Вивальди Концерт для виолончели, струнных и континуо до минор
Vivaldi Concerto for Cello, Strings and Continuo in C Minor https://archive.org/details/lp_concerti_antonio-vivaldi-i-musici Исполнитель: I Musici, также известный как I Musici di Roma, — итальянский камерный оркестр из Рима, основанный в 1951 году. Они хорошо известны своими интерпретациями барокко и других произведений, в частности Антонио Вивальди и Томазо Альбинони #Вивальди#концерт#скрипка#фортепиано#флейта#виолончель#классическая_музыка#Vivaldi#concert#violin#piano#flute#cello#classical_music
#классическая_музыка#Вагнер#увертюра#classical_music#Wagner#overture
NDR Symphony Orchestra, Hamburg
Management: Pierre Monteux
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#Чайковский#вальс#Tchaikovsky#waltz
Andre Kostelanetz
1. Waltz From "Sleeping Beauty" 00:00
2. Waltz In E-Flat, Op. 39, No. 8 04:01
3. Waltz From "Swan Lake" - Act I 05:34
4. Waltz Sentimental, Op. 51, No. 6 09:058
5. Walzt Of The Flowers From "The Nutcracker" 11:19
6. Waltz From "Swan Lake" - Act III 14:04
7. Waltz Finale From "The Nutcracker" 16:56
8. Waltz From "Swan Lake" - Act II 20:19
9. Waltz From "Serenade For Strings" 22:17
10. Waltz Mélancolique 22:55
11. Waltz From "Eugen Onegin" 28:30
While the number of albums devoted to Strauss waltzes is legion, a collection of Tchaikovsky waltzes is a rarity. To cele- brate the welcome occasion to record ROMANTIC WALTZES BY TCHAIKOVSKY, Andre Kostelanetz enfolds the bewitching music in a sheath of lowing orchestral sound.
A convincing case might be made for Tchaikovsky’s su- premacy among waltz composers. Although he did not write anywhere near as many waltzes as Johann Strauss, Jr., no other composer—not even the Waltz King himself—quite captured the many moods of the inner essence of the swaying, pliant dance as Peter Ilich Tchaikovsky did. His waltzes have a majestic elegance and noble grace that put them in a class by themselves. Surely, no one before or since has endowed the waltz with the glorious instrumentation that the Russian master lavished on his own.
It is not surprising that Tchaikovsky's waltzes should suggest the ballet stage; many of them, in fact, were intended for the ballet. Most of the selections in this album fall into this cate- gory. The famous Waltz from Act | of ‘Sleeping Beauty,” with its bold and impressive introduction and sweeping string melody, is one of the loveliest excerpts in all Tchaikovsky’s music. Mr. Kostelanetz conducts a waltz from each of the three acts of ‘Swan Lake.” Two waltzes come from the charm- ing ballet for children, ‘‘The Nutcracker’: the rhythmically buoyant Waltz of the Flowers and the stirring Waltz Finale to the ballet itself.
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#classical_music#Vitali#Chacone
iolin: Ricardo Odnoposoff, organ: Heinz Wehrle, Cello: Leo Restal, Harpsichord: Benjamin OREN
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#Mozart#Chamber_music#Classical_music#Symphony#musical_composition
Publication date 1952
The London Symphony Orchestra; Josef Krips
Wolfgang Amadeus Mozart's Symphony No. 39 in E flat major, K. 543 is one of the most popular and beloved symphonies in classical music. Composed in 1788, it was one of Mozart's final three symphonies, all of which he composed within a six-week period. This particular symphony is renowned for its graceful melodies, inventive harmonies, and masterful orchestration, and it continues to be a favorite among both musicians and audiences alike.
Symphony No. 39 is a four-movement work that follows the standard symphonic form of the time. The first movement is in sonata form, with a majestic and imposing opening that sets the tone for the rest of the symphony. The second movement is a slow and expressive adagio, followed by a minuet and trio in the third movement that showcase Mozart's signature elegance and grace. The final movement is a lively and spirited allegro that brings the symphony to a rousing and satisfying conclusion.
One of the most striking characteristics of Symphony No. 39 is its use of orchestration. Mozart was a master of orchestration, and in this symphony, he uses the full range of the orchestra to create a rich and varied sound. The symphony features the standard orchestral instruments of the time, including strings, woodwinds, brass, and percussion, but Mozart also adds clarinets, which were a relatively new addition to the orchestra at the time.
Another hallmark of Symphony No. 39 is its use of melody. Mozart was known for his ability to craft memorable and expressive melodies, and this symphony is no exception. The opening theme of the first movement is majestic and regal, while the second movement features a lyrical and emotional melody that is both beautiful and haunting. The third movement is light and playful, with a charming and memorable melody that is sure to delight listeners.
Symphony No. 39 was composed during a particularly tumultuous time in Mozart's life. He was struggling financially, and his health was beginning to deteriorate. Despite these difficulties, however, Mozart continued to compose at a feverish pace, and the result was one of the greatest periods of creativity in his life. Symphony No. 39, along with his other two final symphonies, marked a turning point in Mozart's career and a culmination of his creative genius.
Conclusion
Wolfgang Amadeus Mozart's Symphony No. 39 in E flat major, K. 543 is a masterpiece of classical music that continues to captivate audiences today. With its graceful melodies, inventive harmonies, and masterful orchestration, it remains one of Mozart's most beloved works
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#classical music #Boccherini #concerto
Боккерини Концерт для виолончели ре мажор, соч. 34
JEAN DECROOS, cello
1 Andante Maestro
2. Andante Lentarello
2. Allegro Con Moto
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Трио Луиджи Боккерини, соч. 38, № 2, ре мажор, соч. 47, № 5
The New York String Trio
GERALD TARACK, violin
HARRY ZARATZIAN, viola
ALEXANDER KOUGUELL, cello
Andantino moderato assai; Tempo di Minuetto
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#classical_music#Beethoven#sonata
LEONID KOGAN, violin
GRIGORI GINSBURG, piano
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Symphony in Four Tableaux After the Dramatic Poem of Byron, Op. 58
Lord Byron wrote his dramatic poem Manfred in 1816-17. The first two acts were written during his travels in Switzer- land, and the third act in Venice. After its completion, the latter was extensively revised at the suggestion of Byron’s pub- lisher. To that publisher he wrote on February 15, 1817: “I forgot to mention to you that a kind of poem in dialogue (in blank verse) or drama, ...begun last summer in Switzerland, is finished; it is in three acts, but of a very wild, metaphysical and inexplicable kind. Almost all the persons— but two or three —are spirits of the earth and air, or the waters; the scene is in the Alps; the hero a kind of magician, who is tor- mented by a species of remorse, the cause of which is left half unexplained. He wanders about invoking these spirits, which appear to him, and are of no use; he at last goes to the very abode of the Evil Principle, in propria persona, to evocate a ghost, which appears and gives him an ambiguous and dis- agreeable answer; and in the third act he is found dying ina tower where he had studied his art. You may perceive by this outline that I have no great opinion of this piece of phantasy.”
Byron may have had a low opinion of his poem, but that opinion was not shared by others. Whereas he felt it was not at all suitable for stage representation, it was ultimately pro- duced as a drama in 1834 and many times thereafter. It was for such a performance that Robert Schumann composed his overture and incidental music to Manfred in 1848. Manfred has even been called “a sort of nineteenth century Faust;” there are, in fact, a number of close spiritual relationships between these two figures, each of whom is willing to sell his soul to the Devil in exchange for certain supernatural powers.
We owe the existence of Tchaikovsky Manfred to Mily
Sir Eugene Goossens; The London Symphony Orchestra
1. Manfred (Symphony In Four Tableaux After The Dramatic Poem Of Byron, Op. 58): 1st Movement - Lento Lugubre
2. Manfred (Symphony In Four Tableaux After The Dramatic Poem Of Byron, Op. 58): 2nd Movement - Vivace Con Spirito
3. Manfred (Symphony In Four Tableaux After The Dramatic Poem Of Byron, Op. 58): 3rd Movement - Andante Con Moto
4. Manfred (Symphony In Four Tableaux After The Dramatic Poem Of Byron, Op. 58): 4th Movement - Allegro Con Fuoco
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Haydn Trio in G Major HK XI 124
Чарльз ФРЕЙ - скрипка
Давиа БИНДЕР - альт
Бернар ЭСКАВИ - виолончель
#Гайдн#трио#скрипка#фортепиано#флейта#виолончель#классическая_музыка#Haydn#trio#violin#piano#flute#cello#classical_music
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