Julien Rezak played 2 encores (between, Happy birthday of audience!) :- Bach's Gigue from Partita n°1 BWV 825- Rakoczy March of Liszt-Horowitz-Volodos.Live in Paris, 14/06/2007, Sorbonne Amphithéâtre Richelieu [ More Detail ]
ZUZANA RŮŽIČKOVÁ was born on 14 January 1927 in the city of Plzeň in western Bohemia. Her musical ability and predilection for Bach were apparent from an early age, and she prepared for admission to Wanda Landowska's classes at Saint-Leu-la-Forêt near Paris. The opportunity to study abroad soon became an impossibility with the German occupation of Czechoslovakia in 1938, and in January 1942 she and her family were interred at the Terezin ghetto. After the death of her father and grandparents at Terezin, she was sent to Aushwitz along with her mother. In 1944 they were both sent to Hamburg as forced laborers, and later spent the final days of the war interred at the Bergen-Belson concentration camp. Upon her recovery she was determined to resume her musical education and studied piano with Bohdan Gsölhofer in Plzeň. From 1947-51 she attended the Academy of Performing Arts in Prague where her professors included pianists Albín Šíma, František Rauch and harpsichordist Oldřich Kredba. At this time she decided to specialize in the interpretation of early music and gave her first harpsichord recital in 1951. In 1956 she won the International Music Competition in Munich and accepted a scholarship from jury member Marguerite Roesgen-Champion to continue her harpsichord studies in Paris.Her success at the Munich competition marked the beginning of an international career. Since that time she has performed regularly throughout Europe and has made repeated visits to Japan and the United States. She has performed at Bach Festivals in Leipzig, Stuttgart, Heidelberg, Ansbach, Frankfurt, Schaffhausen, Bath and Oregon. In 1962 she co-founded the Prague Chamber Soloists with conductor Václav Neumann and in 1963 she formed a very successful duo with violinist Josef Suk. Other chamber music partners have included János Starker, Pierre Fournier, Jean-Pierre Rampal, Aurèle Nicolet and Maxence Larrieu. She has also worked with noted conductors including Serge Baudo, Paul Sacher, Herbert Blomstedt, Libor Pešek, Neville Marriner and Helmut Rilling. Her recorded repertoire is vast, spanning works from the English virginalists through those by modern composers such as Martinů, Poulenc, De Falla and Martin. The music of Bach, however, has always remained central to her art, culminating in an integral edition of his solo harpsichord works published by the French label Erato in 1975. Contemporary composers have also dedicated works to her, including Jan Rychlík's Hommagi clavicembalistici (1964), and she has premiered works by Emil Hlobil, Hans-Georg Görner and Elizabeth Maconchy. For 54 years she was married to the outstanding composer Viktor Kalabis (1923-2006), and she inspired him to compose several significant works for harpsichord: Six Two-Part Canonic Inventions (1962), Aquarelles (1979), Preludio, Aria e Toccata (1992), and the magnificent Concerto for Harpsichord and Strings (1975). Her career as an educator began at the Academy of Performing Arts in 1951, but only after the fall of communism was she finally given the title professor in 1990. She also established a harpsichord class at the Music Academy in Bratislava where she was guest professor from 1978-82. For twenty-five years she gave master classes in Zürich, with other classes taking place in Stuttgart, Kraków, Budapest, Riga and Tokyo. Her many students include Jaroslav Tůma, Giedré Lukšaité-Mrázková, Anikó Horváth and Borbála Dobozy.Today she is retired from performing and teaching but is still very active in Czech musical life. [ More Detail ]
Prélude et gigue de la 2e suite en sol mineur de De Mars (compositeur baroque breton) 1735. Claude Nadeau, clavecin / harpsichord. Enregistrement concert le 10 juillet 2008 au Château Ramezay à Montréal (Québec) [ More Detail ]
Gigue dansée pour l'obtention du diplome de maitre de danse lors des assauts de la Fédération Folklorique Méditerranéenne qui se sont tenus le 8 mai 2008 à La Ciotat. Merci à Emilie pour la vidéo! [ More Detail ]
Performed in Oct 2005 at the National University of Singapore Exxonmobil Campus Concert. Quite a bit of uneven passages (my weakness!) This was my first time performing on stage ever =) [ More Detail ]
Culture Studies: Classical Music: Pachelbel(A series of well-known classical music pieces one should known about.)Pachelbel, Johann (1653-1706)Style/Period: Middle German Baroque; GermanPachelbel Canon and Gigue in D major for 3 Violins and Basso Continuo [ More Detail ]
Gilles Apap, Ajaccio 21 décembre 2000, résidence d'artiste au cours de laquelle est né l'Ensemble Instrumental de Corse dont il est le parrain.Excusez pour la mauvaise qualité du son et de l'image, c'est un vieil enregistrement en VHS [ More Detail ]
Played by Richard Chandler. J. S. Bach died nearly one hundred years before the saxophone was invented, but Bach's First Cello Suite, works very well for the baritone saxophone. It is played in its original key, thanks to the extra long bell on the baritone saxophone, which enables it to play the lowest note written in this suite, a concert C.The challenge of playing string instrument music on woodwind instruments is in finding places to take breaths. For this reason, the phrasing of these Bach dances tends to have more rhythmic variation on saxophone than would be the case when played on cello. [ More Detail ]
Jorge Sánchez Herrera plays, in 1989, this version of Bach "Gigue" Fugue in G Major BWV 577, at the Merida´s Cathedral, Ven. He plays this work at the Schmelzer-Laukuff organ(II/23-1957). [ More Detail ]
Johann Pachelbel - Canon &Gigue in D Major.Musica Antiqua Köln:Reinhard Goebel - Violin.Karlheinz Steeb - Viola.Jaap ter Linden - Violoncello.Jean Michel Forest - Violone.Andreas Staier - Harpsichord.Dir: Reinhard Goebel. [ More Detail ]
This Pachelbel's famous Canon in D and Gigue in D.Enjoy it~~ XD=========================================to yashil17:here is the offical score.http://www.icking-music-archive.org/scores/pachelbel/kanon.pdf [ More Detail ]
Mstislav Rostropovich plays the Gavotte and Gigue from Bach's Cello Suite No. 6 in D major, BWV 1012. Filmed at the Basilique Sainte Madeleine, Vézelay, Yvonne, France in 1991. On YouTube you can compare Rostropovich's romantic, older-style interpretation of Bach to the more classical original-instrument approach by Mischa Maisky.1. Prélude2. Allemande3. Courante4. Sarabande5. Gavotte I - Gavotte II - Gavotte I6. Gigueaccording to Wikipedia:t is widely believed that the sixth suite was composed specifically for a five-stringed violoncello piccolo, a smaller cello, roughly the size of a 7/8 normal cello that has a fifth upper string tuned to E, a perfect fifth above the otherwise top string. However, some say there is not substantial evidence to support this claim: whilst three of the sources inform the player that it is written for an instrument "a cinq cordes", only Anna Magdalena Bach's manuscript indicates the tunings of the strings and the other sources do not mention any intended instrument at all.Other possible instruments for the suite include a version of the violoncello piccolo played on the arm like a viola, as well as a five-stringed normal sized cello, called a viola pomposa. As the range required in this piece is very large, the suite was probably intended for a larger instrument, although it is conceivable that Bach—who was fond of the viola—may have performed the work himself on an arm-held violoncello piccolo. However, it is equally likely that beyond hinting the number of strings, Bach did not intend any specific instrument at all as the construction of instruments in the early 18th century was highly variable.Cellists wishing to play the piece on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of the notes, though modern cellists regularly perform the suite on the 4-string instrument. Performers specialising in early music and using authentic instruments generally use the 5-string cello for this suite, including Pieter Wispelwey, Anner Bylsma and Jaap ter Linden.This suite is written in much more free form than the others, containing more cadenza-like movements and virtuosic passages. It is also the only one of the suites that is partly notated in the various C clefs, which is not needed for the others since they never go above the note G4 (G above middle C.Mstislav Rostropovich called this suite "a symphony for solo cello" and characterised its D major tonality as evoking joy and triumph.Мстисла́в Леопо́льдович Ростропо́вич, Mstislav Leopol'dovič Rostropovič [ More Detail ]
I got a new old organ! Might not be the greatest, but it's a dream compared to what I had been using, even though it's an ancient toaster (Baldwin 48c) that barely works. This is what it sounds like *after* I cleaned all 128 pedal contacts! (You don't want to know what it sounded like before!) [ More Detail ]
Armageddon[Verse 1] How many times must we start again The creation of the world from beginning to end What will it take before we learn We gotta wake up now and show some concern What will the future hold How many untold stories will be told Just what will the future bring How many species of birds will have a song to sing Man 'n' man can't even get on 'N' man 'n' women's been at war for far too long Superior race, all this black and white vision Catholic, Muslim there's too many religions Too much hatred, too much greed Ignorant people pollute the air that we breathe We gotta wake up now before it's much too late Hungry people need food on their plate People bein' killed for just a few pence Can you justify that, cause it makes no sense to me You're growin' up much too fast The destruction of mankind. How long would it last. [Verse 2]Perfect - that's what I'm strivin' to be The next best thing won't do for me I do my best, you disagree Holier - than - thou, holier - than - me Commitin' crimes with no remorse As good as gold, now an evil force One word description is a dis You lick a boy down for his bag of cheese n onion crisp And you don't even stop to think Whatever happened to the dinosaurs could make us all extinct I'm bein' judged by the clothes that I wear We gotta educate those with a grudge to bear But I'm content to a certain extent You're condemned for life, it's too late to repent Inna - most beauty, such a terrible waste Caught between a rock 'n' a hard place. [Verse 3] Be judged by accordin' to what you've done Live this life, the next is a better one Eat the fruit from the tree of life 'Cause if you live by the sword... you'll die by the knife How great and wonderful are your days How right and true are your ways... No more death, grief, cryin' or pain 'Cause only the good things will remain... Heed my words 'cause what I'm sayin' is true Treat them exactly as they treated you Wipe away the tears from your eyes Be proud, lift your head up - reach for the skies. [Verse 4] Condemned for what you did to them Now see how quick they fall to worship him There's a place in my heart that makes me understand Prepared 'n' ready like a bride dressed to meet her husband Treat life like a learning process I said turn right, so you took a sharp left Wake up and we'll all sleep peacefully The sun shines but it still seems bleak to me You tell a lie and convince me it's the truth I'm well mannered but you still call me uncouth I believe that there's got to be much more I hope I'm ready when death comes knockin' on my door Maybe tonight, maybe as I sleep It can drive you mad if you think too deep But don't have a breakdown because I called you a clown You threw a punch 'n' missed, I killed you with a kiss What on earth will you be then The hour of your death amen 'N' all the prejudice that I've sustained I know it sounds funny but I just can't stand the pain. [ More Detail ]