique in that musicians walk one-at-a-time off the stage, eventually leaving only two first violinists on the stage performing a duet. I began the transcription somewhere around letter S in the score, when there is only the equivalent of a string quartet left on the stage.I am a cellist in the Willowbrook High School (Villa Park, IL) orchestra, under the direction of veteran conductor Bruce Hanson. On March 18, 2008, our orchestra performed the Farewell Symphony; it was that performance that inspired me to transcribe part of Haydn's masterpiece for piano.I memorized and transcribed this piece soly by listening many a time to various recordings, mainly those done by Sir Charles Mackerras (Orchestra of St. Luke's), Barry Wordsworth (Capella Istropolitana), and Lazar Gosman (Leningrad Chamber Orchestra). [ More Detail ]
Haydn - Symphony No. 6 "Le Matin" - Mov. 3-4/4
FRANZ JOSEPH HAYDN (1732-1809)Symphony No. 6 for flute, two oboes, bassoon, 2 horns, violin concertante, cello concertante, strings, and double bass in D major "Le Matin" (The Morning) Hob 1:63. Menuetto avec Trio4. Finale: AllegroPerformed by the Freiburger Barockorchester*Haydn wrote this, his first symphonic work for his new employer Prince Nikolaus Eszterházy, in the spring of 1761, shortly after joining the court. The Eszterházys maintained in permanent residence an excellent chamber orchestra and with his first contribution for it in the symphonic genre, Haydn fully exploited the talents of the players. In this, Haydn was consciously drawing on the familiar tradition of the concerto grosso, exemplified by the works of Antonio Vivaldi, Giuseppe Tartini, and Tomaso Albinoni then much in vogue at courts across Europe. Nikolaus Eszterházy had a fondness for programme music of this kind. Amongst the scores owned by the court musical establishment were Vivaldi's "Four Seasons"; and in 1748 the prince's Kapellmeister Gregor Joseph Werner had composed a "Musikalischer Instrumental-Kalender' on all twelve months. [ More Detail ]
by HARMONICO101 8min56sec, Views:1079, Ratings:5.00pt, Votes:7, Comments:1, Added at:08/07/14 [ DownLoad ]
Haydn - Symphony No. 6 "Le Matin" - Mov. 2/4
FRANZ JOSEPH HAYDN (1732-1809)Symphony No. 6 for flute, two oboes, bassoon, 2 horns, violin concertante, cello concertante, strings, and double bass in D major "Le Matin" (The Morning) Hob 1:62. Adagio - Andante - AdagioPerformed by the Freiburger Barockorchester*Haydn wrote this, his first symphonic work for his new employer Prince Nikolaus Eszterházy, in the spring of 1761, shortly after joining the court. The Eszterházys maintained in permanent residence an excellent chamber orchestra and with his first contribution for it in the symphonic genre, Haydn fully exploited the talents of the players. In this, Haydn was consciously drawing on the familiar tradition of the concerto grosso, exemplified by the works of Antonio Vivaldi, Giuseppe Tartini, and Tomaso Albinoni then much in vogue at courts across Europe. Nikolaus Eszterházy had a fondness for programme music of this kind. Amongst the scores owned by the court musical establishment were Vivaldi's "Four Seasons"; and in 1748 the prince's Kapellmeister Gregor Joseph Werner had composed a "Musikalischer Instrumental-Kalender' on all twelve months. [ More Detail ]
by HARMONICO101 8min38sec, Views:422, Ratings:4.80pt, Votes:4, Comments:0, Added at:08/07/14 [ DownLoad ]
Haydn - Symphony No. 6 "Le Matin" - Mov. 1/4
FRANZ JOSEPH HAYDN (1732-1809)Symphony No. 6 for flute, two oboes, bassoon, 2 horns, violin concertante, cello concertante, strings, and double bass in D major "Le Matin" (The Morning) Hob 1:61. Adagio - AllegroPerformed by the Freiburger Barockorchester*Haydn wrote this, his first symphonic work for his new employer Prince Nikolaus Eszterházy, in the spring of 1761, shortly after joining the court. The Eszterházys maintained in permanent residence an excellent chamber orchestra and with his first contribution for it in the symphonic genre, Haydn fully exploited the talents of the players. In this, Haydn was consciously drawing on the familiar tradition of the concerto grosso, exemplified by the works of Antonio Vivaldi, Giuseppe Tartini, and Tomaso Albinoni then much in vogue at courts across Europe. Nikolaus Eszterházy had a fondness for programme music of this kind. Amongst the scores owned by the court musical establishment were Vivaldi's "Four Seasons"; and in 1748 the prince's Kapellmeister Gregor Joseph Werner had composed a "Musikalischer Instrumental-Kalender' on all twelve months. [ More Detail ]
by HARMONICO101 6min10sec, Views:1044, Ratings:5.00pt, Votes:6, Comments:1, Added at:08/07/14 [ DownLoad ]
J Haydn-Divertimento For Cello in D Major: Allegro di molto
I Musici de Montreal - Yuli Turovsky - Franz Joseph Haydn - Divertimento For Cello &String Orchestra In D Major: III. Allegro di molto - http://www.imusici.com [ More Detail ]
by IMusicideMontreal 2min54sec, Views:827, Ratings:4.90pt, Votes:12, Comments:7, Added at:08/06/27 [ DownLoad ]
cello : Wagenseil C-major cello concerto : 3 movement
This preformance was organised by me and my friend Marcell Dénes, :) on 2008.06.09we decided, to organise a preformance. My teacher found the Wagenseil concertos, orchestra partiture, and we organased an orchestra from my clasmates, and friends.and Voila :) ( it is my first solo playing with orchestra ) [ More Detail ]
cello : Wagenseil C major cello concerto : first movement 1
This preformance was organised by me and my friend Marcell Dénes, :) on 2008.06.09we decided, to organise a preformance. My teacher found the Wagenseil concertos, orchestra partiture, and we organased an orchestra from my clasmates, and friends.and Voila :) ( it is my first solo playing with orchestra ) [ More Detail ]
cello : J.S.Bach C-major cello suite : Sarabamnde
This preformance was organised by me and my friend Marcell Dénes, :) on 2008.06.09we decided, to organise a preformance. My teacher found the Wagenseil concertos, orchestra partiture, and we organased an orchestra from my clasmates, and friends.and Voila :) ( it is my first solo playing with orchestra ) J.S.Bach C-major cello suite : Sarabamnde played by me after the Wagenseil cell o concerto ( Áron Petrus Bölöni ) [ More Detail ]
Cello preformance :Wagenseil Cmajor cello concerto:2movement
This preformance was organised by me and my friend Marcell Dénes, :) on 2008.06.09we decided, to organise a preformance. My teacher found the Wagenseil concertos, orchestra partiture, and we organased an orchestra from my clasmates, and friends.and Voila :) ( it is my first solo playing with orchestra ) [ More Detail ]
Haydn Cello Concerto in C, Mvt 1
Cello Soloist: Billy RussellConductor: Mr. OOrchestra: Towson High School Orchestra [ More Detail ]
by firebird72714 10min6sec, Views:203, Ratings:3.00pt, Votes:2, Comments:4, Added at:08/06/13 [ DownLoad ]
Haydn: Cello Concerto in D Major: III: Rondo
Performance of the last movement of Haydn's Cello Concerto in D Major. June 2008. I am the cellist in this video. Even though I usually embrace constructive criticism, I have already extensively analysed my errors in this recording and would therefore appreciate it if you could refrain from negative comments this time around. Thanks, and enjoy!But first, for anyone who is interested, here is some background information on the piece:Some fun background info: For some time, music historians were unsure whether or not Haydn actually wrote this concerto; some scholars believed that the composer of the piece was Anton Kraft, Haydn's friend and the world's first cello virtuoso. It was later verified that the piece was, in fact, composed by Haydn, who intended for it to be performed by Kraft, accompanied by an orchestra of only about fourteen people. The concerto, however, was deemed too difficult to be played and as a result, it was not performed until about 180 years after its composition. It is still regarded as the most difficult cello concerto in the repertoire. Haydn himself was known for having a good sense of humour and I find that this movement in particular really exemplifies this. I find it profoundly ironic that one of the only light-hearted concertos written for the instrument is also the most challenging. The contrast between the blithe "maggiore" section and the melodramatic "minore" section borders on comical. The recurring section of the rondo comes back in one of the variations written upside-down. And the jocosity of the recurring theme bears an optimistic message of happiness prevailing. [ More Detail ]
by Hidinginastorm 7min21sec, Views:995, Ratings:4.30pt, Votes:6, Comments:8, Added at:08/06/12 [ DownLoad ]
Haydn - Cello Concerto in C Major Hob.VIIb:1 (1)
FRANZ JOSEPH HAYDN (1732-1809)Concerto for cello and orchestra in C major Hob. VIIb:11. Moderato [part 1]*Because this movement is over 10 minutes long, I have split the track in half so that this post will fit under Youtube's time limit.Part 2 of first movement:http://ca.youtube.com/watch?v=BMKaQ-WFmVEPerformed by the Freiburger BarockorchesterFeaturing Jean-Guihen Queyras, celloConducted by Petra Mullejans [ More Detail ]
by HARMONICO101 5min53sec, Views:932, Ratings:5.00pt, Votes:3, Comments:0, Added at:08/06/07 [ DownLoad ]
Boccherini - Cello Concerto in D Major G483 - Mov. 1/3
LUIGI BOCCHERINI (1743-1805)Concerto for cello and orchestra in D major G4831. Allegro maestosoPerformed by PulcinellaFeaturing Ophelie Gaillard, cello [ More Detail ]
by HARMONICO101 7min53sec, Views:1327, Ratings:4.90pt, Votes:9, Comments:2, Added at:08/05/26 [ DownLoad ]
AHS Spring Concert '07-'08 - Noah Littlejohn
Cellist Noah Littlejohn and the AHS Symphony Orchestra perform Haydn's Cello Concerto No. 2 in D Major - iii. Rondo. [ More Detail ]
by ahsorchestra 7min40sec, Views:192, Ratings:4.00pt, Votes:3, Comments:2, Added at:08/05/18 [ DownLoad ]
Haydn, Cello Concerto D major (1of2)Rudolf Kirs(live)
Rudolf Kirs(1915-1963)Czech violoncellist.He was the concert master of the Symphony orchestra of Czech Radio in Prague. [ More Detail ]
Haydn ,Cello Concerto D major (2) Rudolf Kirs (live)
Rudolf Kirs (1915-1963) Czech violoncellist. He was the concert master of the Symphony orchestra of Czech radio in Prague. [ More Detail ]
Andre Schwiede op.16-2 Allegretto
Andre Schwiede op.16-2 Allegretto.Orchestra: Flute, Corni, Violin1, Violin2, Viola, Cello, Bassi, [ More Detail ]
by conbrio1983 6min20sec, Views:166, Ratings:5.00pt, Votes:2, Comments:2, Added at:08/03/24 [ DownLoad ]