KΛΑΣΣΙΚΗ/ΣΥΜΦΩΝΙΚΗ ΜΟΥΣΙΚΗ

Η Φαντασία του Οδοιπόρου του Schubert σε μεταγραφή για πιάνο και ορχήστρα από το Liszt
με το Jenö Jando στο πιάνο και τον Andras Ligeti να διευθύνει.
Youtube Video

rx8_drifter

Ο Dudamel είναι μορφή

κάπου παλιότερα είχα ανεβάσει κάτι απ τα BBC concerts

ernani

The Art of Piano - Great Pianists of 20th Century

Youtube Video

ernani

Youtube Video

rx8_drifter

να ξέρεις, κάθε πρωί περιμένω να ποστάρεις για να βάλω μουσική στο γραφείο

ernani

Ο χρήστης rx8_drifter έγραψε:
να ξέρεις, κάθε πρωί περιμένω να ποστάρεις για να βάλω μουσική στο γραφείο

Youtube Video

Helene Grimaud - Living with Wolves (Documentary)

ernani

Η είδηση είναι περσινή, αλλά αξίζει τον κόπο.

Lang Lang AEGON Masterclass

Leading life and pensions company AEGON, recently joined forces with the Royal College of Music (RCM) and one of the world’s most sought after classical music artists, Lang Lang, to offer three young pianists a once in a lifetime opportunity - to take part in a masterclass with the Chinese-born star.

Lang Lang, 27, who is a Brand Ambassador for AEGON, and was recently named by Time Magazine as one of the world’s top 100 most influential people, took time out of his busy touring schedule to give an hour long masterclass in the RCM’s stunning Amaryllis Fleming Concert Hall.

The Lang Lang AEGON Masterclass gave Lara Omeroglu (16), Asagi Nakata (14) and Martin Bartlett (14) – who all study at the RCM Junior Department – the unique opportunity to work with and learn from Lang Lang on a piece of their choice.

Lang Lang was impressed by the standard of the three pianists: “I am really honoured to be invited to this beautiful college, and to listen and work with such great talent. They are three very talented pianists and it was a pleasure to work with them.”

Lara, who only four days earlier was crowned BBC Young Musician of the Year, played Chopin’s Etude in C sharp Minor op 25 no 7 and was thrilled to be working with such a global superstar: “He’s a really emotional player and he really feels the music from his heart. I enjoyed working with him as I feel the same way. It was a great experience and one I will never forget.”

Martin played Scarlatti’s Sonata in F sharp major K 318 L 31, and for him it was a dream come true: “I saw him at the Barbican a few years ago and I thought that one day I would love to meet him – and now I’ve just met him! I learnt so much – it was really fantastic.”

Asagi played Liszt’s Grande Etude de Paganini no 6 (Theme and Variations) and was full of nervous energy: “I was so excited – my adrenaline was so high that I thought I couldn’t play. I loved it and I will never forget what he taught me.”

Peter Hewitt, Director of the Junior Department at the Royal College of Music said: “We were thrilled when we were contacted by AEGON to say Lang Lang was playing a concert at the Royal Albert Hall and would we be interested in him giving a masterclass to some of our junior department students. Of course we said yes, absolutely!

“The Masterclass was a fantastic afternoon, with fantastic playing from the trio - Lara’s expressive poetry; Martin’s compelling sound; Asagi’s coruscating fingers; all already impressive but becoming more so after such penetrating and inspiring input from Lang Lang himself.

“All of us in the audience gained hugely from hearing all three children respond with such intelligence and musicality - so swiftly too. It was a joy to hear him play here at the College.”

Jayne Ponzio, Head of Brand, Communications & Sponsorship for AEGON UK said: “Lang Lang has been AEGON’s “brand ambassador,” since 2009 and it was fantastic to watch him nurturing three of Britain’s brightest musical talents at the Lang Lang AEGON Masterclass. We are delighted with the positive, and lasting, impact he has made on the three pianists, their teachers and the audience who attended.

Alongside our other major sponsorships, such as our partnership with British Tennis and Dutch football team AFC Ajax, Lang Lang is an important part of AEGON’s brand strategy. His international star-status helps us to develop our brand awareness, not only here in the UK, but around the world.”

Πηγή: http://www.rcm.ac.uk/default.aspx?pg=7428 (στο link έχει βίντεο με ολόκληρο το masterclass)

ernani

Chopin - Piano Concerto No. 3

As a throwback to the multi-leveled activities of pianists of the past, Alan Kogosowski has introduced two major additions to the concert repertoire.
He has followed up his internationally acclaimed interpretations of Chopin's music, as well as his orchestration of Rachmaninoff's Trio Elegiaque, with a completed version of the composer's long-delayed and ultimately unfinished Third Piano Concerto in A major, Op.46. This beautiful work is now a worthy companion to the two celebrated concertos completed by Chopin.

The Chopin Third Concerto is published by Theodore Presser Company of Philadelphia. It was premiered in 1999 to mark the 150th anniversary of the death of Chopin, with Kogosowski as soloist, under the baton of maestro Neeme Jarvi, with the Detroit Symphony Orchestra.

The Chopin correspondence is full of hints about a Third Piano Concerto that never surfaced as a complete autograph manuscript. Letters written by the composer, his father, his publishers and pupils all make mention of such a work from late 1830 until 1841. In letters to his publisher, Chopin identified the seldom-performed solo work Allegro de Concert, Op.46, which was eventually published in 1841, as the first movement of his Third Concerto, and is reported to have sent the music to a colleague in Poland saying, 'This is the very first piece I shall play in my first concert upon returning home to a free Warsaw.' That opportunity unfortunately never came.

A throwback to the brilliant virtuoso style of Chopin's concert works during his youthful years as a virtuoso pianist in Warsaw, Vienna, and the early days in Paris, the Allegro was most likely composed in the early 1830s, shortly after the two well-known concertos, in F minor and E minor. Its style and structure readily suggest its adaptability to a succession of contrasting solo and orchestral sections mandatory for a concerto of the period. Concertos were occasionally performed in part or whole as solo pieces - at Chopin's Paris debut concert in February 1832 at the Salle Pleyel, he performed the F minor concerto as a solo - and Chopin is thought to have performed the Allegro of the new concerto as a solo at a soiree given by his Paris publisher Maurice Schlesinger in 1834.

Building on these facts, Alan Kogosowski has orchestrated the Allegro de Concert - he is not the first to have done so - also filling out its formal structure with a second subject taken from the introductory section. He has employed an orchestral ensemble identical to Chopin's two published concertos, with the addition of a second trombone. For the finale, Kogosowski made a calculated and educated leap of imagination to choose the glittering Bolero in A minor/major (same key as the Allegro - an unusual one for Chopin), Op.19, which is a solo piece of the same period - 1834 - one that fits into no category, as do virtually all of Chopin's works. It has a rondo form typical of that found in the finale of a concerto, and a ready-made cadenza. It provides a fitting conclusion to a beautiful work that would otherwise have remained unperformed and hardly known.

Πηγή: http://www.kogosowski.com/a/chopin3.php

Το κονσέρτο:
http://www.youtube.com/watch?v=vix7nt9PebQ
Youtube Video

Και το αυθεντικό Allegro de Concert με τον Vladimir Ashkenazy:
http://www.youtube.com/watch?v=hPD39Gi1GME
Youtube Video

Τέλος υπάρχει και Piano Concerto No. 4* βασισμένο στη σονάτα για Τσέλο (arrangement: Kazimierz Rozbicki):
http://www.youtube.com/watch?v=ytQaKwrM_EY
Youtube Video

*Για την ακρίβεια Sinfonia concertante for Piano and Orchestra (πηγή).

ernani

Beethoven's Tenth Symphony & Cooper

Before Beethoven had completed his Ninth Symphony in 1824, he had already started jotting down ideas for a Tenth (a similar overlap had occurred in his Fifth and Sixth symphonies). He worked on this new symphony sporadically from 1822 onwards, with the latest known sketches dating from October 1825; but at the time of his death in March 1827 only the first movement had been worked on in any detail. His friend Karl Holz later reported having heard him play it on the piano and gave a brief description: a gentle introduction in E-flat major followed by a powerful Allegro in C minor. But even this movement was evidently far from being completely written down and there are no clear indications of what was to follow in later movements.
Like most of Beethoven't sketches for other works, those for the Tenth symphony are scattered in several different sketch manuscripts (four main ones plus a number of subsidiary ones have so far been identified). As usual, they are unlabeled and almost illegible to anyone not well acquainted with Beethoven's idiosyncratic handwriting. Consequently, it was not until the 1980s that any of them were identified with any certainty. In the meantime, rumors about the Tenth Symphony, started mainly by Holz and Anton Schindler, had fueled speculation that there might be a complete manuscript hidden away somewhere or alternatively that the symphony had never been begun and that the rumors were without foundation. Now, however, we are a little clearer and more than 50 sketches are known, although many questions remain unanswered and it is possible that more sketches may yet be discovered. All the sketches are very fragmentary, with none containing more than about 30 bars of continuous music; but to someone familiar with Beethoven's normal sketching methods they do give a clear idea of the sort of movement he had in mind. Moreover, they contain some very good material. It therefore seems very well worthwhile to try and make them available for performances by filling them out into a performing version, rather than leaving them in archives where they can be of use only to a few specialists. After all, the sketches represent sound rather than shapes on paper, and the cannot be fully assessed until they have been heard--and preferably heard in an appropriate orchestral setting. The present writer had already studied Beethoven's sketches for numerous other works, in connection with a book he was writing (Beethoven and the Creative Process, to be published by Oxford University Press), and therefore felt he was in a better position than most scholars to attempt a completion of the first movement, even though the task at first seemed impossibly daunting. Altogether there are around 250 bars of sketches for the first movement. Some duplicate or contradict each other, leaving less than 200 usable; but many of these can be used more than once, by means of repetitions and reprises such as occur in all of Beethoven's symphonies (for example, a theme sketched for the exposition will recur in the recapitulation). The sketches thereby provide us with well over 300 bars, while the remaining 200 bars or so (out of 531) have had to be adapted from the same basic themes by various means (e.g. by transposition and sequence) and developed in the way Beethoven normally did. Thus, all the basic thematic material is Beethoven's; but appropriate harmony has had to be added in places where it is missing, the movement has had to be orchestrated in Beethoven's style (with the aid of only a few clues in the sketches), and linking passages based on Beethoven's themes have been inserted where necessary.
The result is obviously not exactly what Beethoven would have written, and in certain places in particular he would probably have been more imaginative. It also sounds more typical of middle period than late Beethoven, although this may be due to the close connections with the early piano sonatos. Nevertheless, it does provide at least a rough impression of the movement he had in mind at the time of the sketches and is certainly far closer to Beethoven's Tenth symphony than anything previously heard. It is therefore likely to be found extrememly interesting by anyone wanting to know what he planned for the symphony that was to have followed the Ninth; moreover it can also be appreciated as a piece of music, in a way that the fragmentary sketches on their own could never be.

Πηγή: http://www.lucare.com/immortal/cooper.html

http://www.youtube.com/watch?v=x-P7ksDrv9k
Youtube Video

London Symphony Orchestra - Wyn Morris

ernani

Youtube Video

ernani

Μιας και βαδίζουμε προς Πάσχα, ας βάλω και τον κορυφαίο συνθέτη δυτικής μουσικής (πέρα από τις προσωπικές μου προτιμήσεις - βλέπε Mozart κλπ) που δεν είναι άλλος από τον Bach.

Magnificat, BWV 243

Youtube Video

Anny Mory, soprano I
Patricia Parker, soprano II
Rodney Hardesty, altus
John Mitchinson, tenor
Paul Hudson, bass
English Bach Festival Chorus
English Bach Festival Orchestra
Leonard Bernstein, conductor

Recorded at Saint Augustine's church, Kilburn, London, 1977