Arnold Schönberg 3 Piezas Vídeos
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Vladimir Samoylovich Horowitz Chopin Bach Debussy Schumann Alexander Scriabin Sergei Rachmaninoff Tchaikovsky Thomas Beecham Liszt Toscanini Brahms Scarlatti Haydn Clementi Beethoven Samuel Barber Prokofiev Kabalevsky Schonberg Carnegie Hall 1757 1903 1915 1925 1928 1932 1933 1936 1940 1950 1953 1965 1985 1987 1989
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Vladimir Horowiz : Carnegie Hall Rehearsal, 7 January 1965 (Bach, Chopin, Debussy, Schumann, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 January 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 03:24 Conversation and Horowitz testing the piano 05:24 Horowitz improvising II 10:31 Conversation I 11:28 Bach : Toccata Adagio and Fugue in C Major, BWV 564, I Preludio 17:57 II Intermezzo Adagio 22:15 III Fuga Moderamente scherzando un poco umoristico 27:19 Conversation II 28:15 Chopin - Polonaise Fantaisie in A Flat Major Op. 61 41:19 Conversation III 41:42 Debussy : Etudes Livre II No. 11 Pour les arpeges composés 45:45 Conversation IV 47:12 Schumann : Fantasie in C Major Op. 17 I Durchaus phantastisch und leidenschaftlich vorzutragen fragment 58:08 Conversation V 58:24 Chopin : Nocturne No. 15 in F Minor Op. 55 No. 1 BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
London Symphony Orchestra Antal Doráti Schoenberg Anton Webern Berg 2017
Provided to YouTube by Believe SAS Five Pieces for Orchestra, Op. 10: I. 1. Sehr ruhig und zart; 2. Lebhaft und zart bewegt; 3. Sehr langsam und auberst ruhig; 4. Fliebend, auberst zart; 5. Sehr fliebend · London Symphony Orchestra, Antal Doráti Schoenberg & Webern Five Pieces for Orchestra and Berg Three Pieces for Orchestra & Lulu Suite ℗ Mangora Classical Released on: 2017-03-01 Composer: Anton Webern Auto-generated by YouTube.
Glenn Gould Beethoven Schoenberg 1964
1964 was the most crucial year in Glenn Gould's professional career. He gave up concertizing after his two last recitals on March 29 in Chicago and on April 10 in Los Angeles. He then concentrated his musical life on what had always been his ultimate dream: studio recording. After a CBC TV concert in Toronto (Wednesday Festival Series in June) he went to New York to record most of Schoenberg music and his second complete Columbia record devoted to Beethoven, the three sonatas of Opus 10. Gould had always showed a clear preference for Beethoven's early keyboard pieces, saying "Almost all of those early piano works are immaculately balanced -top to bottom, register to register. In these pieces, Beethoven's sense of structure, fantasy, variety, thematic continuity, harmonic propulsion, and contrapuntal discipline, were absolutely, miraculously in alignment." Listening to the first of those three sonatas one feels the obvious fiery enthusiasm that must have inhabited Gould while performing it in an intense, fast tempo. I. Allegro molto e con brio 2'40" II. Adagio molto 6'17" III. Finale. Prestissimo 2'18" Recorded in New York, September 1964
Vytautas Bacevičius Schoenberg Scriabin André Jolivet Varèse Sikorski Nikolai Tcherepnin 1905 1926 1927 1940 1970
Gabrielius Alekna - Piano ((http•••) The pianist has several modern recordings of Vytautas Bacevicius works, including his fourth piano concerto, under the Toccata Classics Label. Totally recommended! Vytautas Bacevičius +••.••(...)) was a Lithuanian Composer. Most of his works are in an atonal idiom of his own devising. He developed a theory of 'cosmic music' and came to regard Schoenberg's 12-note music as out-dated, regarding himself as a successor to Scriabin, André Jolivet and Varèse. Bacevičius studied in Łódź, Poland with, among others, Kazimierz Sikorski and moved to Kaunas in Lithuania in 1926. In 1927 he went to Paris where he studied composition with Nikolai Tcherepnin. He was the first Lithuanian composer, who leads towards contemporary European music culture. Vytautas Bacevičius is credited for composing the first Lithuanian concerto for piano, and one of the first Lithuanian ballets. LITHUANIAN PLAYLIST - (http•••) His early works, written during his study years, were still influenced by romanticism and impressionism. In 1927-1940, so called the "Lithuanian period", Bacevičius turned toward constructivist approach, often employing a principle of contrasting organisation of musical material. Works, composed during this period, show influence of expressionism ("Poème électrique"). At the time Bacevičius began working on "Words" (mot) - a new genre of instrumental chamber music, invented by the composer himself (composed seven pieces). During these productive years Bacevičius composed an opera, a ballet, 2 concertos for piano and orchestra, other symphonic works. After settling in the USA, in the thirties and forties his music became more moderate displaying neo-classical features (Sonata for piano No.3). The fifties and sixties marked new so called "cosmic period". "Symphonie cosmique", "Graphique" for symphony orchestra, "Poème cosmique" for piano and "Rayons cosmiques" for organ are among his most significant works of this period. In his letters Bacevičius contemplated the unity between the idea of absolute music ("music itself is the essence") and cosmological nature of the process of music composition. He saw the idea of cosmic music as a universal music, a phenomenon that is elevated above the material world: "Music as a symbol of Supreme Mind reaches the nucleus and the springs of the Universe and in that it signifies the creator". Aiming to create incorporeal, immaterial music ("Poème cosmique" for piano, "Rayons cosmiques" for organ) the composer abandoned bar lines in his last opuses, while the notation of "Graphique" comes close to graphical scores. Please support me with a little recognition/alms for this channel that you love (i love it too). Feel free to toss a message at my email : •••@••• ; if you need any score. I am here to share, not hiding anything (unless private, and it is most likely not in my channel). Please support - (http•••) There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
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