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title>St Matthew Passion - MatthÀus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)/title>
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media:title>St Matthew Passion - MatthÀus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)/media:title>
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media:description>St Matthew Passion - MatthÀus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
The St Matthew Passion, (also frequently St Matthew's Passion) BWV 244, (German: MatthÀus-Passion), is a sacred oratorio from the Passions written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew."
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kantor of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organs in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno soprano in both movements 1 and 29. There is evidence of a further revision in 1743--1746, when the score as we know it originated, but no performance.
Die MatthĂ€us-Passion, BWV 244, ist eine oratorische Passion von Johann Sebastian Bach. Der Bericht vom Leiden und Sterben Jesu Christi nach dem Evangelium nach MatthĂ€us bildet das RĂŒckgrat. ErgĂ€nzt wird er um eingestreute PassionschorĂ€le und erbauliche Dichtungen von Picander in freien Chören und Arien. Die MatthĂ€us-Passion und die Johannes-Passion sind die beiden einzigen vollstĂ€ndig erhaltenen authentischen Passionswerke von Bach. Mit etwa 200 Minuten AuffĂŒhrungsdauer und einer Besetzung von Solisten, zwei Chören und zwei Orchestern ist die MatthĂ€us-Passion Bachs umfangreichstes und am stĂ€rksten besetztes Werk und stellt einen Höhepunkt protestantischer Kirchenmusik dar. Die UrauffĂŒhrung fand am 11. April 1727 in der Thomaskirche in Leipzig statt. Nach Bachs Tod geriet das Werk in Vergessenheit. Die WiederauffĂŒhrung in einer gekĂŒrzten Version unter Felix Mendelssohn Bartholdy im Jahr 1829 leitete die Bach-Renaissance ein.
Passio secundum Matthaeum est longissimum oratorium a Iohanne Sebastiano Bach (BWV 244) compositum.
Texus musica est apud Evangelium secundum Matthaeum quod Ultima Cena et Crucifixio Iesu tractantur.
PasiĂłn segĂșn san Mateo, MatthĂ€us-Passion (J. S. Bach), Pasja wedĆug Ćw. Mateusza, ĐĐ°ŃĐ”ŃŃ ĐżĐ°ŃĐžĐŸĐœ, PassiĂł segons sant Mateu, MatouĆĄovy paĆĄije, ÎαÏÎŹ ÎαÏÎžÎ±ÎŻÎżÎœ ΠΏΞη (ÎÏαÏ), MatthĂ€uspassion (Bach), MatthĂ€us-Passion, Matteus-passio (Bach), Passione secondo Matteo, ăăżă€ćéŁæČ, ë§íì€ ìëêłĄ (ë°í), Passio secundum Matthaeum (Bach), MatthĂ€us-Passion (J.S. Bach), Matteuspasjonen (Bach), Matteuspasjonen av Bach, ĐĄŃŃĐ°ŃŃĐž ĐżĐŸ ĐĐ°ŃŃĐ”Ń (ĐĐ°Ń
), Matteuspassionen,
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title>Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach/title>
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media:title>Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach/media:title>
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media:description>The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe d'amore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro â "Magnificat"
Aria (soprano II) â "Et exsultavit spiritus meus"
A. Chorale motet â "Vom Himmel hoch"
Aria (soprano I) â "Quia respexit humilitatem"
Coro â "Omnes generationes"
Aria (bass) â "Quia fecit mihi magna"
B. Coro â "Freut euch und jubiliert"
Aria (alto, tenor) â "Et misericordia"
Coro â "Fecit potentiam"
C. Coro â "Gloria in excelsis Deo"
Aria (tenor) â "Deposuit potentes"
Aria (alto) â "Esurientes implevit bonis"
D. Aria (soprano, bass) â "Virga Jesse floruit"
Aria (soprano I/II, alto) â "Suscepit Israel"
Coro â "Sicut locutus est"
Coro â "Gloria Patri"
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bach's time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243a Magnificat in E-flat major 01 Chorus "Magnificat"
BWV0243a Magnificat in E-flat major 02 Air "Et exultavit spiritus meus"
BWV0243a Magnificat in E-flat major 03 Chorale "Vom Himmel hoch da komm' ich her"
BWV0243a Magnificat in E-flat major 04 Air "Quia respexit humilitatem"
BWV0243a Magnificat in E-flat major 05 Chorus "Omnes generationes"
BWV0243a Magnificat in E-flat major 06 Air "Quia mihi fecit magna"
BWV0243a Magnificat in E-flat major 07 Chorale "Freut euch und jubilieret"
BWV0243a Magnificat in E-flat major 08 Duet "Et misericordia"
BWV0243a Magnificat in E-flat major 09 Chorus "Fecit potentiam"
BWV0243a Magnificat in E-flat major 10 Chorale "Gloria in excelsis Deo"
BWV0243a Magnificat in E-flat major 11 Air "Deposuit potentes"
BWV0243a Magnificat in E-flat major 12 Air "Esurientes implevit bonis"
BWV0243a Magnificat in E-flat major 13 Chorale "Virga Jesse floruit"
BWV0243a Magnificat in E-flat major 14 Trio "Suscepit Israel"
BWV0243a Magnificat in E-flat major 15 Chorus "Sicut locutus est"
BWV0243a Magnificat in E-flat major 16 Chorus "Gloria Patri"
Composer Bach, Johann Sebastian
Opus/Catalogue Number BWV 243a ; BC.E14
Key Eâ major
Movements/Sections 12
Year/Date of Composition 1723
First Performance Leipzig, 25 December 1723
First Publication 1862
Librettist Bible, Luke 1:46--55
Language Latin
Piece Style Baroque
Instrumentation Soloists: 2 Sopranos, Alto, Tenor, Bass; Mixed Chorus (SSATB)
Orchestra: 3 trumpets, timpani, 2 recorders, 2 oboes, 2 violins, viola, continuo (+ bassoon)
Full Concert/media:description>
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title>Magnificat in D major, BWV0243 | (Full Concert) Johann Sebastian Bach/title>
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media:title>Magnificat in D major, BWV0243 | (Full Concert) Johann Sebastian Bach/media:title>
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media:description>The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe d'amore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro â "Magnificat"
Aria (soprano II) â "Et exsultavit spiritus meus"
A. Chorale motet â "Vom Himmel hoch"
Aria (soprano I) â "Quia respexit humilitatem"
Coro â "Omnes generationes"
Aria (bass) â "Quia fecit mihi magna"
B. Coro â "Freut euch und jubiliert"
Aria (alto, tenor) â "Et misericordia"
Coro â "Fecit potentiam"
C. Coro â "Gloria in excelsis Deo"
Aria (tenor) â "Deposuit potentes"
Aria (alto) â "Esurientes implevit bonis"
D. Aria (soprano, bass) â "Virga Jesse floruit"
Aria (soprano I/II, alto) â "Suscepit Israel"
Coro â "Sicut locutus est"
Coro â "Gloria Patri"
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bach's time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243 Magnificat in D major 01 Chorus "Magnificat"
BWV0243 Magnificat in D major 02 Air "Et exultavit spiritus meus"
BWV0243 Magnificat in D major 03 Air "Quia respexit humilitatem"
BWV0243 Magnificat in D major 04 Chorus "Omnes generationes"
BWV0243 Magnificat in D major 05 Air "Quia mihi fecit magna"
BWV0243 Magnificat in D major 06 Duet "Et misericordia"
BWV0243 Magnificat in D major 07 Chorus "Fecit potentiam"
BWV0243 Magnificat in D major 08 Air "Deposuit potentes"
BWV0243 Magnificat in D major 09 Air "Esurientes implevit bonis"
BWV0243 Magnificat in D major 10 Trio "Suscepit Israel"
BWV0243 Magnificat in D major 11 Chorus "Sicut locutus est"
BWV0243 Magnificat in D major 12 Chorus "Gloria Patri"/media:description>
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title>Bach: Goldberg Variations | Version For String Trio, BWV 988 | "In Memoriam Glenn Gould"/title>
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media:title>Bach: Goldberg Variations | Version For String Trio, BWV 988 | "In Memoriam Glenn Gould"/media:title>
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media:description>Bach: Goldberg Variations Version For String Trio, BWV 988 | (Full Concert) "In Memoriam Glenn Gould"
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.
Bach's Goldberg Variations, like so many other of the master's works, proves remarkably adaptable for a string trio. Purists may balk at such arrangements, but Bach himself was an avid arranger of other composer's works, often shedding new light on them with his transfer to a different medium. That's what happens in Dmitri Sitkovetsky's arrangement of the Goldbergs for string trio, an ensemble that can -- and does, in this performance -- bring a greater tonal variety and expressiveness to the work than is available to the harpsichord. The trio members here are noted soloists in their own right, but play together beautifully as an ensemble. Rachlin's sweet-toned violin adds flavor, Imai's dusky viola projects inner lines with authority, and Maisky tones down his huge cello sound to provide a fitting foundation to the ensemble. Their light-hearted Variation 8, a Gigue, is aptly playful; Variation 21 gets a soulful performance, Variation 24 offers blistering virtuosity, while they demonstrate gentle sweetness and warmth in the Adagio, Variation 25. The music is marvelous, the playing superb, and the sonics are lifelike. This one should not be missed. -- Dan Davis
Product Description
CD W/Mischa Maisky, Nobuko Imai, Julian Rachlin
Audio CD (April 10, 2007
1. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria
2. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 1- 2- 3
3. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 4- 5- 6
4. Goldberg -- Variationen: Version For String Trio, BWV 988: Var 7- 8- 9
5. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 10-11-12
6. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 13-14-15
7. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 16-17-18
8. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 19-20-21
9. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 22-23-24
10. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 25-26-27
11. Goldberg -- Variationen: Version For String Trio, BWV 988: Var.28-29-30
12. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria da capo
http://en.wikipedia.org/wiki/Goldberg_Variations/media:description>
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title>Copland: Orchestral Works | (Full Concert)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=mr_Y5QdW7wc"/>
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updated>2024-05-08T18:33:47+00:00/updated>
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media:title>Copland: Orchestral Works | (Full Concert)/media:title>
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media:description>Rather than relying on a smattering of mediocre performances of individual movements, puts together two CDs of generally great performances of entire works, giving a much more complete and varied look at a composer's oeuvre The music from Billy the Kid, one of Copland's earlier works, is infused with quotations of "Cowboy Songs" and western "sound effects" that only a composer like Copland could successfully pull off while maintaining the work's integrity as art music. A strong performance by the St. Louis Symphony Orchestra under Leonard Slatkin only serves to highlight the idiomatic characteristics of the suite. St. Louis offers similarly masterful performances of two other ballet suites: Appalachian Spring and Rodeo. Also on the disc are vibrant displays by the Dallas Symphony Orchestra under Eduardo Mata performing the DanzĂłn Cubano and El salĂłn MĂ©xico. The only disappointing, lackluster track is the Philharmonic Orchestra of the City of Mexico performing what might be one of Copland's most recognizable compositions: Fanfare for the Common Man. The execution is simply too straightlaced and safe. Apart from that, this album would make an excellent introduction to this great American composer.
CD 1
1. Danzon Cubano -- Eduardo Mata/Dallas Symphony Orchestra
2. Copland: Billy The Kid: The Open Prairie -- Leonard Slatkin/Saint Louis Symphony Orchestra
3. Copland: Billy The Kid: Street In A Frontier Town -- Leonard Slatkin/Saint Louis Symphony Orchestra
4. Copland: Billy The Kid: Mexican Dance And Finale -- Leonard Slatkin/Saint Louis Symphony Orchestra
5. Copland: Billy The Kid: Prairie Night (Card Game At Night) -- Leonard Slatkin/Saint Louis Symphony Orchestra
6. Copland: Billy The Kid: Gun Battle -- Leonard Slatkin/Saint Louis Symphony Orchestra
7. Copland: Billy The Kid: Celebration (After Billy's Capture) -- Leonard Slatkin/Saint Louis Symphony Orchestra
8. Copland: Billy The Kid: Billy In Prison (His Escape) -- Leonard Slatkin/Saint Louis Symphony Orchestra
9. Copland: Billy The Kid: Billy In The Desert -- Leonard Slatkin/Saint Louis Symphony Orchestra
10. Copland: Billy The Kid: Billy's Death -- Leonard Slatkin/Saint Louis Symphony Orchestra
11. Copland: Billy The Kid: The Open Prairie Again -- Leonard Slatkin/Saint Louis Symphony Orchestra
12. Copland: Appalachian Spring: Very Slowly -- Leonard Slatkin/Saint Louis Symphony Orchestra
13. Copland: Appalachian Spring: Allegro -- Leonard Slatkin/Saint Louis Symphony Orchestra
14. Copland: Appalachian Spring: Moderato -- The Bride And Her Intended -- Leonard Slatkin/Saint Louis Symphony Orchestra
15. Copland: Appalachian Spring: Fast -- The Revivalist And His Flock -- Leonard Slatkin/Saint Louis Symphony Orchestra
16. Copland: Appalachian Spring: Allegro -- Solo Dance Of The Bride -- Leonard Slatkin/Saint Louis Symphony Orchestra
17. Copland: Appalachian Spring: Meno Mosso -- Leonard Slatkin/Saint Louis Symphony Orchestra
18. Copland: Appalachian Spring: Doppio Movimento -- Variations On A Shaker Hymn -- Leonard Slatkin/Saint Louis Symphony Orchestra
19. Copland: Appalachian Spring: Moderato -- Coda -- Leonard Slatkin/Saint Louis Symphony Orchestra
CD 2
1. Copland: Fanfare For The Common Man -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
2. Copland: Rodeo: Buckaroo Holid -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
3. Copland: Rodeo: Corral Nocturne -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
4. Copland: Rodeo: Piano Interlude And Saturday Night Waltz -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
5. Copland: Rodeo: Hoe-Down -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
6. Copland: El Salon Mexico -- Eduardo Mata/Dallas Symphony Orchestra
7. Copland: The Red Pony Suite: I. Morning On The Ranch -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
8. Copland: The Red Pony Suite: II. The Gift -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
9. Copland: The Red Pony Suite: III. A) Dream March -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
10. Copland: The Red Pony Suite: III. B) Circus March -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
11. Copland: The Red Pony Suite: IV. Walk To The Bunkhouse -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
12. Copland: The Red Pony Suite: V. Grandfather's Story -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
13. Copland: The Red Pony Suite: VI. Happy Ending -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
14. Copland: Dance Symphony: I. Introduction -- Lento -- Molto Allegro -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
15. Copland: Dance Symphony: II. Andante Moderato -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico
16. Copland: Dance Symphony: III. Allegro Vivo -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de MĂ©xico/media:description>
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title>Vivaldi - flute, strings & continuo in F major (La tempesta di mare) Op 10 1, RV 433 Patrick Gallois/title>
link rel="alternate" href="https://www.youtube.com/watch?v=a6_iJ6ZwwL0"/>
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published>2012-05-08T16:49:37+00:00/published>
updated>2024-05-08T10:15:02+00:00/updated>
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media:title>Vivaldi - flute, strings & continuo in F major (La tempesta di mare) Op 10 1, RV 433 Patrick Gallois/media:title>
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media:description>Antonio Vivaldi Flute Concerto, for flute by Patrick Gallois , strings & continuo in F major (La tempesta di mare), Op. 10/1, RV 433 with Patrick Gallois and Orpheus Chamber Orchestra, Trevor Pinnock -
First Concerto / Six Flute Concerto By Vivaldi/media:description>
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title>J. S. Bach - Sonata Flute & Harpsichord BWV 1020 By Jean-Pierre Rampal (Full HD)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=n2NSKgvBzmg"/>
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published>2012-05-07T13:02:57+00:00/published>
updated>2024-05-08T21:23:10+00:00/updated>
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media:title>J. S. Bach - Sonata Flute & Harpsichord BWV 1020 By Jean-Pierre Rampal (Full HD)/media:title>
media:content url="https://www.youtube.com/v/n2NSKgvBzmg?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
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media:description>J. S. Bach Jean-Pierre Rampal Sonata Flute & Harpsichord BWV 1020HD
BWV 1020 -- Sonata in G minor for violin (or flute/recorder) and harpsichord (Now attributed to C.P.E. Bach -- H 542.5)/media:description>
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title>Mozart - Flute Concerto No. 1 in G major (K. 313) By Emmanuel Pahud soloist (Full HD)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=0ExqsbrOPN4"/>
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published>2012-05-07T10:00:24+00:00/published>
updated>2024-05-13T04:50:18+00:00/updated>
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media:title>Mozart - Flute Concerto No. 1 in G major (K. 313) By Emmanuel Pahud soloist (Full HD)/media:title>
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media:description>Wolfgang Amadeus Mozart Flute Concerto No. 1 in G major (K. 313) By Emmanuel Pahud soloist, Berliner Philharmoniker HD e Claudio Abbado Complete Full Concert
The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K. 313 being the first.[1] The Andante for Flute and Orchestra K. 315 may have been written as an alternative slow movement for this concerto.
The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns.[2]
The piece itself is divided into three movements:
I. Allegro maestoso
II. Adagio ma non troppo
III. Rondo: Tempo di Menuetto
The opening of the second movement is often known as resembling the famous theme from the Blue Danube Waltz by Johann Strauss, Jr., which was composed many years later./media:description>
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title>F. Mendelssohn Symphony No 4 'Italian' A major Gustavo Dudamel , La Scala Philarmonic (Full HD)/title>
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media:title>F. Mendelssohn Symphony No 4 'Italian' A major Gustavo Dudamel , La Scala Philarmonic (Full HD)/media:title>
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media:description>Felix Mendelssohn HD Symphony No 4 'Italian' A major Gustavo Dudamel HD , La Scala Philarmonic Full Concert HD The Symphony No. 4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by German composer Felix Mendelssohn (1809--1847).
The work has its origins, like the composer's Scottish Symphony and the orchestral overture The Hebrides (Fingal's Cave), in the tour of Europe which occupied Mendelssohn from 1829 to 1831. Its inspiration is the colour and atmosphere of Italy, where Mendelssohn made sketches but left the work incomplete:
"This is Italy! And now has begun what I have always thought.. to be the supreme joy in life. And I am loving it. Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness."
In February he wrote from Rome to his sister Fanny
"The 'Italian' symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples."
The Italian Symphony was finished in Berlin, 13 March 1833, in response to an invitation for a symphony from the London (now Royal) Philharmonic Society; he conducted the first performance himself in London on 13 May 1833, at a London Philharmonic Society concert. The symphony's success, and Mendelssohn's popularity, influenced the course of British music for the rest of the century. However, Mendelssohn remained unsatisfied with the composition, which cost him, he said, some of the bitterest moments of his career; he revised it in 1837 and even planned to write alternate versions of the second, third, and fourth movements. He never published the symphony, which only appeared in print in 1851, after his death.
The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements:
Allegro vivace
Andante con moto
Con moto moderato
Saltarello: Presto
The joyful first movement, in sonata form, is followed by an impression in D minor of a religious procession the composer witnessed in Naples. The third movement is a minuet in which French Horns are introduced in the trio, while the final movement (which is in the minor key throughout) incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella. It is among the first large multi-movement works to begin in a major key and end in the tonic minor, another example being Brahms's first piano trio.
A typical performance lasts about half an hour./media:description>
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title>F. Mendelssohn - Cello Sonata No. 2 in D major, Op. 58 By Antonio Meneses/title>
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media:title>F. Mendelssohn - Cello Sonata No. 2 in D major, Op. 58 By Antonio Meneses/media:title>
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media:description>Felix Mendelssohn Cello Sonata No. 2 in D major, Op. 58 Complete HD Full Complete all movements was composed in June 1843. The work, which was dedicated to the Russian/Polish cellist Count Mateusz Wielhorski, has four movements:
Allegro assai vivace
Allegretto scherzando
Adagio
Molto allegro e vivace
A typical performance lasts 25 minutes.
Of particular interest is the Adagio, because it mirrors Mendelssohn's fascination with the music of J. S. Bach. (He was then musical director of the Gewandhaus concerts at Leipzig and, as such, Bach's distant successor.) The movement consists of a chorale in Bach's typical style, played by the piano in rich arpeggios. In between the phrases of the chorale, the cello plays recitative-like passages.
Artist Antonio Meneses
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Cello_Sonata_No._2_(Mendelssohn)/media:description>
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title>Carl Orff - Carmina Burana (Full HD) (Full Concert)/title>
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media:title>Carl Orff - Carmina Burana (Full HD) (Full Concert)/media:title>
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media:description>Carl Orff Carmina Burana Full HD Full Concert Complete in Full HD
Carl Orff's Carmina Burana is one of the most popular pieces of the classical music repertoire. Here the UC Davis Symphony Orchestra, the University Chorus and Alumni Chorus, and the Pacific Boychoir perform at the Mondavi Center at UC Davis. Series: "Mondavi Center Presents"
Carmina Burana is a scenic cantata composed by Carl Orff in 1935 and 1936. It is based on 24 of the poems found in the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanĂŠ cantoribus et choris cantandĂŠ comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magic images.") Carmina Burana is part of Trionfi, the musical triptych that also includes the cantata Catulli Carmina and Trionfo di Afrodite. The best-known movement is "Fortuna Imperatrix Mundi" ("O Fortuna") that opens and closes the piece.
Carl Orff (July 10, 1895 -- March 29, 1982) was a 20th-century German composer, best known for his cantata Carmina Burana (1937). In addition to his career as a composer, Orff developed an influential method of music education for children.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Carl_Orff
http://en.wikipedia.org/wiki/Carmina_Burana_(Orff)/media:description>
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title>Mozart - Requiem (Complete HD) By Herbert von Karajan/title>
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media:title>Mozart - Requiem (Complete HD) By Herbert von Karajan/media:title>
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media:description>Wolfgang Amadeus Mozart Requiem Complete in HD Full All movements Full Concert The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver SĂŒssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent SĂŒssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.History Composition At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie and most of the sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts were briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done; the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only.
Structure
I. Introitus: Requiem aeternam (choir and soprano solo)
II. Kyrie eleison (choir)
III. Sequentia (text based on sections of the Dies Irae):
Dies irae (choir)
Tuba mirum (soprano, contralto, tenor and bass solo)
Rex tremendae majestatis (choir)
Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
Confutatis maledictis (choir)
Lacrimosa dies illa (choir)
IV. Offertorium:
Domine Jesu Christe (choir with solo quartet)
Versus: Hostias et preces (choir)
V. Sanctus:
Sanctus Dominus Deus Sabaoth (choir)
Benedictus (solo quartet, then choir)
VI. Agnus Dei (choir)
VII. Communio:
Lux aeterna (soprano solo and choir)
The Introit is in D minor and finishes on a half-cadence that transitions directly into Kyrie. The Kyrie is a double fugue, with one subject corresponding to "Kyrie Eleison" and the other to "Christe Eleison". The movement Tuba mirum opens with a notable trombone solo accompanying the bass. The Confutatis is well known for its string accompaniment; it opens with agitating figures that accentuate the wrathful sound of the basses and tenors, but it turns into sweet arpeggios in the second phrase while accompanying the soft sounds of the sopranos and altos.
Requiem
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Kyrie
Kyrie eleison Christe eleison Kyrie eleison
Sequentia
Dies irae
Dies Irae.Dies irĂŠ, dies illa, Solvet sĂŠclum in favilla;Teste David cum Sibylla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!
Tuba mirum
Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum. Mors stupebit, et natura, Cum resurget creatura, Judicanti responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?
Rex tremendae
Rex tremendae majestatis Qui salvandos salvas gratis, Salva me, fons pietatis!
Recordare Confutatis Lacrimosa Offertoriu Domine Jesu Christe Hostias Sanctus Benedictus Agnus Dei Communio Lux aeterna
Helmut Froschauer, Herbert von Karajan, Wiener Philharmoniker & Wiener Singverein/media:description>
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title>L. v. Beethoven - Symphony No. 4 in B Flat Major (Op. 60)/title>
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name>ClassicalMusicTVHD/name>
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published>2012-04-30T05:53:17+00:00/published>
updated>2024-05-08T08:59:47+00:00/updated>
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media:title>L. v. Beethoven - Symphony No. 4 in B Flat Major (Op. 60)/media:title>
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media:description>Symphony No. 4 in B Flat Major (Op. 60), is a symphony by Ludwig van Beethoven, written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert
Instrumentation
The symphony is scored for flute, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in B flat and E flat, 2 trumpets in B flat and E flat, timpani and strings.
Movements
The work is in four movements:
Adagio -- Allegro vivace, 2/2
Adagio, 3/4 in E flat major
Allegro vivace, 3/4
Allegro ma non troppo, 2/4/media:description>
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title>F. Mendelssohn - Cello Sonata No. 1 in B flat major, Op. 45/title>
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media:title>F. Mendelssohn - Cello Sonata No. 1 in B flat major, Op. 45/media:title>
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media:description>Felix Mendelssohn Cello Sonata No. 1 in B flat major, Op. 45
Cello Sonata No. 1 (Mendelssohn)
Felix Mendelssohn's Cello Sonata No. 1 in B flat major, Op. 45 was composed in October 1838. The work has three movements: Complete all movements
Allegro vivace
Andante
Allegro assai
Sonate pour violoncelle et piano nÂș 1 Mendelssohn La Sonate pour violoncelle et piano nÂș 1 en si bĂ©mol majeur opus 45 est composĂ©e par Felix Mendelssohn Bartholdy en 1838./media:description>
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title>Heitor Villa-Lobos - Bachianas Brasileiras No. 8 Complete/title>
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name>ClassicalMusicTVHD/name>
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published>2012-04-30T05:14:43+00:00/published>
updated>2024-05-16T23:16:45+00:00/updated>
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media:title>Heitor Villa-Lobos - Bachianas Brasileiras No. 8 Complete/media:title>
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media:description>Heitor Villa-Lobos Bachianas Brasileiras No. 8 Eight Complete HD By Heitor Villa-Lobos
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (BĂ©hague 1994, 106; BĂ©hague 2001). Most of the movements in each suite have two titles: one "Bachian" (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 8
Scored for symphony orchestra (1944) (dedicated to Mindinha)
Preludio
Aria (Modinha)
Tocata (Catira batida)
Fuga (Also arranged for four-part a cappella choir.)/media:description>
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ClassicalMusicTVHD
15.04.2024 · 07:12:40 ···
01.01.1970 · 01:00:00 ···
30.07.2023 · 15:13:28 ··· 5 ··· ··· 16 ···
19.08.2024 · 20:51:35 ···
01.01.1970 · 01:00:00 ···
30.07.2023 · 15:13:28 ··· 5 ··· ··· 16 ···
1:: St Matthew Passion - Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
01.01.1970 · 01:00:00 ··· 06.04.2013 · 21:57:56 ··· ··· ··· ··· ··· ··· St Matthew Passion - Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
The St Matthew Passion, (also frequently St Matthew's Passion) BWV 244, (German: Matthäus-Passion), is a sacred oratorio from the Passions written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew."
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kantor of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organs in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno soprano in both movements 1 and 29. There is evidence of a further revision in 1743--1746, when the score as we know it originated, but no performance.
Die Matthäus-Passion, BWV 244, ist eine oratorische Passion von Johann Sebastian Bach. Der Bericht vom Leiden und Sterben Jesu Christi nach dem Evangelium nach Matthäus bildet das Rückgrat. Ergänzt wird er um eingestreute Passionschoräle und erbauliche Dichtungen von Picander in freien Chören und Arien. Die Matthäus-Passion und die Johannes-Passion sind die beiden einzigen vollständig erhaltenen authentischen Passionswerke von Bach. Mit etwa 200 Minuten Aufführungsdauer und einer Besetzung von Solisten, zwei Chören und zwei Orchestern ist die Matthäus-Passion Bachs umfangreichstes und am stärksten besetztes Werk und stellt einen Höhepunkt protestantischer Kirchenmusik dar. Die Uraufführung fand am 11. April 1727 in der Thomaskirche in Leipzig statt. Nach Bachs Tod geriet das Werk in Vergessenheit. Die Wiederaufführung in einer gekürzten Version unter Felix Mendelssohn Bartholdy im Jahr 1829 leitete die Bach-Renaissance ein.
Passio secundum Matthaeum est longissimum oratorium a Iohanne Sebastiano Bach (BWV 244) compositum.
Texus musica est apud Evangelium secundum Matthaeum quod Ultima Cena et Crucifixio Iesu tractantur.
Pasión según san Mateo, Matthäus-Passion (J. S. Bach), Pasja według św. Mateusza, Матеус пасион, Passió segons sant Mateu, Matoušovy pašije, Κατά Ματθαίον Πάθη (Μπαχ), Matthäuspassion (Bach), Matthäus-Passion, Matteus-passio (Bach), Passione secondo Matteo, マタイ受難曲, 마태오 수난곡 (바흐), Passio secundum Matthaeum (Bach), Matthäus-Passion (J.S. Bach), Matteuspasjonen (Bach), Matteuspasjonen av Bach, Страсти по Матфею (Бах), Matteuspassionen,
1727
2:: Magnificat in E-flat major, BWV 243a | (Full Concert) Johann Sebastian Bach
01.01.1970 · 01:00:00 ··· 06.04.2013 · 17:24:43 ··· ··· ··· ··· ··· ··· The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe d'amore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro — "Magnificat"
Aria (soprano II) — "Et exsultavit spiritus meus"
A. Chorale motet — "Vom Himmel hoch"
Aria (soprano I) — "Quia respexit humilitatem"
Coro — "Omnes generationes"
Aria (bass) — "Quia fecit mihi magna"
B. Coro — "Freut euch und jubiliert"
Aria (alto, tenor) — "Et misericordia"
Coro — "Fecit potentiam"
C. Coro — "Gloria in excelsis Deo"
Aria (tenor) — "Deposuit potentes"
Aria (alto) — "Esurientes implevit bonis"
D. Aria (soprano, bass) — "Virga Jesse floruit"
Aria (soprano I/II, alto) — "Suscepit Israel"
Coro — "Sicut locutus est"
Coro — "Gloria Patri"
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bach's time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243a Magnificat in E-flat major 01 Chorus "Magnificat"
BWV0243a Magnificat in E-flat major 02 Air "Et exultavit spiritus meus"
BWV0243a Magnificat in E-flat major 03 Chorale "Vom Himmel hoch da komm' ich her"
BWV0243a Magnificat in E-flat major 04 Air "Quia respexit humilitatem"
BWV0243a Magnificat in E-flat major 05 Chorus "Omnes generationes"
BWV0243a Magnificat in E-flat major 06 Air "Quia mihi fecit magna"
BWV0243a Magnificat in E-flat major 07 Chorale "Freut euch und jubilieret"
BWV0243a Magnificat in E-flat major 08 Duet "Et misericordia"
BWV0243a Magnificat in E-flat major 09 Chorus "Fecit potentiam"
BWV0243a Magnificat in E-flat major 10 Chorale "Gloria in excelsis Deo"
BWV0243a Magnificat in E-flat major 11 Air "Deposuit potentes"
BWV0243a Magnificat in E-flat major 12 Air "Esurientes implevit bonis"
BWV0243a Magnificat in E-flat major 13 Chorale "Virga Jesse floruit"
BWV0243a Magnificat in E-flat major 14 Trio "Suscepit Israel"
BWV0243a Magnificat in E-flat major 15 Chorus "Sicut locutus est"
BWV0243a Magnificat in E-flat major 16 Chorus "Gloria Patri"
Composer Bach, Johann Sebastian
Opus/Catalogue Number BWV 243a ; BC.E14
Key E♭ major
Movements/Sections 12
Year/Date of Composition 1723
First Performance Leipzig, 25 December 1723
First Publication 1862
Librettist Bible, Luke 1:46--55
Language Latin
Piece Style Baroque
Instrumentation Soloists: 2 Sopranos, Alto, Tenor, Bass; Mixed Chorus (SSATB)
Orchestra: 3 trumpets, timpani, 2 recorders, 2 oboes, 2 violins, viola, continuo (+ bassoon)
Full Concert
3:: Magnificat in D major, BWV0243 | (Full Concert) Johann Sebastian Bach
01.01.1970 · 01:00:00 ··· 06.04.2013 · 16:33:58 ··· ··· ··· ··· ··· ··· The Magnificat in D major is a setting of the Magnificat text by Johann Sebastian Bach for five soloists, a five-part choir and orchestra. Bach first composed a version in E-flat major, (catalogued as BWV 243a) for Christmas in 1723 and then reworked that music in D major in 1733 (catalogued as BWV 243) for the feast of the Visitation. The Latin text is the canticle of Mary, mother of Jesus, as told in the Gospel of Luke.
Scoring and structure
The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. Its performance lasts approximately thirty minutes. The indented parts below indicate the removed Christmas texts.
It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, three trumpets, timpani, flauto traverso, two oboes (also oboe d'amore), two violins, viola, and basso continuo. It is one of few works which Bach set for a five-part choir,[citation needed] along with the Kyrie and Gloria, also of 1733, which he later expanded to form the Mass in B minor, and the motet Jesu, meine Freude.
Coro — "Magnificat"
Aria (soprano II) — "Et exsultavit spiritus meus"
A. Chorale motet — "Vom Himmel hoch"
Aria (soprano I) — "Quia respexit humilitatem"
Coro — "Omnes generationes"
Aria (bass) — "Quia fecit mihi magna"
B. Coro — "Freut euch und jubiliert"
Aria (alto, tenor) — "Et misericordia"
Coro — "Fecit potentiam"
C. Coro — "Gloria in excelsis Deo"
Aria (tenor) — "Deposuit potentes"
Aria (alto) — "Esurientes implevit bonis"
D. Aria (soprano, bass) — "Virga Jesse floruit"
Aria (soprano I/II, alto) — "Suscepit Israel"
Coro — "Sicut locutus est"
Coro — "Gloria Patri"
History
Bach composed in 1723 in his first year as Thomaskantor in Leipzig a version in E-flat major in 1723 for Christmas Vespers in Leipzig, using the Latin text of Magnificat with additional interpolated texts related to Christmas.[citation needed] In 1733, he adapted the Christmas version for a new version in D major, eliminating the interpolated texts, for the Marian feast of the Visitation, which was celebrated on 2 July in Leipzig at Bach's time. The second version had its premiere at the Thomaskirche on 2 July 2 1733, which coincided with the fourth Sunday after Trinity Sunday that year. Classical Music,
BWV0243 Magnificat in D major 01 Chorus "Magnificat"
BWV0243 Magnificat in D major 02 Air "Et exultavit spiritus meus"
BWV0243 Magnificat in D major 03 Air "Quia respexit humilitatem"
BWV0243 Magnificat in D major 04 Chorus "Omnes generationes"
BWV0243 Magnificat in D major 05 Air "Quia mihi fecit magna"
BWV0243 Magnificat in D major 06 Duet "Et misericordia"
BWV0243 Magnificat in D major 07 Chorus "Fecit potentiam"
BWV0243 Magnificat in D major 08 Air "Deposuit potentes"
BWV0243 Magnificat in D major 09 Air "Esurientes implevit bonis"
BWV0243 Magnificat in D major 10 Trio "Suscepit Israel"
BWV0243 Magnificat in D major 11 Chorus "Sicut locutus est"
BWV0243 Magnificat in D major 12 Chorus "Gloria Patri"
4:: Bach: Goldberg Variations | Version For String Trio, BWV 988 | "In Memoriam Glenn Gould"
01.01.1970 · 01:00:00 ··· 06.04.2013 · 15:56:54 ··· ··· ··· ··· ··· ··· Bach: Goldberg Variations Version For String Trio, BWV 988 | (Full Concert) "In Memoriam Glenn Gould"
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.
Bach's Goldberg Variations, like so many other of the master's works, proves remarkably adaptable for a string trio. Purists may balk at such arrangements, but Bach himself was an avid arranger of other composer's works, often shedding new light on them with his transfer to a different medium. That's what happens in Dmitri Sitkovetsky's arrangement of the Goldbergs for string trio, an ensemble that can -- and does, in this performance -- bring a greater tonal variety and expressiveness to the work than is available to the harpsichord. The trio members here are noted soloists in their own right, but play together beautifully as an ensemble. Rachlin's sweet-toned violin adds flavor, Imai's dusky viola projects inner lines with authority, and Maisky tones down his huge cello sound to provide a fitting foundation to the ensemble. Their light-hearted Variation 8, a Gigue, is aptly playful; Variation 21 gets a soulful performance, Variation 24 offers blistering virtuosity, while they demonstrate gentle sweetness and warmth in the Adagio, Variation 25. The music is marvelous, the playing superb, and the sonics are lifelike. This one should not be missed. -- Dan Davis
Product Description
CD W/Mischa Maisky, Nobuko Imai, Julian Rachlin
Audio CD (April 10, 2007
1. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria
2. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 1- 2- 3
3. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 4- 5- 6
4. Goldberg -- Variationen: Version For String Trio, BWV 988: Var 7- 8- 9
5. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 10-11-12
6. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 13-14-15
7. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 16-17-18
8. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 19-20-21
9. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 22-23-24
10. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 25-26-27
11. Goldberg -- Variationen: Version For String Trio, BWV 988: Var.28-29-30
12. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria da capo
http://en.wikipedia.org/wiki/Goldberg_Variations
5:: Copland: Orchestral Works | (Full Concert)
01.01.1970 · 01:00:00 ··· 06.04.2013 · 09:03:09 ··· ··· ··· ··· ··· ··· Rather than relying on a smattering of mediocre performances of individual movements, puts together two CDs of generally great performances of entire works, giving a much more complete and varied look at a composer's oeuvre The music from Billy the Kid, one of Copland's earlier works, is infused with quotations of "Cowboy Songs" and western "sound effects" that only a composer like Copland could successfully pull off while maintaining the work's integrity as art music. A strong performance by the St. Louis Symphony Orchestra under Leonard Slatkin only serves to highlight the idiomatic characteristics of the suite. St. Louis offers similarly masterful performances of two other ballet suites: Appalachian Spring and Rodeo. Also on the disc are vibrant displays by the Dallas Symphony Orchestra under Eduardo Mata performing the Danzón Cubano and El salón México. The only disappointing, lackluster track is the Philharmonic Orchestra of the City of Mexico performing what might be one of Copland's most recognizable compositions: Fanfare for the Common Man. The execution is simply too straightlaced and safe. Apart from that, this album would make an excellent introduction to this great American composer.
CD 1
1. Danzon Cubano -- Eduardo Mata/Dallas Symphony Orchestra
2. Copland: Billy The Kid: The Open Prairie -- Leonard Slatkin/Saint Louis Symphony Orchestra
3. Copland: Billy The Kid: Street In A Frontier Town -- Leonard Slatkin/Saint Louis Symphony Orchestra
4. Copland: Billy The Kid: Mexican Dance And Finale -- Leonard Slatkin/Saint Louis Symphony Orchestra
5. Copland: Billy The Kid: Prairie Night (Card Game At Night) -- Leonard Slatkin/Saint Louis Symphony Orchestra
6. Copland: Billy The Kid: Gun Battle -- Leonard Slatkin/Saint Louis Symphony Orchestra
7. Copland: Billy The Kid: Celebration (After Billy's Capture) -- Leonard Slatkin/Saint Louis Symphony Orchestra
8. Copland: Billy The Kid: Billy In Prison (His Escape) -- Leonard Slatkin/Saint Louis Symphony Orchestra
9. Copland: Billy The Kid: Billy In The Desert -- Leonard Slatkin/Saint Louis Symphony Orchestra
10. Copland: Billy The Kid: Billy's Death -- Leonard Slatkin/Saint Louis Symphony Orchestra
11. Copland: Billy The Kid: The Open Prairie Again -- Leonard Slatkin/Saint Louis Symphony Orchestra
12. Copland: Appalachian Spring: Very Slowly -- Leonard Slatkin/Saint Louis Symphony Orchestra
13. Copland: Appalachian Spring: Allegro -- Leonard Slatkin/Saint Louis Symphony Orchestra
14. Copland: Appalachian Spring: Moderato -- The Bride And Her Intended -- Leonard Slatkin/Saint Louis Symphony Orchestra
15. Copland: Appalachian Spring: Fast -- The Revivalist And His Flock -- Leonard Slatkin/Saint Louis Symphony Orchestra
16. Copland: Appalachian Spring: Allegro -- Solo Dance Of The Bride -- Leonard Slatkin/Saint Louis Symphony Orchestra
17. Copland: Appalachian Spring: Meno Mosso -- Leonard Slatkin/Saint Louis Symphony Orchestra
18. Copland: Appalachian Spring: Doppio Movimento -- Variations On A Shaker Hymn -- Leonard Slatkin/Saint Louis Symphony Orchestra
19. Copland: Appalachian Spring: Moderato -- Coda -- Leonard Slatkin/Saint Louis Symphony Orchestra
CD 2
1. Copland: Fanfare For The Common Man -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
2. Copland: Rodeo: Buckaroo Holid -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
3. Copland: Rodeo: Corral Nocturne -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
4. Copland: Rodeo: Piano Interlude And Saturday Night Waltz -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
5. Copland: Rodeo: Hoe-Down -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
6. Copland: El Salon Mexico -- Eduardo Mata/Dallas Symphony Orchestra
7. Copland: The Red Pony Suite: I. Morning On The Ranch -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
8. Copland: The Red Pony Suite: II. The Gift -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
9. Copland: The Red Pony Suite: III. A) Dream March -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
10. Copland: The Red Pony Suite: III. B) Circus March -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
11. Copland: The Red Pony Suite: IV. Walk To The Bunkhouse -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
12. Copland: The Red Pony Suite: V. Grandfather's Story -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
13. Copland: The Red Pony Suite: VI. Happy Ending -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
14. Copland: Dance Symphony: I. Introduction -- Lento -- Molto Allegro -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
15. Copland: Dance Symphony: II. Andante Moderato -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
16. Copland: Dance Symphony: III. Allegro Vivo -- Enrique Batiz/Orquestra Filarmonica De La Ciudad de México
6:: Vivaldi - flute, strings & continuo in F major (La tempesta di mare) Op 10 1, RV 433 Patrick Gallois
01.01.1970 · 01:00:00 ··· 08.05.2012 · 16:49:37 ··· ··· ··· ··· ··· ··· Antonio Vivaldi Flute Concerto, for flute by Patrick Gallois , strings & continuo in F major (La tempesta di mare), Op. 10/1, RV 433 with Patrick Gallois and Orpheus Chamber Orchestra, Trevor Pinnock -
First Concerto / Six Flute Concerto By Vivaldi
7:: J. S. Bach - Sonata Flute & Harpsichord BWV 1020 By Jean-Pierre Rampal (Full HD)
01.01.1970 · 01:00:00 ··· 07.05.2012 · 13:02:57 ··· ··· ··· ··· ··· ··· J. S. Bach Jean-Pierre Rampal Sonata Flute & Harpsichord BWV 1020HD
BWV 1020 -- Sonata in G minor for violin (or flute/recorder) and harpsichord (Now attributed to C.P.E. Bach -- H 542.5)
8:: Mozart - Flute Concerto No. 1 in G major (K. 313) By Emmanuel Pahud soloist (Full HD)
01.01.1970 · 01:00:00 ··· 07.05.2012 · 10:00:24 ··· ··· ··· ··· ··· ··· Wolfgang Amadeus Mozart Flute Concerto No. 1 in G major (K. 313) By Emmanuel Pahud soloist, Berliner Philharmoniker HD e Claudio Abbado Complete Full Concert
The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K. 313 being the first.[1] The Andante for Flute and Orchestra K. 315 may have been written as an alternative slow movement for this concerto.
The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns.[2]
The piece itself is divided into three movements:
I. Allegro maestoso
II. Adagio ma non troppo
III. Rondo: Tempo di Menuetto
The opening of the second movement is often known as resembling the famous theme from the Blue Danube Waltz by Johann Strauss, Jr., which was composed many years later.
9:: F. Mendelssohn Symphony No 4 'Italian' A major Gustavo Dudamel , La Scala Philarmonic (Full HD)
01.01.1970 · 01:00:00 ··· 07.05.2012 · 04:53:37 ··· ··· ··· ··· ··· ··· Felix Mendelssohn HD Symphony No 4 'Italian' A major Gustavo Dudamel HD , La Scala Philarmonic Full Concert HD The Symphony No. 4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by German composer Felix Mendelssohn (1809--1847).
The work has its origins, like the composer's Scottish Symphony and the orchestral overture The Hebrides (Fingal's Cave), in the tour of Europe which occupied Mendelssohn from 1829 to 1831. Its inspiration is the colour and atmosphere of Italy, where Mendelssohn made sketches but left the work incomplete:
"This is Italy! And now has begun what I have always thought.. to be the supreme joy in life. And I am loving it. Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness."
In February he wrote from Rome to his sister Fanny
"The 'Italian' symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples."
The Italian Symphony was finished in Berlin, 13 March 1833, in response to an invitation for a symphony from the London (now Royal) Philharmonic Society; he conducted the first performance himself in London on 13 May 1833, at a London Philharmonic Society concert. The symphony's success, and Mendelssohn's popularity, influenced the course of British music for the rest of the century. However, Mendelssohn remained unsatisfied with the composition, which cost him, he said, some of the bitterest moments of his career; he revised it in 1837 and even planned to write alternate versions of the second, third, and fourth movements. He never published the symphony, which only appeared in print in 1851, after his death.
The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements:
Allegro vivace
Andante con moto
Con moto moderato
Saltarello: Presto
The joyful first movement, in sonata form, is followed by an impression in D minor of a religious procession the composer witnessed in Naples. The third movement is a minuet in which French Horns are introduced in the trio, while the final movement (which is in the minor key throughout) incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella. It is among the first large multi-movement works to begin in a major key and end in the tonic minor, another example being Brahms's first piano trio.
A typical performance lasts about half an hour.
10:: F. Mendelssohn - Cello Sonata No. 2 in D major, Op. 58 By Antonio Meneses
01.01.1970 · 01:00:00 ··· 02.05.2012 · 04:15:05 ··· ··· ··· ··· ··· ··· Felix Mendelssohn Cello Sonata No. 2 in D major, Op. 58 Complete HD Full Complete all movements was composed in June 1843. The work, which was dedicated to the Russian/Polish cellist Count Mateusz Wielhorski, has four movements:
Allegro assai vivace
Allegretto scherzando
Adagio
Molto allegro e vivace
A typical performance lasts 25 minutes.
Of particular interest is the Adagio, because it mirrors Mendelssohn's fascination with the music of J. S. Bach. (He was then musical director of the Gewandhaus concerts at Leipzig and, as such, Bach's distant successor.) The movement consists of a chorale in Bach's typical style, played by the piano in rich arpeggios. In between the phrases of the chorale, the cello plays recitative-like passages.
Artist Antonio Meneses
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Cello_Sonata_No._2_(Mendelssohn)
11:: Carl Orff - Carmina Burana (Full HD) (Full Concert)
01.01.1970 · 01:00:00 ··· 02.05.2012 · 03:34:38 ··· ··· ··· ··· ··· ··· Carl Orff Carmina Burana Full HD Full Concert Complete in Full HD
Carl Orff's Carmina Burana is one of the most popular pieces of the classical music repertoire. Here the UC Davis Symphony Orchestra, the University Chorus and Alumni Chorus, and the Pacific Boychoir perform at the Mondavi Center at UC Davis. Series: "Mondavi Center Presents"
Carmina Burana is a scenic cantata composed by Carl Orff in 1935 and 1936. It is based on 24 of the poems found in the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magic images.") Carmina Burana is part of Trionfi, the musical triptych that also includes the cantata Catulli Carmina and Trionfo di Afrodite. The best-known movement is "Fortuna Imperatrix Mundi" ("O Fortuna") that opens and closes the piece.
Carl Orff (July 10, 1895 -- March 29, 1982) was a 20th-century German composer, best known for his cantata Carmina Burana (1937). In addition to his career as a composer, Orff developed an influential method of music education for children.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Carl_Orff
http://en.wikipedia.org/wiki/Carmina_Burana_(Orff)
12:: Mozart - Requiem By Herbert von Karajan (Full HD) (Full Concert)
01.01.1970 · 01:00:00 ··· 02.05.2012 · 02:49:46 ··· ··· ··· ··· ··· ··· Wolfgang Amadeus Mozart Herbert von Karajan Full HD 1080p Full Concert Soundtrack Complete Requiem greatest concert memorable The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan
13:: Mozart - Requiem (Complete HD) By Herbert von Karajan
01.01.1970 · 01:00:00 ··· 30.04.2012 · 09:25:02 ··· ··· ··· ··· ··· ··· Wolfgang Amadeus Mozart Requiem Complete in HD Full All movements Full Concert The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.History Composition At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie and most of the sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts were briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done; the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only.
Structure
I. Introitus: Requiem aeternam (choir and soprano solo)
II. Kyrie eleison (choir)
III. Sequentia (text based on sections of the Dies Irae):
Dies irae (choir)
Tuba mirum (soprano, contralto, tenor and bass solo)
Rex tremendae majestatis (choir)
Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
Confutatis maledictis (choir)
Lacrimosa dies illa (choir)
IV. Offertorium:
Domine Jesu Christe (choir with solo quartet)
Versus: Hostias et preces (choir)
V. Sanctus:
Sanctus Dominus Deus Sabaoth (choir)
Benedictus (solo quartet, then choir)
VI. Agnus Dei (choir)
VII. Communio:
Lux aeterna (soprano solo and choir)
The Introit is in D minor and finishes on a half-cadence that transitions directly into Kyrie. The Kyrie is a double fugue, with one subject corresponding to "Kyrie Eleison" and the other to "Christe Eleison". The movement Tuba mirum opens with a notable trombone solo accompanying the bass. The Confutatis is well known for its string accompaniment; it opens with agitating figures that accentuate the wrathful sound of the basses and tenors, but it turns into sweet arpeggios in the second phrase while accompanying the soft sounds of the sopranos and altos.
Requiem
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Kyrie
Kyrie eleison Christe eleison Kyrie eleison
Sequentia
Dies irae
Dies Irae.Dies iræ, dies illa, Solvet sæclum in favilla;Teste David cum Sibylla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!
Tuba mirum
Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum. Mors stupebit, et natura, Cum resurget creatura, Judicanti responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?
Rex tremendae
Rex tremendae majestatis Qui salvandos salvas gratis, Salva me, fons pietatis!
Recordare Confutatis Lacrimosa Offertoriu Domine Jesu Christe Hostias Sanctus Benedictus Agnus Dei Communio Lux aeterna
Helmut Froschauer, Herbert von Karajan, Wiener Philharmoniker & Wiener Singverein
14:: L. v. Beethoven - Symphony No. 4 in B Flat Major (Op. 60)
01.01.1970 · 01:00:00 ··· 30.04.2012 · 05:53:17 ··· ··· ··· ··· ··· ··· Symphony No. 4 in B Flat Major (Op. 60), is a symphony by Ludwig van Beethoven, written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert
Instrumentation
The symphony is scored for flute, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in B flat and E flat, 2 trumpets in B flat and E flat, timpani and strings.
Movements
The work is in four movements:
Adagio -- Allegro vivace, 2/2
Adagio, 3/4 in E flat major
Allegro vivace, 3/4
Allegro ma non troppo, 2/4
15:: F. Mendelssohn - Cello Sonata No. 1 in B flat major, Op. 45
01.01.1970 · 01:00:00 ··· 30.04.2012 · 05:53:04 ··· ··· ··· ··· ··· ··· Felix Mendelssohn Cello Sonata No. 1 in B flat major, Op. 45
Cello Sonata No. 1 (Mendelssohn)
Felix Mendelssohn's Cello Sonata No. 1 in B flat major, Op. 45 was composed in October 1838. The work has three movements: Complete all movements
Allegro vivace
Andante
Allegro assai
Sonate pour violoncelle et piano nº 1 Mendelssohn La Sonate pour violoncelle et piano nº 1 en si bémol majeur opus 45 est composée par Felix Mendelssohn Bartholdy en 1838.
16:: Heitor Villa-Lobos - Bachianas Brasileiras No. 8 Complete
01.01.1970 · 01:00:00 ··· 30.04.2012 · 05:14:43 ··· ··· ··· ··· ··· ··· Heitor Villa-Lobos Bachianas Brasileiras No. 8 Eight Complete HD By Heitor Villa-Lobos
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one "Bachian" (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 8
Scored for symphony orchestra (1944) (dedicated to Mindinha)
Preludio
Aria (Modinha)
Tocata (Catira batida)
Fuga (Also arranged for four-part a cappella choir.)