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Free fallin (John Mayer cover)
Free fallin (John Mayer cover)
Live @ L'Estro ArmonicoAnother take of this great song :) [ More Detail ]
3. Bach: Concerto for four harpsichords (BWV 1065)
Stereo: http://br.youtube.com/watch?v=_L5pL2ANig0&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords in A minor (BWV 1065).Concerto in A minor, BWV 1065:3rd mov: Allegro.The Amsterdam Baroque Orquestra.Dir: Ton Koopman.Ps: I didn't upload, by mistake, the second mov. of my first video of this concert. Sorry for that.Scoring: harpsichord I/II/III/IV solo, violin I/II, viola, continuo (cello, violone)Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently-articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusColoneus 3min29sec, Views:1665, Ratings:5.00pt, Votes:17, Comments:12, Added at:08/09/01 [ DownLoad ]
2. Bach: Concerto for four harpsichords (BWV 1065)
Stereo: http://br.youtube.com/watch?v=LaTxXEop2Ks&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords in A minor (BWV 1065).Concerto in A minor, BWV 1065:2nd mov: Largo.The Amsterdam Baroque Orquestra.Dir: Ton Koopman.Ps: I didn't upload, by mistake, the second mov. of my first video of this concert. Sorry for that.Scoring: harpsichord I/II/III/IV solo, violin I/II, viola, continuo (cello, violone)Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently-articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusColoneus 2min2sec, Views:1046, Ratings:5.00pt, Votes:11, Comments:1, Added at:08/09/01 [ DownLoad ]
1. Bach: Concerto for four harpsichords (BWV 1065)
Stereo: http://br.youtube.com/watch?v=aVBjGLY42hc&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords in A minor (BWV 1065).Concerto in A minor, BWV 1065:1st mov: Allegro.The Amsterdam Baroque Orquestra.Dir: Ton Koopman.Ps: I didn't upload, by mistake, the second mov. of my first video of this concert. Sorry for that.Scoring: harpsichord I/II/III/IV solo, violin I/II, viola, continuo (cello, violone)Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently-articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusColoneus 4min4sec, Views:2851, Ratings:4.80pt, Votes:24, Comments:3, Added at:08/09/01 [ DownLoad ]
4. Suite for orchestra No 3 in D major, BWV 1068
Stereo: http://br.youtube.com/watch?v=wQ2MzFTmg0U&fmt=18Johann Sebastian Bach (1685 - 1750).Suite for orchestra No 3 in D major, BWV 1068:III: Gavotte I and II.Ensemble: Il Giardino Armonico.Enrico Onofri (Solo Violin).Paolo Grazzi (First Oboe).Marcio Cera (Second Obor).Director: Giovanni Antonini.Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century. The genre was a collection of excerpts from French ballets and operas, and the arrangement of the form was an overture (the beginning of a stage work) followed by a collection of dances. Garden parties, trade fairs, and every other sort of celebration were good spots for these pieces. Bach wrote only four of these works; it was not the sort of thing he did naturally. However, the local groups of players in Leipzig, called Collegium Musicum, required music; he had been appointed its director in 1729, on top of his normal duties at the Thomas School. His political position in Leipzig was usually tenuous because he was frequently petitioning the city council for a better wage, better teaching and conducting conditions, and more money for music in general. For this he probably needed to commit to acts of good faith, and music such this Orchestral Suite in D major would have been exactly what the city council and citizens enjoyed. This work was most likely revived from a similar piece he wrote around 1720 in Cöthen. Its Leipzig premiere probably took place "at the Zimmermann Coffee House in the Cather-Strasse from 8 to 10 on Friday." This unearthed advertisement for the concert features the D major Orchestral Suite. For someone who stood back from the world of light, entertainment music, Bach was good at writing it. This suite uses a rich blend of timbre, featuring oboes, trumpets, timpani, strings, and continuo. Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites. [ More Detail ]
by OedipusTyrannus 3min59sec, Views:387, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/27 [ DownLoad ]
3. Suite for orchestra No 3 in D major, BWV 1068
Stereo: http://br.youtube.com/watch?v=k_HSsNEMeB8&fmt=18Johann Sebastian Bach (1685 - 1750).Suite for orchestra No 3 in D major, BWV 1068:III: Gavotte I and II.Ensemble: Il Giardino Armonico.Enrico Onofri: Solo Violin.Paolo Grazzi: First Oboe.Marcio Cera: Second Oboe.Director: Giovanni Antonini.Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century. The genre was a collection of excerpts from French ballets and operas, and the arrangement of the form was an overture (the beginning of a stage work) followed by a collection of dances. Garden parties, trade fairs, and every other sort of celebration were good spots for these pieces. Bach wrote only four of these works; it was not the sort of thing he did naturally. However, the local groups of players in Leipzig, called Collegium Musicum, required music; he had been appointed its director in 1729, on top of his normal duties at the Thomas School. His political position in Leipzig was usually tenuous because he was frequently petitioning the city council for a better wage, better teaching and conducting conditions, and more money for music in general. For this he probably needed to commit to acts of good faith, and music such this Orchestral Suite in D major would have been exactly what the city council and citizens enjoyed. This work was most likely revived from a similar piece he wrote around 1720 in Cöthen. Its Leipzig premiere probably took place "at the Zimmermann Coffee House in the Cather-Strasse from 8 to 10 on Friday." This unearthed advertisement for the concert features the D major Orchestral Suite. For someone who stood back from the world of light, entertainment music, Bach was good at writing it. This suite uses a rich blend of timbre, featuring oboes, trumpets, timpani, strings, and continuo. Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites. [ More Detail ]
by OedipusTyrannus 3min48sec, Views:412, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/27 [ DownLoad ]
2. Suite for orchestra No 3 in D major, BWV 1068
Stereo: http://br.youtube.com/watch?v=iiLnWggd0sg&fmt=18Johann Sebastian Bach (1685 - 1750).Suite for orchestra No 3 in D major, BWV 1068:II: Air.Ensemble: Il Giardino Armonico.Enrico Onofri: Solo Violin.Paolo Grazzi: First Oboe.Marcio Cera: Second Oboe.Director: Giovanni Antonini.Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century. The genre was a collection of excerpts from French ballets and operas, and the arrangement of the form was an overture (the beginning of a stage work) followed by a collection of dances. Garden parties, trade fairs, and every other sort of celebration were good spots for these pieces. Bach wrote only four of these works; it was not the sort of thing he did naturally. However, the local groups of players in Leipzig, called Collegium Musicum, required music; he had been appointed its director in 1729, on top of his normal duties at the Thomas School. His political position in Leipzig was usually tenuous because he was frequently petitioning the city council for a better wage, better teaching and conducting conditions, and more money for music in general. For this he probably needed to commit to acts of good faith, and music such this Orchestral Suite in D major would have been exactly what the city council and citizens enjoyed. This work was most likely revived from a similar piece he wrote around 1720 in Cöthen. Its Leipzig premiere probably took place "at the Zimmermann Coffee House in the Cather-Strasse from 8 to 10 on Friday." This unearthed advertisement for the concert features the D major Orchestral Suite. For someone who stood back from the world of light, entertainment music, Bach was good at writing it. This suite uses a rich blend of timbre, featuring oboes, trumpets, timpani, strings, and continuo. Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites. [ More Detail ]
by OedipusTyrannus 4min52sec, Views:598, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/27 [ DownLoad ]
1. Suite for orchestra No 3 in D major, BWV 1068
Stereo: http://br.youtube.com/watch?v=0FsL-2Cw498&fmt=18Johann Sebastian Bach (1685 - 1750).Suite for orchestra No 3 in D major, BWV 1068:I. Overture.Ensemble: Il Giardino Armonico.Enrico Onofri: Solo Violin.Paolo Grazzi: First Oboe.Marcio Cera: Second Oboe.Director: Giovanni Antonini.Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century. The genre was a collection of excerpts from French ballets and operas, and the arrangement of the form was an overture (the beginning of a stage work) followed by a collection of dances. Garden parties, trade fairs, and every other sort of celebration were good spots for these pieces. Bach wrote only four of these works; it was not the sort of thing he did naturally. However, the local groups of players in Leipzig, called Collegium Musicum, required music; he had been appointed its director in 1729, on top of his normal duties at the Thomas School. His political position in Leipzig was usually tenuous because he was frequently petitioning the city council for a better wage, better teaching and conducting conditions, and more money for music in general. For this he probably needed to commit to acts of good faith, and music such this Orchestral Suite in D major would have been exactly what the city council and citizens enjoyed. This work was most likely revived from a similar piece he wrote around 1720 in Cöthen. Its Leipzig premiere probably took place "at the Zimmermann Coffee House in the Cather-Strasse from 8 to 10 on Friday." This unearthed advertisement for the concert features the D major Orchestral Suite. For someone who stood back from the world of light, entertainment music, Bach was good at writing it. This suite uses a rich blend of timbre, featuring oboes, trumpets, timpani, strings, and continuo. Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites. [ More Detail ]
by OedipusTyrannus 6min45sec, Views:1054, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/27 [ DownLoad ]
Marcello: Heavens Declare
Edith Hanselman, organist and music director of Strathroy United Church, performs Benedetto Marcello's "Heaven's Declare" as the postlude to conclude the Agsust 17, 2008 Sunday service.Benedetto Marcello (July 31 or August 1, 1686 -- July 24, 1739) was an Italian composer, writer, advocate, magistrate, and teacher.Born in Venice, Benedetto Marcello was a member of a noble family and his compositions are frequently referred to as Patrizio Veneto. Although he was a music student of Lotti and Francesco Gasparini, his father wanted Benedetto to devote himself to law.Indeed, Benedetto combined a life in law and public service with one in music. In 1711 he was appointed member of the Council of Forty (in Venice's central government), and in 1730 he went to Pola as Provveditore (district governor).Due to his health having been "impaired by the climate" of Istria, Marcello retired after eight years to Brescia in the capacity of Camerlengo and there he died.Benedetto Marcello was the brother of Alessandro Marcello (1669 -1747), also a composer of some note.The composer Joachim Raff wrote an opera entitled Benedetto Marcello, based loosely on the life of Marcello.Benedetto Marcello composed a diversity of music including considerable church music, oratorios, hundreds of solo cantatas, duets, sonatas, concertos and sinfonias. Marcello was a younger contemporary of Antonio Vivaldi in Venice and his instrumental music enjoys a Vivaldian flavor.As a composer, Marcello was best known in his lifetime and is now still best remembered for his Estro poetico-armonico (Venice, 1724-1727), a musical setting for voices, figured bass (a continuo notation), and occasional soloist instruments of the first fifty Psalms, as paraphrased in Italian by his friend G. Giustiniani. They were much admired by Charles Avison, who with John Garth brought out an edition with English words (London, 1757).The library of the Brussels Conservatoire possesses some interesting volumes of chamber-cantatas composed by Marcello for his mistress. Although Benedetto Marcello wrote an opera called La Fede riconosciuta and produced it in Vicenza in 1702, he had little sympathy with this form of composition, as evidenced in his writings (see below).Benedetto Marcello's music is "characterized by imagination and a fine technique and includes both counterpoint and progressive, galant features" (Grove, 1994). [ More Detail ]
by rocketsforever 2min19sec, Views:371, Ratings:5.00pt, Votes:1, Comments:0, Added at:08/08/18 [ DownLoad ]
3. Brandenburg Concerto No. 2 in F major (BWV 1047)
Stereo: http://br.youtube.com/watch?v=LVY7nn87zSs&fmt=18Johann Sebastian Bach (1685 - 1750).3rd mov: Allegro assai.Brandenburg Concerto No. 2 in F major (BWV 1047).1st mov: Allegro.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 2do à 1 Tromba, 1 Fiauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.Concertino: trumpet in F, recorder, oboe, violin.Ripieno: two violins, viola, violone, and basso continuo (including harpsichord).This piece was almost certainly written with the court trumpeter in Cöthen, Johann Ludwig Schreiber, in mind. The trumpet part is still considered one of the most difficult in the entire repertoire, played on either the natural or the modern valved trumpet.The trumpet does not play in the second movement, as is common practice in baroque era concerti due to the construction of the instrument, which allows the trumpet to play only in one key. Because concerti often move to a different key in the second movement, the trumpet is unable to play. [ More Detail ]
by OedipusTyrannus 2min41sec, Views:377, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/15 [ DownLoad ]
2. Brandenburg Concerto No. 2 in F major (BWV 1047)
Stereo: http://br.youtube.com/watch?v=v95qyEh7ap0&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 2 in F major (BWV 1047).1st mov: Allegro.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 2do à 1 Tromba, 1 Fiauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.Concertino: trumpet in F, recorder, oboe, violin.Ripieno: two violins, viola, violone, and basso continuo (including harpsichord).This piece was almost certainly written with the court trumpeter in Cöthen, Johann Ludwig Schreiber, in mind. The trumpet part is still considered one of the most difficult in the entire repertoire, played on either the natural or the modern valved trumpet.The trumpet does not play in the second movement, as is common practice in baroque era concerti due to the construction of the instrument, which allows the trumpet to play only in one key. Because concerti often move to a different key in the second movement, the trumpet is unable to play. [ More Detail ]
by OedipusTyrannus 3min43sec, Views:224, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/15 [ DownLoad ]
1. Brandenburg Concerto No. 2 in F major (BWV 1047)
Stereo: http://br.youtube.com/watch?v=hRRWnYi_MQo&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 2 in F major (BWV 1047).1st mov: Without tempo indication.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 2do à 1 Tromba, 1 Fiauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.Ripieno: two violins, viola, violone, and basso continuo (including harpsichord).This piece was almost certainly written with the court trumpeter in Cöthen, Johann Ludwig Schreiber, in mind. The trumpet part is still considered one of the most difficult in the entire repertoire, played on either the natural or the modern valved trumpet.The trumpet does not play in the second movement, as is common practice in baroque era concerti due to the construction of the instrument, which allows the trumpet to play only in one key. Because concerti often move to a different key in the second movement, the trumpet is unable to play. [ More Detail ]
by OedipusTyrannus 4min40sec, Views:635, Ratings:4.70pt, Votes:3, Comments:1, Added at:08/08/15 [ DownLoad ]
3. Concerto for four harpsichords in A minor (BWV 1065)
Stereo: http://br.youtube.com/watch?v=IpTnFgLj9Ew&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords and orquestra in A minor (BWV 1065).3rd mov: Allegro.The Amsterdam Baroque Orquestra.Ton Koopman: Harpsichord.Tini Mathot: Harpsichord.Elina Mustonen: Harpsichord.Patrizia Marisaldi: Harpsichord.Director: Ton Koopman.Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusTyrannus 3min34sec, Views:176, Ratings:5.00pt, Votes:2, Comments:0, Added at:08/08/12 [ DownLoad ]
2. Concerto for four harpsichords in A minor (BWV 1065)
Stereo: http://br.youtube.com/watch?v=25FHB782tCY&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords and orquestra in A minor (BWV 1065).2nd mov: Largo.The Amsterdam Baroque Orquestra.Ton Koopman: Harpsichord.Tini Mathot: Harpsichord.Elina Mustonen: Harpsichord.Patrizia Marisaldi: Harpsichord.Director: Ton Koopman.Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusTyrannus 2min5sec, Views:101, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/12 [ DownLoad ]
1. Concerto for four harpsichords in A minor (BWV 1065)
Stereo: http://br.youtube.com/watch?v=bQOuAa2qs3w&fmt=18Johann Sebastian Bach (1685 - 1750).Concerto for four harpsichords and orquestra in A minor (BWV 1065).1st mov: Allegro.The Amsterdam Baroque Orquestra.Ton Koopman: Harpsichord.Tini Mathot: Harpsichord.Elina Mustonen: Harpsichord.Patrizia Marisaldi: Harpsichord.Director: Ton Koopman.Bach made a number of transcriptions from Antonio Vivaldi's concertos, especially from his op.3 set, entitled l'estro Armonico; he adapted them for solo harpsichord and solo organ, and for the concerto for 4 violins in B minor, op.3 no.10, RV 580, he decided upon the unique solution of using four harpsichords and orchestra. This is thus the only harpsichord concerto by Bach which was not an adaptation of his own material. The middle movement has the four harpsichords playing differently articulated arpeggios in a very unusual tonal blend, while Bach provided some additional virtuosity and tension in the other movements. [ More Detail ]
by OedipusTyrannus 4min6sec, Views:260, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/12 [ DownLoad ]
4. Brandenburg Concerto No. 1 in F major (BWV 1046)
Stereo: http://br.youtube.com/watch?v=JZDiYUd3msg&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 1 in F major (BWV 1046).3rd. mov: Menuetto / Trio I / Polacca / Trio II.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207. [ More Detail ]
by OedipusTyrannus 7min0sec, Views:558, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/11 [ DownLoad ]
3. Brandenburg Concerto No. 1 in F major (BWV 1046)
Stereo: http://br.youtube.com/watch?v=XamOELxSMFw&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 1 in F major (BWV 1046).3rd. mov: Allegro.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207. [ More Detail ]
by OedipusTyrannus 3min57sec, Views:358, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/11 [ DownLoad ]
2. Brandenburg Concerto No. 1 in F major (BWV 1046)
Stereo: http://br.youtube.com/watch?v=cj5FG0_pOeg&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 1 in F major (BWV 1046).2nd. mov: Adagio.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207. [ More Detail ]
by OedipusTyrannus 3min38sec, Views:256, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/11 [ DownLoad ]
1. Brandenburg Concerto No. 1 in F major (BWV 1046)
Stereo: http://br.youtube.com/watch?v=K6XpsuuXVqE&fmt=18Johann Sebastian Bach (1685 - 1750).Brandenburg Concerto No. 1 in F major (BWV 1046).1st. mov: Allegro.Il Giardino Armonico.Director: Giovanni Antonini.Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207. [ More Detail ]
by OedipusTyrannus 3min50sec, Views:707, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/08/11 [ DownLoad ]
Johann Joseph Fux - Serenada en Ut Majeur
Johann Joseph Fux - Serenada en Ut Majeur.1. Marche.Armonico Tributo Austria.Dir. Lorenz Duftschmid. [ More Detail ]
by OedipusColoneus 2min5sec, Views:315, Ratings:4.60pt, Votes:9, Comments:4, Added at:08/07/15 [ DownLoad ]
Johann Joseph Fux - Turcaria
Johann Joseph Fux - Turcaria.1. Aufzung - Janitchara.Armonico Tributo Austria.Dir. Lorenz Duftschmid. [ More Detail ]
by OedipusColoneus 3min7sec, Views:286, Ratings:5.00pt, Votes:5, Comments:2, Added at:08/07/15 [ DownLoad ]
Johann Joseph Fux - Turcaria
Johann Joseph Fux - Turcaria.1. Parade: Marche des Eurieurs.Armonico Tributo Austria.Dir. Lorenz Duftschmid. [ More Detail ]
by OedipusColoneus 1min20sec, Views:180, Ratings:5.00pt, Votes:4, Comments:1, Added at:08/07/15 [ DownLoad ]
3. C.P.E. Bach: Symphony in G major / Il Giardino Armonico
Stereo: http://br.youtube.com/watch?v=Zi4A47vcZfE&fmt=18Carl Philipp Emanuel Bach (1714 - 1788).Symphony in G major:3rd mov: Presto.Il Giardino Armonico.Dir: Giovanni Antonini.Carl Philipp Emanuel Bach was a German musician and composer, the second of five sons of Johann Sebastian Bach and Maria Barbara Bach. He was one of the founders of the Classical style, composing in the Rococo and Classical periods. [ More Detail ]
by OedipusColoneus 2min58sec, Views:5064, Ratings:5.00pt, Votes:15, Comments:11, Added at:08/04/21 [ DownLoad ]
2. C.P.E. Bach: Symphony in G major / Il Giardino Armonico
Stereo: http://br.youtube.com/watch?v=jitn_J21CPU&fmt=18Carl Philipp Emanuel Bach (1714 - 1788).Symphony in G major:2nd mov: Poco adagio.Il Giardino Armonico.Dir: Giovanni Antonini.Carl Philipp Emanuel Bach was a German musician and composer, the second of five sons of Johann Sebastian Bach and Maria Barbara Bach. He was one of the founders of the Classical style, composing in the Rococo and Classical periods. [ More Detail ]
by OedipusColoneus 4min17sec, Views:1631, Ratings:5.00pt, Votes:5, Comments:1, Added at:08/04/21 [ DownLoad ]
1. C.P.E. Bach: Symphony in G major / Il Giardino Armonico
Stereo: http://br.youtube.com/watch?v=A9euNPCU-9s&fmt=18Carl Philipp Emanuel Bach (1714 - 1788).Symphony in G major:1st mov: Allegro di molto.Il Giardino Armonico.Dir: Giovanni Antonini.Carl Philipp Emanuel Bach was a German musician and composer, the second of five sons of Johann Sebastian Bach and Maria Barbara Bach. He was one of the founders of the Classical style, composing in the Rococo and Classical periods. [ More Detail ]
by OedipusColoneus 3min56sec, Views:3689, Ratings:5.00pt, Votes:11, Comments:7, Added at:08/04/21 [ DownLoad ]
Zimerman - Beethoven, Piano Concerto No. 5 - III Rondo (1/2)
Director : Leonard Bernstein.Pianist : Krystian Zimerman.Orchestra : Wiener Philharmoniker.Scritto da Ludwig van Beethoven tra il 1809 e il 1810 è detto "L'Imperatore", nome assegnatoli in via del tutto posticcia e non inerente a Napoleone Bonaparte cui si riferisce invece la Terza Sinfonia del 1804 detta "Eroica". Il concerto fu dedicato come il precedente dell'op.58 all'arciduca Rodolfo d'Asburgo-Lorena. La prima di questo concerto non fu eseguita a Vienna ma a Lipsia , l'anno successivo a quello della sua stesura definitiva, il 28 novembre 1811, dal pianista Johan Shneider e sotto la direzione del maestro Johann Philip Cristian Schulz. A Vienna fu eseguito l'anno dopo con un pubblico che dimostrò una certa freddezza nei confronti del capolavoro beethoveniano, anche in considerazione della durata dell'esecuzione(circa 45').Il concerto è in mi bemolle maggiore ed è suddiviso in 3 movimenti:* Allegro* Adagio un poco moto* Rondo allegro ma non troppoL'allegro apre con una cadenza che presenta carattere virtuosistico a cui segue l'esposizione dei temi da parte di un Tutti orchestrale. Il primo è pomposo e gioioso e si scontra col secondo tema interiore ed essenziale nella scrittura che viene esposto dall'orchestra prima nella tonalità minore rispetto al primo tema e poi dal pianoforte in si minore e nella ripresa in do diesis minore. Il percorso armonico in questo primo tempo risulta piuttosto articolato così da sottolineare la sempre più frequente ricerca da parte di Beethoven di un allargamento delle forme che fin dalla giovinezza era sovente modificare (come dimostrano alcune sonate giovanili e tutte quelle che fanno parte del terzo periodo compositivo di Beethoven).L'adagio un poco moto presenta un tema dalla cantabilità estrema unita alla dolcezza sublime tipica dei suoi secondi movimenti. Ricco di trilli che utilizzava per rendere l'effetto del prolungamento altrimenti scadente soprattutto nei pianoforti dell'epoca poveri di sonorità. Anche in questo frangente il pianoforte non è semplice solista ma fuso in un tutt'uno con l'orchestra che prima accompagna il tema eseguito dal pianoforte e poi lo espone accompagnato nel registro acuto dello strumento a tasto (questo movimento sarà utilizzato da Peter Weir per accompagnare l'atmosfera misterica del suo Picnic a Hanging Rock).Con una modulazione improvvisa tramite una discesa cromatica (si-si bemolle ovvero dominante di mi bemolle) avviene il collegamento col Rondo che presenta subito un'emiolia nel tema che lo rende saltellante e gioioso. La zona centrale diventa una continua proposizione del tema da parte del pianoforte, con accenti particolarmente delicati, a cui segue sempre la risposta imperiosa dell'orchestra. Dopo una sorta di ripresa il dialogo tra pianoforte e orchestra diventa più stretto fino all'arrivo della cadenza finale piuttosto scarna di poche battute a cui segue un'altrettanto breve coda dell'orchestra a chiudere il concerto. [ More Detail ]
by Stravinskij0 3min21sec, Views:4915, Ratings:5.00pt, Votes:9, Comments:0, Added at:08/03/30 [ DownLoad ]
Zimerman - Beethoven, Piano Concerto No. 5 - II Adagio
Director : Leonard Bernstein.Pianist : Krystian Zimerman.Orchestra : Wiener Philharmoniker.Scritto da Ludwig van Beethoven tra il 1809 e il 1810 è detto "L'Imperatore", nome assegnatoli in via del tutto posticcia e non inerente a Napoleone Bonaparte cui si riferisce invece la Terza Sinfonia del 1804 detta "Eroica". Il concerto fu dedicato come il precedente dell'op.58 all'arciduca Rodolfo d'Asburgo-Lorena. La prima di questo concerto non fu eseguita a Vienna ma a Lipsia , l'anno successivo a quello della sua stesura definitiva, il 28 novembre 1811, dal pianista Johan Shneider e sotto la direzione del maestro Johann Philip Cristian Schulz. A Vienna fu eseguito l'anno dopo con un pubblico che dimostrò una certa freddezza nei confronti del capolavoro beethoveniano, anche in considerazione della durata dell'esecuzione(circa 45').Il concerto è in mi bemolle maggiore ed è suddiviso in 3 movimenti:* Allegro* Adagio un poco moto* Rondo allegro ma non troppoL'allegro apre con una cadenza che presenta carattere virtuosistico a cui segue l'esposizione dei temi da parte di un Tutti orchestrale. Il primo è pomposo e gioioso e si scontra col secondo tema interiore ed essenziale nella scrittura che viene esposto dall'orchestra prima nella tonalità minore rispetto al primo tema e poi dal pianoforte in si minore e nella ripresa in do diesis minore. Il percorso armonico in questo primo tempo risulta piuttosto articolato così da sottolineare la sempre più frequente ricerca da parte di Beethoven di un allargamento delle forme che fin dalla giovinezza era sovente modificare (come dimostrano alcune sonate giovanili e tutte quelle che fanno parte del terzo periodo compositivo di Beethoven).L'adagio un poco moto presenta un tema dalla cantabilità estrema unita alla dolcezza sublime tipica dei suoi secondi movimenti. Ricco di trilli che utilizzava per rendere l'effetto del prolungamento altrimenti scadente soprattutto nei pianoforti dell'epoca poveri di sonorità. Anche in questo frangente il pianoforte non è semplice solista ma fuso in un tutt'uno con l'orchestra che prima accompagna il tema eseguito dal pianoforte e poi lo espone accompagnato nel registro acuto dello strumento a tasto (questo movimento sarà utilizzato da Peter Weir per accompagnare l'atmosfera misterica del suo Picnic a Hanging Rock).Con una modulazione improvvisa tramite una discesa cromatica (si-si bemolle ovvero dominante di mi bemolle) avviene il collegamento col Rondo che presenta subito un'emiolia nel tema che lo rende saltellante e gioioso. La zona centrale diventa una continua proposizione del tema da parte del pianoforte, con accenti particolarmente delicati, a cui segue sempre la risposta imperiosa dell'orchestra. Dopo una sorta di ripresa il dialogo tra pianoforte e orchestra diventa più stretto fino all'arrivo della cadenza finale piuttosto scarna di poche battute a cui segue un'altrettanto breve coda dell'orchestra a chiudere il concerto. [ More Detail ]
by Stravinskij0 9min19sec, Views:7662, Ratings:4.90pt, Votes:16, Comments:9, Added at:08/03/30 [ DownLoad ]