Edward Elgar Introduction and Allegro, Op. 47 Vídeos
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Sir Edward Elgar Sir John Barbirolli Allegri Piacevole Sinfonia London New Philharmonia Orchestra 1403 1800 1802 1857 1899 1909 1914 1934 1962 1966
Sir Edward Elgar +••.••(...)) English Strings Music. *Find this recording in our Spotify playlist* : (http•••) *Click to activate the English subtitles for the presentation* (00:00-02:30) 00:00 Introduction and Allegro, Op.47 with Allegri String Quartet Serenade for Strings in E minor, Op. 20 14:03 I. Allegro Piacevole 18:02 II. Larghetto 24:02 III. Allegretto, Come Prima 27:15 Elegy, Op. 58* 31:46 Sospiri, Op. 70* Sinfonia of London New Philharmonia Orchestra* Recorded in 1962, 1966, at London Painting: British School 19th century (1800–1899) www.tate.org.uk Find CMRR's recordings on SPOTIFY : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) Barbirolli saw how the smaller works were tributaries flowing into the main broad stream. This perceptiveness is especially notable in his conducting of the Elegy and Sospiri, recorded with the New Philharmonia Orchestra in mid-July 1966. Together they do not last 10 minutes, but in that time what an emotional canvas is covered. The Elegy (1909) is the more formal. It was written ostensibly as a memorial to a former official of the Worshipful Company of Musicians, but one cannot escape the feeling that something more personal was the cause of these elegiac thoughts, so serenely expressed and written with such mastery of the sound of strings. Barbirolli finds its heartbeat, as he does even more poignantly in Sospiri (1914) for strings, harp and organ. What are the 'Sighs' of the title? Nothing trivial, we may be sure, for there is heartbreak in this music and, as Barbirolli conducts it, a Mahlerian nervous tension. Whatever was at the root of this exposure of innermost grief, it shook Elgar to the core of his being. Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Cent.rec.: Sir John Barbirolli): (http•••) Edward Elgar PLAYLIST (reference recordings): (http•••)
Lawes Hallé Edward Elgar Mark Elder 2004
Provided to YouTube by The Orchard Enterprises Symphony No. 2 in E Flat, Op. 63 · Lyn Fletcher · Ann Lawes · Timothy Pooley · David Watkin · Hallé · Edward Elgar · Mark Elder Elgar: Symphony No. 2 in E Flat Introduction and Allegro ℗ 2004 Hallé Concerts Society Released on: 2004-09-06 Auto-generated by YouTube.
Lennox Berkeley Woodrow Elgar Vaughan Williams Ravel Nadia Boulanger Poulenc Stravinsky Milhaud Britten Richard Rodney Bennett John Tavener Brian Ferneyhough Ivry Gitlis Wigmore Hall 1946 1947 1968 2021
James Woodrow - Violin Home recording 03/07/2021 Lennox Berkeley’s music does not show an obvious placement in the previous lineage of the British compositional style, stemming from composers such as Elgar and Vaughan Williams. Upon graduating from Oxford University, an encounter in Oxford with Ravel, who was impressed with Berkeley’s early compositional efforts, led Ravel to suggest he study in Paris with Nadia Boulanger. Berkeley’s time in Paris, not only studying with Boulanger, but mixing with composers such as Poulenc, Stravinsky, and Milhaud, gives his music a distinctive French flavour which sets him apart from his British contemporaries. After studies in Paris, a close friendship with Britten resulted in a joint collaborative orchestra work, Mont Juic. In the same year as composing the Introduction and Allegro, he took up the post of Professor of Composition at the Royal Academy of Music between 1946-1968; his students included Richard Rodney Bennett, John Tavener and Brian Ferneyhough. His compositional output includes works in all major genres, with his colourful compositional style making him an intriguing figure in twentieth century British music. Introduction and Allegro was dedicated to, and first performed by, Ivry Gitlis. Written in 1946, it had its premiere at the Wigmore Hall in 1947. The two musicians clearly worked closely on the piece, as Gitlis acted as editor, providing suggested bowings and fingerings in the published edition. The piece could be seen as providing a snapshot of Gitlis’ playing, as it was very likely written with his individual playing style in mind. The Introduction in particular has an improvisatory quality, which reflects Gitlis’ exploratory and fantasy-like approach to violin playing, which has made him one of the twentieth century’s most admired players. The Introduction starts with a bold and strident opening, with a rhythmic motif on just the one note. This statement appears four more times in the Introduction. Around this motif is a meandering and exploratory chromatic melody. The Introduction explores many different violin colours, using all four strings in different tessituras. The Allegro has a lively and restless character. Despite only one section of double stops, the writing is extremely harmonically colourful, showing Berkeley’s craft of tonality within the parameters of a solo violin work. The idiomatic violin techniques including harmonics, left hand pizzicato and ricochet bowing, as well as the general musical character, result in a playful conclusion to an initially serious introduction. If you enjoyed this recording please like and subscribe to my channel. I am more than happy to answer any questions about the repertoire I play, if I can, in the comments section below. My links Subscribe (http•••) Twitter (http•••) LinkedIn (http•••)
Edward Elgar Yehudi Menuhin Maxim Rysanov Valery Gergiev Mikhail Pletnev Jiří Bělohlávek Svetlanov Andrey Boreyko Vasily Petrenko Petrenko Tugan Sokhiev Yuri Simonov Vassily Sinaisky Sir Mark Elder Philippe Herreweghe Eivind Gullberg Jensen Jensen Michał Nesterowicz Nesterowicz Arvo Volmer Matthias Bamert John Axelrod Olari Elts Caballe Kaftan Gennady Rozhdestvensky Jorma Panula Oleg Caetani Verdi Vivaldi Maxim Vengerov Janine Jansen Mischa Maisky Gidon Kremer Nicola Benedetti Vadim Repin Augustin Dumay Viktoria Mullova Alexander Sitkovetsky Sitkovetsky Sol Gabetta Leif Ove Andsnes Denis Matsuev Alessio Bax Bax Michael Collins Alice Coote Freddy Kempf Dobrinka Tabakova Pēteris Vasks Richard Dubugnon Balogh Yusupov Leonid Desyatnikov Giya Kancheli Gabriel Prokofiev Prokofiev Schubert Lionel Tertis Valentino Bucchi Last Night Proms Mariinsky Gürzenich Russian National Orchestra Bbc Symphony Orchestra Residentie Orkest Seattle Symphony Orquesta Sinfónica Castilla León Deutsches Symphonie Orchester Berlin Bournemouth Symphony Orchestra Gürzenich Orchestra Frankfurt Radio Symphony Prague Radio Symphony Orchestra Adelaide Symphony Orchestra Danish National Symphony Orchestra National Symphony Orchestra European Union Youth Orchestra Scottish Chamber Orchestra Spanish National Orchestra Beethovenorchester London Mozart Players Southbank Sinfonia Lithuanian Chamber Orchestra I Musici I Musici Montreal Detmold Chamber Orchestra Sofia Philharmonic 1780 2013 2020 2022
Yehudi Menuhin School Orchestra Friday 8th July 2022 Official website: (http•••) Facebook: (http•••) Grammy nominated Ukrainian-British violist and conductor Maxim Rysanov has established himself as one of the worldʼs most vibrant and charismatic musicians. As a violist, he is principally known as a frequent guest of the crème of the international music scene, such as BBC Last Night of the Proms and the festivals of Edinburgh, Salzburg and Verbier. Among his concerto highlights are the Mariinsky Orchestra (Valery Gergiev), Russian National Orchestra (Mikhail Pletnev), BBC Symphony Orchestra (Jiří Bělohlávek), Residentie Orkest the Hague (Neeme Jarvi), Svetlanov State Symphony Orchestra (Vladimir Jurovsky), Seattle Symphony (Andrey Boreyko), Orquesta Sinfónica de Castilla y León (Vasily Petrenko), Deutsches Symphonie-Orchester Berlin (Tugan Sokhiev), Moscow Philharmonic (Yuri Simonov), Bournemouth Symphony Orchestra (Vassily Sinaisky), Gürzenich Orchestra Cologne (Sir Mark Elder), Frankfurt Radio Symphony Orchestra (Philippe Herreweghe), NDR Philharmonic Orchestra (Eivind Gullberg Jensen), Prague Radio Symphony Orchestra (Juraj Valcuha and again with Michał Nesterowicz), Adelaide Symphony Orchestra (Arvo Volmer), Danish National Symphony Orchestra (Michael Schoenwandt), Shanghai Symphony (Long Yu), European Union Youth Orchestra (Matthias Bamert), Czech Filharmonic (John Axelrod), Scottish Chamber Orchestra (Olari Elts), Spanish National Orchestra (Josep Caballe Domenech) and Beethovenorchester Bonn (Dirk Kaftan). Maxim enjoys a busy career as a conductor parallel to playing the viola. Often he combines conducting and directing a concerto from viola. Maxim studied conducting with Alan Hazeldine at the Guildhall School of Music and Drama, and has taken part in several masterclasses with Gennady Rozhdestvensky, Jorma Panula and Oleg Caetani. Here are some of the orchestras he conducted: Svetlanov State Symphony Orchestra, La Verdi Orchestra Milan, Basel Symphony Orchestra, Russian National Orchestra, Tatarstan State Symphony Orchestra, Spanish Radio Orchestra (RTVE), Orquesta Sinfónica de Castilla y León, Dala Sinfonietta, Danubia Symphony Budapest, London Mozart Players, Southbank Sinfonia, Riga Sinfonietta, Lithuanian Chamber Orchestra, I Musici de Montreal, Detmold Chamber Orchestra, Musica Viva (Moscow), Voronezh Youth Orchestra, Kiev Soloists, Częstochowa Philharmonic Orchestra, Chamber Orchestra Chaarts, Budapest Festival Academy Orchestra, Classic FM Orchestra (Bulgaria), Georgian National Symphony Orchestra, Plovdiv Philharmonic, Sofia Opera Orchestra and Chorus, Sofia Philharmonic, Pfortseim Theatre Orchestra, Badische Philharmonie, Vivaldi Orchestra Morbegno. Maxim is a keen chamber musician. His chamber partners include Maxim Vengerov, Janine Jansen, Mischa Maisky, Gidon Kremer, Nicola Benedetti, Vadim Repin, Augustin Dumay, Viktoria Mullova, Alexander Sitkovetsky, Sol Gabetta, Leif Ove Andsnes, Denis Matsuev, Alessio Bax, Michael Collins, Martin Frost, Alice Coote, Freddy Kempf, Yeoelom Son among others. His enthusiasm for new music generates many exciting collaborations which extend the viola repertoire. This includes world premieres by Dobrinka Tabakova, Pēteris Vasks, Richard Dubugnon, Mate Balogh and Elena Langer. Other composers with whom Maxim has developed a close working relationship include Benjamin Yusupov, Leonid Desyatnikov, Giya Kancheli and most recently Gabriel Prokofiev. Gabriel is planning to write a symphony-concerto for Maxim, where the performer will have to combine skills of both soloist and conductor. Maxim's recordings have gained numerous award nominations including Gramophone Editor's Choice, ECHO, ICMA. Maxim featured as both soloist and conductor on the debut disc of composer Dobrinka Tabakova (ECM) in 2013 - a disc that reached number 2 in the UK classical charts and was shortlisted for a Grammy Award. His last album “in Schubert’s company” was selected as Gramophone Critic’s Choice of the Year. New CD is planned for a spring 2020 release on BIS. Sinfonietta Riga under Maxim’s direction are performing music by Peteris Vasks. It will include the premier recording of the Viola Concerto written and dedicated to Maxim, coupled with the Symphony no 1. Maxim is a recipient of various awards, including the Gramophone Young Artist of the Year Award and the BBC Radio 3 New Generation Award. He is also a prize-winner at the Geneva, Lionel Tertis and Valentino Bucchi competitions. Maxim studied viola with Maria Sitkovskaya in Moscow and John Glickman at the Guildhall School of Music and Drama London. He is delighted to play a 1780 Giuseppe Guadagnini Viola known as 'II Soldato', on private loan that was kindly arranged by Premiere Performances of Hong Kong.
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