Kent Nagano Vídeos
director de orquesta estadounidense
- piano
- música clásica
- Estados Unidos
- director de orquesta, director musical
streaming
Última actualización
2024-04-25
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Max Bruch Schumann Brahms Liszt Mahler Abbado Gergiev Muti Gatti Nagano Bach Satie Tchaikovsky Beethoven Chopin Haydn Ravel Debussy Verdi Vivaldi Handel Schubert Mendelssohn Rachmaninoff Verbier Festival Copenhagen Philharmonic 1738 1838 1909 1920
Max Bruch +••.••(...)) enjoyed a long, successful and fruitful career as a composer and conductor, holding several important posts in Germany. His musical language is firmly rooted in the German Romantic Tradition of Schumann and Brahms, as opposed to the “New Music” of Liszt, Wagner and Mahler. Bruch wrote his works for clarinet at the end of his musical life, when he actually had declared that his “source of inspiration had dried up”. But the clarinet playing of his son Max Felix inspired him to write two substantial works featuring the clarinet: the beautiful and still neglected Double Concerto for Clarinet, Viola and Orchestra Op. 88 and the substantial “8 Pieces for Clarinet, Viola and Piano” Op. 83, delightful Character Pieces in the style of Schumann’s Märchenerzählungen. Giovanni Punzi is one of the foremost clarinet players of the young Italian generation. He played in the Mahler Youth Orchestra, the Verbier Festival Orchestra under conductors like Abbado, Gergiev, Muti, Gatti and Nagano. On this recording he plays with the Copenhagen Philharmonic Orchestra, of which he is principal Clarinetist. Composer: Max Bruch Artists: Giovanni Punzi (clarinet), Eva Katrine Dalsgaard (viola), Tanja Zapolski (piano), Copenhagen Philharmonica, Vincenzo Millitarì (conductor) Ripe and romantic chamber and orchestral music from the Indian summer of Bruch’s career. The spring of Bruch’s invention was running dry in the first decade of the last century when it was refreshed once more by the sound of the clarinet. Just as the playing of Richard Muhlfeld had inspired Brahms to write his Clarinet Quintet and two sonatas, so Bruch discovered the melodies flowing from his pen once more thanks to his clarinettist son, Max Felix, to write the two works on this new album. Having composed no chamber music for several decades, he wrote the Eight Pieces for clarinet, viola and piano in 1909. They belong to the genre of character pieces by Schumann such as the eight Fantasiestücke Op.12, though they lean towards reflective introversion. The cycle’s high-point arrives with the fourth piece, a Romanian melody introduced to him by a young and beautiful aristocrat, the Princess zu Wied. Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): (http•••) More Information: (http•••) Tracklist: Max Bruch: Double Concerto in E Minor, Op. 88: 00:00 I. Andante con moto 06:56 II. Allegro moderato 12:24 III. Allegro molto 8 Pieces for Clarinet, Viola and Piano, Op. 83: 17:38 I. Andante 21:05 II. Allegro molto 23:37 III. Andante con moto 30:18 IV. Allegro agitato 34:12 V. Rumanische Melodie 38:42 VI. Nachtgesang 44:22 VII. Allegro vivace, ma non troppo 47:54 VIII. Moderato Social media links: Instagram: (http•••) Facebook: (http•••) TikTok: (http•••) Spotify Playlists: Brilliant Classics Spotify: (http•••) New Classical Releases: (http•••) The Best of Liszt: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful Classical Music: (http•••) Classical Music For Dinnertime: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel: (http•••) And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #Bruch #Punzi #Dalsgaard #Zapolski #Copenhagen #Philharmonica #Millitari #Clarinet #Violin #Piano #Classical #Music #BrilliantClassics
Johannes Brahms Alban Berg Christian Tetzlaff Robin Ticciati Bartók Mendelssohn Schumann Bach Suk Borne Ferenc Fricsay Lorin Maazel Riccardo Chailly Kent Nagano Ingo Metzmacher Tugan Sokhiev Berlioz Haydn Dvořák Bruckner Duparc Ravel Sir Colin Davis Sir Simon Rattle Deutsches Symphonie Orchester Berlin Scottish Chamber Orchestra National Youth Orchestra Great Britain Glyndebourne Festival Opera 1946 1956 1993 2005 2009 2011 2014 2015 2016 2017 2019 2022
In this new concerto album one of the greatest violinist of his generation, Christian Tetzlaff, offers profound interpretations of two deeply dramatic and lyrical concertos – those of Brahms and Berg – together with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati. “Reasons of substance justify the recording of the Violin Concertos of Johannes Brahms and Alban Berg on a single album: both works concern existential human states of being. For me, the concerto by Johannes Brahms is a work that in a violin concerto dares to address very dangerous, abysmal, and profound states of the soul. Here an enormous contrast between ecstasy and total lonely isolation is in evidence. (...) Brahms also has a lot to say about pain. That’s rare in violin concertos – and links the Brahms concerto to the one by Alban Berg. I’ve been playing both concertos for 40 years – and I’ve played both of them, taken together, much more than 300 times. Here it seems to me as though the experience of these pieces changes one’s own life.” (Christian Tetzlaff’s liner notes) Christian Tetzlaff is considered one of the world’s leading international violinists and maintains a most extensive performing schedule. Musical America named him ‘Instrumentalist of the Year’ in 2005. His recording of the Bartók Violin Concertos (ODE 1317-2) received both Gramophone and ICMA Awards, and the recording was also a finalist for the BBC Music Award in 2019. His recording of the Violin Concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), and Bach Sonatas and Partitas released in 2017 (ODE 1299-2D) received the ‘Preis der deutschen Schallplattenkritik’. In addition, in 2015 ICMA awarded Christian Tetzlaff as the ‘Artist of the Year’, and he also received ECHO ‘Instrumentalist of the Year’ award in 2017. His recordings on Ondine with Brahms’ Trios (ODE 1271-2D) and Violin Concertos by Dvorák and Suk +••.••(...)), released in 2015 and 2016, earned GRAMMY nominations. For more than 70 years the Deutsches Symphonie-Orchester Berlin (DSO Berlin) has distinguished itself as one of Germany’s leading orchestras. Founded as the RIAS Symphony Orchestra in 1946, it was renamed the Radio Symphony Orchestra Berlin in 1956 and has borne its current name since 1993. Robin Ticciati has led the DSO as its music director since the 2017–18 season. Since its inception, the orchestra has been able to retain outstanding artist personalities, including Ferenc Fricsay, Lorin Maazel, Riccardo Chailly, Vladimir Askenazy, Kent Nagano, Ingo Metzmacher, and Tugan Sokhiev. Robin Ticciati has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival Opera since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009–18. His highly acclaimed discography includes recordings of works by Berlioz, Haydn, Schumann, Brahms, Dvořák, Bruckner, Duparc and Ravel. Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged fifteen, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. Facebook: (http•••) Instagram: (http•••) Twitter: (http•••)
André Watts Seiji Ozawa Rachmaninoff Leonard Bernstein Fleischer Norton Nagano Beethoven Hideo Saito Charles Munch Koussevitzky Herbert Karajan Matsumoto New York Philharmonic Orchestra Philadelphia Orchestra Boston Symphony Orchestra Toronto Symphony Orchestra San Francisco Symphony Orchestra Metropolitan Opera Vienna State Opera Tanglewood Ravinia Festival Saito Kinen Festival Matsumoto 1602 1935 1959 1964 1965 1968 1969 1970 1973 1976 1988 1992 1998 2002 2010 2011 2015
I. Allegro ma non tanto (D minor) 0:06 II. Intermezzo: Adagio (A Major-D♭ Major-C♯ Major) 16:02 III. Finale: Alla breve (D minor-D Major) 25:50 Andre Watts, piano Seiji Ozawa, conductor New York Philharmonic Orchestra ANDRE WATTS: "André Watts is a German-born American pianist who was known for a surpassing technique and understated manner that made him a favoured concert performer. Watts was the son of an African American soldier and a Hungarian mother. At age nine he made his debut at a Philadelphia Orchestra children’s concert. He attracted wide attention when at age 16 he performed on television under conductor Leonard Bernstein. Though already a mature musician, he chose to continue study with Leon Fleischer. In 1976 he gave a concert that was the first live television broadcast of a solo recital in history. His popularity continued into the 21st century. Watts was the recipient of numerous honours, including the Avery Fisher Prize (1988) and the National Medal of Arts (2011)." SEIJI OZAWA: "American orchestra conductor Seiji Ozawa is noted for his energetic style and sweeping performances of 19th-century Western symphonic works. Among the honors he received throughout his career were two Emmy Awards for his performances on public television specials, the French Chevalier de la Légion d’Honneur, and honorary doctorates in music from Harvard University, the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. In February 1998 he joined musicians around the world via satellite link to close the opening ceremonies at the Winter Olympics in Nagano, Japan, with Ludwig van Beethoven’s Ode to Joy. Seiji Ozawa was born on September 1, 1935, in Hoten, Manchukuo (now in China), of Japanese parents. He grew up in Japan and showed interest in Western music as a child. He had hoped to become a pianist, but at age 16 he injured his hands. Ozawa then turned to conducting, studying with Hideo Saito at the Toho School in Tokyo. In 1959, after conducting with the NHK (Nippon Hoso Kyokai) Symphony Orchestra of Japan and the Japanese Philharmonic, Ozawa went to Europe, where he won the Besançon International Conductors’ Competition. The following summer he studied in the United States under Charles Munch at the Berkshire Music Festival in Tanglewood, Massachusetts, where he won the Koussevitzky Prize. At that time he began a long and fruitful association with the Boston Symphony Orchestra. After a further year of study with Herbert von Karajan in Berlin, Ozawa was engaged as an assistant conductor of the New York Philharmonic by Leonard Bernstein. From 1964 to 1968 Ozawa served as music director of the Ravinia Festival in Chicago. He became music director of Canada’s Toronto Symphony Orchestra in 1965 and of the San Francisco Symphony Orchestra in 1970. In 1973 Ozawa was appointed conductor and music director of the Boston Symphony Orchestra, a position that had for years been the exclusive preserve of European conductors. His tenure with the symphony lasted until 2002, the longest of any active music director with a major orchestra. Ozawa became increasingly interested in opera during the 1990s. In 1992 he debuted with the Metropolitan Opera in New York and, as a tribute to Hideo Saito, cofounded the Saito Kinen Festival in Matsumoto, Japan. He was principal conductor of the Vienna State Opera from 2002 to 2010. Early in 2010 Ozawa underwent surgery for esophageal cancer, which forced him to retreat from the public stage for the better part of the year. Ozawa made his return to public performance at the Saito Kinen Festival that September. Ongoing health issues continued to restrict his performance schedule, but he nonetheless made occasional appearances, notably at the Saito Kinen Festival. It was renamed the Seiji Ozawa Matsumoto Festival in his honor in 2015. In 2011 Ozawa received the Japan Art Association’s Praemium Imperiale prize for music. He was named a Kennedy Center honoree in 2015." Remastered By: Wayne Yang, USA-Taiwan
Eugen Jochum Hilde Gueden Ernst Haefliger Martti Talvela Catherine Gayer Sieglinde Wagner Vogel Nagano Walter Dicks Werner Götz Bella Jasper Hans Beirer Ernst Krukowski Sellner Kühner Stark Heil Glück Stille Wolfgang Amadeus Mozart Emanuel Schikaneder Deutsche Oper Berlin 1791 1963 1966
Eugen Jochum, Orchester der Deutschen Oper Berlin (Recorded 24th October, 1966, Nissay Theatre, Tokyo) Tamino — Ernst Haefliger Papageno — Manfred Röhrl Pamina — Hilde Gueden Queen of the Night — Catherine Gayer Sarastro — Martti Talvela First lady — Annabelle Bernard Second lady — Gitta Mikes Third lady — Sieglinde Wagner Monostatos — Karl-Ernst Merker First boy — Barbara Vogel Second boy — Helga Wisniewska Third boy — Yonako Nagano Speaker — Gerd Feldhoff First priest — Walter Dicks Second priest — Werner Götz Papagena — Bella Jasper First armoured man — Hans Beirer Second armoured man — Ernst Krukowski The production was by Rudolf Sellner. / The Deutsche Oper Berlin first visited Tokyo in 1963, giving performances of Fidelio, Figaro, Tristan, and Wozzeck. This performance of Die Zauberflöte was given during the company’s second visit in 1966, when the other operas performed were La Traviata, Der fliegende Holländer, Die Entführung, and Elegie für junge Liebende. / ACT 1: 0:00:00 — Ouvertüre 0:07:13 — No. 1: “Zu Hilfe! Zu Hilfe! sonst bin ich verloren!” (Introduction) 0:14:08 — No. 2: “Der Vogelfänger bin ich ja” (Aria) 0:20:03 — No. 3: “Dies Bildnis ist bezaubernd schön” (Aria) 0:25:18 — No. 4: “O zitt’re nicht, mein lieber Sohn” (Recitative and Aria) 0:30:08 — No. 5: “Hm! Hm! Hm! Hm Hm Hm!” (Quintet) 0:36:38 — No. 6: “Du feines Täubchen, nur herein!” (Trio) 0:40:31 — No. 7: “Bei Männern, welche Liebe fühlen” (Duet) 0:43:43 — No. 8: “Zum Ziele führt dich diese Bahn” (Finale) 0:45:19 — No. 8: “Die Weisheitslehre dieser Knaben” (Finale) 0:47:14 — No. 8: “Wo willst du kühner Fremdling hin?” (Finale) 0:54:07 — No. 8: “Wie stark ist nicht dein Zauberton” (Finale) 0:56:58 — No. 8: “Schnelle Füße, rascher Mut!” (Finale) 1:01:45 — No. 8: “Herr, ich bin zwar Verbrecherin” (Finale) 1:05:11 — No. 8: “Nun, stolzer Jüngling; nur hierher!” (Finale) ACT 2: 1:08:47 — No. 9: Marsch der Priester 1:12:06 — No. 10: “O Isis und Osiris” (Aria and Chorus) 1:17:03 — No. 11: “Bewahret euch vor Weibertücken” (Duet) 1:18:08 — No. 12: “Wie? Wie? Wie? Ihr an diesem Schreckensort?” (Quintet) 1:21:29 — No. 13: “Alles fühlt der Liebe Freuden” (Aria) 1:23:00 — No. 14: “Der Hölle Rache kocht in meinem Herzen” (Aria) 1:26:45 — No. 15: “In diesen heil’gen Hallen” (Aria) 1:33:06 — No. 16: “Seid uns zum zweiten Mal willkommen” (Trio) 1:35:39 — No. 17: “Ach, ich fühl’s, es ist verschwunden!” (Aria) 1:39:59 — No. 18: “O Isis und Osiris” (Chorus) 1:43:42 — No. 19: “Soll ich dich, Teurer, nicht mehr seh’n?” (Trio) 1:48:05 — No. 20: “Ein Mädchen oder Weibchen” (Aria) 1:53:27 — No. 21: “Bald prangt, den Morgen zu verkünden” (Finale) 1:59:27 — No. 21: “Der, welcher wandert diese Straße” (Finale) 2:04:15 — No. 21: “Tamino mein! O welch ein Glück!” (Finale) 2:07:49 — No. 21: “Wir wandelten durch Feuergluten” (Finale) 2:11:27 — No. 21: “Papagena! Papagena! Papagena!” (Finale) 2:16:49 — No. 21: “Pa-pa-pa”...”Pa-pa-pa” (Finale) 2:19:27 — No. 21: “Nur stille! Stille! Stille!” (Finale) 2:21:21 — No. 21: “Die Strahlen der Sonne” (Finale) / The Magic Flute (German: Die Zauberflöte) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work was first performed at the Freihaus-Theater auf der Wieden in Vienna on 30th September, 1791, just two months before the composer's premature death.
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- cronología: Directores de orquesta (Norteamérica).
- Índices (por orden alfabético): N...