Johannes Brahms 5 Poèmes, Opp. 19 Vidéos
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2024-03-28
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Claude Arrieu Johann Sebastian Bach Igor Stravinsky Gabriel Fauré Claude Debussy Maurice Ravel Marguerite Long Georges Caussade Noël Gallon Jean Roger Ducasse Ducasse Paul Dukas Pierre Schaeffer Jean Pierre Rampal Roussel Frédéric Chopin Johannes Brahms Wolfgang Amadeus Mozart Sergei Rachmaninov Franz Liszt Astor Piazzolla Beethoven Georges Bizet Gioachino Rossini Antonio Vivaldi Niccolò Paganini Pyotr Ilyich Tchaikovsky Johann Strauss John Dowland Franz Joseph Haydn Ralph Vaughan Williams Giovanni Battista Pergolesi Antonín Dvořák Giacomo Puccini Franz Schubert Giuseppe Verdi Opéra Marseille 1924 1932 1934 1935 1936 1937 1938 1943 1944 1945 1946 1947 1949 1953 1955 1957 1958 1960 1961 1962 1964 1965 1970 1974
Relax and enjoy with the best classical music of all times! Subscribe: (http•••) Claude Arrieu - Quintette en Ut, pour flute, hautbois, clarinette, cor et basson (1955) 1 Allegro 2 Andante 3 Allegro Scherzando 4 Adagio 5 Allegro vivace Claude Arrieu was a classically trained musician from an early age. She became particularly interested in works by Bach and Mozart, and later, Igor Stravinsky. However, Gabriel Fauré, Claude Debussy, and Maurice Ravel provided her the most inspiration. Dreaming of a career as a virtuoso, she entered the Conservatoire de Paris in 1924. She became a piano student of Marguerite Long and took classes from Georges Caussade, Noël Gallon, Jean Roger-Ducasse and Paul Dukas. In 1932, she received first prize for composition. From this point on, she developed her personal style. She was particularly interested in the evolution of musical language and various technical means available. In 1935, she joined the French Radio Broadcasting Program Service (« Service des programmes de la Radiodiffusion française »), where she was employed to 1947. She participated in the development of a wide range of programming, including Pierre Schaeffer’s experimental radio series, La Coquille à planètes (1943–1944). In 1949, she won the Prix Italia of the RAI for her score Frédéric Général. She wrote music in all styles, composing works of "pure music" as well as music for theatre, film, radio, and music hall, contributing her own voice to every situation, dramatic or comic, with a particular taste for rhythm and imagery. Her musical gift is typified by its ease of flow and elegance of structure. Vivacity, clarity of expression, and a natural feel for melody are her hallmarks. Arrieu composed concertos for piano (1932), two pianos (1934), two concertos for violin (1938 and 1949), for flute (1946), trumpet and strings (1965). She also wrote Petite suite en cinq parties (1945), "Concerto for wind quintet and strings" (1962), Suite funambulesque ("Tightrope Walker's Suite") (1961), and "Variations for classical strings" (1970). Among her important chamber music compositions are her "Trio for Woodwinds" (1936), "Sonatina for Two Violins" (1937), and "Clarinet Quartet" (1964). Her "Sonatine for flute and piano" made a big impression at its first radio performance in 1944 by Jean-Pierre Rampal and H. Moyens. Although Arrieu’s instrumental works strongly contributed to her legacy, it is vocal music that most markedly distinguish her career. Voice inspired her to set many poems to music, including those by Joachim du Bellay, Louise Levêque de Vilmorin, Louis Aragon, Jean Cocteau, Jean Tardieu, Stéphane Mallarmé, and Paul Éluard. Examples include Chansons Bas for voice and piano based on poems by Mallarmé (1937); Candide, radio music on texts by Jean Tardieu based on Voltaire; and À la Libération, cantata of seven poems on love in war, on poems by Paul Éluard Her first opéra bouffe, Cadet Roussel with a libretto by André de la Tourasse after Jean Limozin, was presented at the Opéra de Marseille on 2 October 1953. In 1960, La princesse de Babylone ("Princess of Babylon"), an opéra bouffe after the work of Voltaire adapted by Pierre Dominica, was praised for its lyrical originality and spectacle. Noteworthy film scores include: Les Gueux au paradis (1946), Crèvecoeur (1955), Niok l'éléphant (1957), Marchands de rien (1958), Le Tombeur (1958), and Julie Charles (for television, 1974). Pierre Schaeffer writes: "Claude Arrieu is part of her time by virtue of a presence, an instinct of efficiency, a bold fidelity. Whatever the means, concertos or songs, music for official events, concerts for the elite or for a crowd of spectators, she delivered emotion through an impeccable technique and a spiritual vigilance, finding the path to the heart." Listen Fantastic Piano, Violin and Orchestral Masterpieces by the greatest composers of all time. Claude Debussy, Frédéric Chopin, Johannes Brahms, Wolfgang Amadeus Mozart, Sergei Rachmaninov, Franz Liszt, Astor Piazzolla, Johann Sebastian Bach, Ludwig van Beethoven, Georges Bizet, Gioachino Rossini, Antonio Vivaldi, Niccolò Paganini, Wagner Richard, Pyotr Ilyich Tchaikovsky, Johann Strauss, John Dowland, Franz Joseph Haydn, Ralph Vaughan Williams, Giovanni Battista Pergolesi, Antonín Dvořák, Giacomo Puccini, Igor Stravinsky, Franz Schubert, Giuseppe Verdi, and others… Subscribe: (http•••)
Francis Poulenc Benjamin Britten Claude Debussy Padova Luigi Piovano Ravel Martha Argerich Lilya Zilberstein Mario Brunello Aldo Ciccolini Earl Wild Leslie Howard Liszt Bach Satie Tchaikovsky Beethoven Chopin Haydn Verdi Vivaldi Handel Brahms Schubert Mendelssohn Rachmaninoff Orchestra Padova Veneto Carnegie Hall 1932 1941 2008
Three 20th-century masters, painting glittering rainbows of colours with two pianos. Composer: Benjamin Britten, Claude Debussy, Francis Poulenc Artists: Mattia Ometto (piano), Leonora Armellini (piano), Orchestra di Padova e del Veneto, Luigi Piovano (conductor) Online purchase and streaming: (http•••) For more information: (http•••) From Javanese gamelan to Mozart, from nursery rhymes to passionate outbursts, from primitive percussion to the café chantant, Francis Poulenc gathered up almost all the formative influences on his style in his Concerto for Two Pianos of 1932. Aside from Mozart, there is also an evident allusion to Ravel, in particular to the two piano concertos, which were published and performed in the same year. Yet the originality of the concerto is never in doubt; the deep feeling and light touch of the central Larghetto bear Poulenc’s fingerprints as clearly as the final gallop home. Much less familiar is the Scottish Ballad composed in 1941 by Benjamin Britten as a free fantasy for two pianos and orchestra based on a number of Scottish tunes, including 'Dundee', 'Turn Ye to Me' and 'Flowers of the Forest'. A lamenting funeral march is followed by a flamboyant Highland fling, in which Britten parodies ‘Scottish’ music in a display piece of great wit and vitality. This unique compilation concludes with a two-piano piece in which the orchestra is ‘silent’: the Premiere Suite written with orchestra in mind by Debussy in his early 20s. However, the orchestral score was lost for many years – even this two-piano version was only published in 2008 – and its four movements show Debussy’s language in the act of formation: unmistakably French, and harmonically novel for its time, but still working in self-contained forms – a toccata, a ballet, a shimmering nocturne and a tumultuous final bacchanale. The soloists here are a pair of experienced performers and teachers. Having won several Italian piano competitions, Leonora Armellini appeared at the Projetto Martha Argerich in Lugano and has played chamber music with the likes of Lilya Zilberstein and the cellist Mario Brunello. The author of a popular book introducing classical music to younger audiences, she is joined here by the Padovan born Mattia Ometto, a pupil of Aldo Ciccolini and Earl Wild who has given concerts at Carnegie Hall and recorded with Leslie Howard: a Brilliant Classics album of the symphonic poems in transcription (95748) which attracted enthusiastic reviews: ‘Leslie Howard and Mattia Ometto navigate Liszt’s technical challenges with fluency and ease, but they also treat the scores seriously, playing for effect only when necessary, achieving impressive unanimity and long-lined shape.’ (Classics Today) Track list: 00:00:00 Francis Poulenc: Concerto in D Minor, FP 61: I. Allegro ma non troppo - Très calme 00:08:32 Francis Poulenc: Concerto in D Minor, FP 61: II. Larghetto - Beaucoup plus allant - Tempo I 00:14:35 Francis Poulenc: Concerto in D Minor, FP 61: III. Allegro molto - Agité - Plus calme - Tempo I subito 00:20:59 Benjamin Britten: Scottish Ballad, Op. 26 00:36:12 Claude Debussy: Première suite d’orchestre: I. Fête 00:42:15 Claude Debussy: Première suite d’orchestre: II. Ballet 00:46:30 Claude Debussy: Première suite d’orchestre: III. Rêve 00:53:50 Claude Debussy: Première suite d’orchestre: IV. Cortège et bacchanale Social media: Facebook: (http•••) Instagram: (http•••) Twitter: (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•••) Thanks 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, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #BrilliantClassics #Poulenc #Debussy #Piano #Conductor #Classical #Music #Suite #Suites #Orchestra
Frédéric Chopin Liszt Brahms Hoffmann 1830 1832 1836 1837 1976
The Studies of Frédéric Chopin are three series of studies for piano only published in the decade of 1830. There are a total of twenty-seven studies, distributed as follows: twelve in Op. 10, twelve in Op. 25 and three unnumbered for a method book. A study is, as its name suggests, a piece primarily destined to develop the technique; therefore, each study, in general, is devoted to mastering a specific technical skill and is based on a single musical motif. Of the thousands of piano studies written during the nineteenth century, those of Chopin were the first in which the ideal of combining this practical purpose with a content of high musical significance was fully realized; Liszt and Brahms followed, in this aspect, the path marked by Chopin. Chopin's studies are transcendental technical studies and, at the same time, intensely concentrated sound poems. Etudes Op 25: The second set of Chopin's studies was composed between 1832 and 1836 and published in 1837. It was dedicated to Liszt's mistress, the Countess d'Agoult (Marie d'Agoult), so she has speculated about them. Etude Op 25 No 11: Étude Op. 25, No. 11 in A minor, often referred to as the Winter Wind in English, is a solo piano technical study composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time.[1] The first four bars that characterize the melody were added just before publication at the advice of Charles A. Hoffmann, a friend.[2]. Winter Wind is considered one of the hardest of Chopin's 24 Etudes, ranking the highest level of difficulty according to the Henle difficulty rankings. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use Frédéric Chopin
Johannes Brahms Baumann Faber Simrock Clara Schumann Schumann Rosen 1833 1842 1868 1869 1897 2021
Johannes Brahms (1833–1897) Wiegenlied ("Guten Abend, gute Nacht") Op. 49, No. 4 Afsnee/Gent 24.12.2021, Christmas Eve Jozef Oosterlinck, clarinet Jan F.M. Van Impe, organ (Lovaert, 1842) Jan F.M. Van Impe Afsnee Church (XII, XIII) Johannes Brahms's "Wiegenlied" ("Lullaby"; "Cradle Song"), Op. 49, No. 4, is a lied for voice and piano which was first published in 1868. It is one of the composer's most popular pieces. Brahms based the music of his "Wiegenlied" partially on "S'Is Anderscht", a duet by Alexander Baumann published in the 1840s. The cradle song was dedicated to Brahms's friend, Bertha Faber, on the occasion of the birth of her second son. Brahms had been in love with her in her youth and constructed the melody of the "Wiegenlied" to suggest, as a hidden counter-melody, a song she used to sing to him. Simrock published Brahms's Op. 49 in November 1868. The lullaby was first performed in public on 22 December 1869 in Vienna by Luise Dustmann (singer) and Clara Schumann (piano). The lyrics are from Des Knaben Wunderhorn, a collection of German folk poems: Guten Abend, gut' Nacht, mit Rosen bedacht, mit Näglein besteckt, schlupf' unter die Deck': Morgen früh, wenn Gott will, wirst du wieder geweckt. Good evening, good night, With roses covered, With cloves adorned, Slip under the covers. Tomorrow morning, if God wills, you will wake once again.
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