Vanessa-Mae - Storm (Official Video)

32,218,685 views May 9, 2019

Official video for "Storm" by Vanessa-Mae Follow Vanessa-Mae on: http://www.vanessamaeofficial.com   / vanessamaeofficial     / vanessamaemusic     / vanessamaemusic   Storm, from Vivaldi's Four Seasons

André Rieu's Son Says Goodbye After His Father's Tragic Diagnosis

André Rieu's Son Says Goodbye After His Father's Tragic Diagnosis

In this heartfelt and emotional video, we explore the touching moment when André Rieu’s son shares a tearful goodbye after receiving devastating news about his father's health. Known as the “King of Waltz,” André Rieu has enchanted millions around the globe with his beautiful music and captivating performances. But behind the joyful melodies lies a personal story that has left fans deeply concerned.

#AndréRieu #AndréRieuSon #MusicLegend #SadNews #ClassicalMusic #AndréRieuFans #EmotionalTribute #MusicianLife #FamilyBond #AndréRieuDiagnosis #WaltzKing #HeartbreakingMoment #AndréRieuStory #MusicWorldNews

André’s recent tragic diagnosis has sent shockwaves throughout the music world, with fans and followers offering an outpouring of love and prayers. In this video, we take a closer look at André’s incredible legacy, his bond with his family—especially his son—and how his illness has deeply affected those closest to him. As his son bravely steps forward to share his emotions and memories, viewers are reminded of the strength of family and the fragility of life.

This is not just a story of sorrow, but also one of love, resilience, and tribute to a musical legend whose impact will never be forgotten. From the grand concert halls to the quiet moments at home, André Rieu’s story continues to inspire. Join us as we uncover this touching chapter in his life, filled with emotion, reflection, and the enduring power of music and family.

Finding old music

 

Peter und der Wolf

 

Prokofiev: Romeo and Juliet, No 13 Dance of the Knights

Music - my life

 

The Doomed City: Lalo’s Overture to Le Roi d’Ys

 by Maureen Buja  , Interlude

Édouard-Victoire-Antoine Lalo (1823 –1892) started his musical career as a viola and violinist, studying at the Paris Conservatoire with François Antoine Habeneck, who had founded and led the Orchestre de la Société des Concerts du Conservatoire from 1828. After graduation, Lalo taught strings in Paris and founded the Armingaud Quartet, in which he first played viola then second violin.

Pierre Petit: Édouard Lalo, ca 1865 (Gallica: btv1b8421663h)

His marriage in 1865 to contralto Julie Besnier de Maligny, led to his interest in writing operas and other works for the stage, most notably, Le Roi d’Ys. The opera had its premiere at the Opéra-Comique in the Salle du Châtelet in Paris in 1888.

The story, taken from old Breton legend, tells of Margared, daughter of Gradlon, the King of Ys. As part of a peace treaty, she’s engaged to Prince Karnac but she tells her sister Rozenn that she really loved Mylio, who sailed from Ys some years ago. In the middle of her wedding ceremony to Karnac, she hears that Mylio has returned and refuses to marry Karnac, who vows revenge at the humiliation.

Mylio, unfortunately, loves Rozenn, not Margared, and persuades Gradlon to grant him Rozenn’s hand in marriage. Jealous, Margared joins forces with Karnac to wreak their joint vengeance.

During Rozenn and Mylios’s wedding ceremony, Karnac, with the help of Margared, opens the sluice gates that protect the city of Ys from flooding and dooms the city. Mylio kills Karnac but it’s too late. Half the city’s population drowns as the waves overcome the city. Filled with remorse, Margared throws herself into the ocean as a sacrifice and the patron saint of the city, St Cornentin, calms the waves and saves the city.

Évariste Vital Luminais: Flight of King Gradlon (the King of Ys), 1884 (Musée des beaux-arts de Quimper)

The overture sets the scene for the tale of mistaken love, jealousy, and treachery and remains one of the most popular parts of the opera that still remains in repertoire.

Lalo’s operas were interesting and original but were criticised for being too progressive and for being ‘too Wagnerian’ in style. Although his stage works were popular during his life, they quickly fell out of repertoire. Lalo eventually turned towards chamber music and symphonic music for his repertoire. His Symphonie Espagnole remains in performance, as does his Cello Concerto in D minor.

Piero Coppola

This recording was made in 1930 with the London Symphony Orchestra, conducted by Pierro Coppola. Italian composer and conductor Coppola studied in Milan and conducted at La Scala. Hearing Debussy conduct in 1911 made him a life-long fan of Debussy and Ravel, and French music was how he made his name. Between 1923 and 1934, he was the artistic director of La Voix de son Maître, the French branch of The Gramophone Company.

La Voix de son Maître, and the dog Nipper

At La Voix de son Maître , he conducted the first recordings in the 1920s and 1930s of Debussy’s and Ravel’s works, including La mer and Boléro.

Performed by

Piero Coppola
London Symphony Orchestra

Recorded in 1930

Official Website

Memories

 

Schubert – The Wanderer

by The Sokolover, Interlude

Schubert’s music articulates the ineffable, conveys the unspoken, and encapsulates a world of its own. Most of the time, it is imbued with desolation, poignancy, and nostalgia, whereas the occasional tinges of optimism, more often than not, are merely a remembrance of the unattainable past (or, in German, Sehnsucht) – happiness is but the surface of despair, as Alfred Brendel aptly put it. Meanwhile, its ability to express something so universal yet personal gives solace to one as if saying, “You are not alone”.

The Wanderer over the Sea of Fog (1818), by Caspar David Friedrich

It perhaps lacks the spirituality of Bach’s music, the sanguinity of Mozart, or the heroism of Beethoven. But that isn’t the point of Schubert’s music, for he never sought to transcend above or eschew human conditions. Instead, what we hear is a frank acknowledgement of our fragility and vulnerability.

His Impromptu Op. 90 No. 1 in C minor begins with a proclamation of G octaves. This recurs throughout the work and haunts us with a sense of threat and inescapable fate, bringing Erlkönig to mind. While the sections with duet singing (3:25, 6:45) contain probably the most gorgeous melody Schubert ever wrote (where else can such bittersweetness be found?), it only offers momentary consolation as the foreboding G octave repeats itself (4:05, 7:12). The Impromptu does end in C major, but are the conflicts resolved? Not really.

Franz Schubert

On the other hand, Impromptu Op. 90 No. 3 in G-flat major, a lied ohne worte in its effect, exudes such radiant warmth and embracing tenderness, undeterred by the troubled central section. What an exquisite combination of simplicity, intimacy and haunting beauty.

That said, and apparently, Schubert’s music isn’t all mellow or sentimental. Just listen to the stabbing pain and horror in his Der Doppelgänger, or the frenzied, demonic outcry that defies boundaries in Andantino from his Piano Sonata D. 959, both of which are almost psychologically traumatic and nakedly reveal another dimension of Schubert’s persona, and also that of human experience.

Central to Schubert’s aesthetics is a potent sense of solitude. He was a rootless loner who felt attached to nowhere, a poet of solitude, and a true wanderer – it could hardly be a coincidence that he wrote three Lieder on Der Wanderer (D. 493, D. 649, D. 870), not to mention the Winterreise. The poems on which these Lieder are based offer a unique sensibility to the psyche of a wanderer, or that of Schubert. Froh umgeben, doch alleine (there is joy all around, yet I am alone) – it couldn’t be better concluded. 

Georg Philipp Schmidt von Lübeck

Der Wanderer (by Georg Lübeck)

The Wanderer (English translation by Richard Wigmore)

Ich komme vom Gebirge her, Es dampft das Tal, es braust das Meer. Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo? Die Sonne dünkt mich hier so kalt, Die Blüte welk, das Leben alt, Und was sie reden, leerer Schall, Ich bin ein Fremdling überall. Wo bist du, mein geliebtes Land? Gesucht, geahnt und nie gekannt! Das Land, das Land, so hoffnungsgrün, Das Land, wo meine Rosen blühn, Wo meine Freunde wandeln gehn, Wo meine Toten auferstehn, Das Land, das meine Sprache spricht, O Land, wo bist du? Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo? Im Geisterhauch tönt’s mir zurück: „Dort, wo du nicht bist, dort ist das Glück!“

I come from the mountains; the valley steams, the ocean roars. I wander, silent and joyless, and my sighs for ever ask: Where? Here the sun seems so cold, the blossom faded, life old, and men’s words mere hollow noise; I am a stranger everywhere. Where are you, my beloved land? Sought, dreamt of, yet never known! The land so green with hope, the land where my roses bloom, Where my friends walk, where my dead ones rise again, the land that speaks my tongue, O land, where are you? I wander, silent and joyless, and my sighs for ever ask: Where? In a ghostly whisper the answer comes: ‘There, where you are not, is happiness!’

(Source: https://oxfordsong.org/song/der-wanderer)

Friedrich Schlegel

Der Wanderer (by Friedrich von Schlegel)

The Wanderer (English translation by Richard Wigmore)

Wie deutlich des Mondes Licht Zu mir spricht, Mich beseelend zu der Reise: „Folge treu dem alten Gleise, Wähle keine Heimat nicht. Ew’ge Plage Bringen sonst die schweren Tage; Fort zu andern Sollst du wechseln, sollst du wandern, Leicht entfliehend jeder Klage.“ Sanfte Ebb’ und hohe Flut, Tief im Mut, Wandr’ ich so im Dunkeln weiter, Steige mutig, singe heiter, Und die Welt erscheint mir gut. Alles reine Seh’ ich mild im Widerscheine, Nichts verworren In des Tages Glut verdorren: Froh umgeben, doch alleine.

How clearly the moon’s light speaks to me, inspiring me on my journey: ‘Follow faithfully the old track, choose nowhere as your home, lest bad times bring endless cares. You will move on, and go forth to other places, lightly casting off all grief.’ Thus, with gentle ebb and swelling flow deep within my soul, I walk on in the darkness. I climb boldly, singing merrily, and the world seems good to me. I see all things clearly in their gentle reflection. Nothing is blurred or withered in the heat of the day: there is joy all around, yet I am alone.

(Source: https://oxfordsong.org/song/der-wanderer-2)

Looking back at his late piano sonatas, some would argue: isn’t the gaiety and exuberance in the finales of D. 959 and D. 960 undeniable? Well, it could be a self-affirmation in the face of impending demise, a delusional triumph against his fate, an imagined joy that didn’t belong to him – or a joy that finally belonged to him, but in another world.

ONCE UPON A TIME IN THE WEST - Ennio Morricone

3,757,916 views Premiered Feb 11, 2024

Our Cover of "Once Upon A Time In The West" by Ennio Morricone 🤍

David Pomeranz Medley | Sweetnotes Live

17,945,930 views Nov 2, 2022 #CoupleBand #sweetnotes #coverband

David Pomeranz Medley | Sweetnotes Live thank you Ibarra Music sa Backing track. #coverband #CoupleBand #sweetnotes

Ladies Of Soul 2014 | I'll Be There

4,405,642 views Nov 27, 2015

Berget Lewis, Candy Dulfer, Edsilia Rombley and Trijntje Oosterhuis are the Ladies of Soul. The Dutch supergroup pays tribute to their favorite pop- and soul music and is returning with their annual liveshow in the Ziggo Dome in Amsterdam. The ladies are accompanied by a top notch live band and surprising local and international guest artists like Billy Ocean, En Vogue, Sheila E, Oleta Adams, JT Taylor (former lead singer Kool & The Gang), and in 2025 they will be joined on stage by Sister Sledge, Robin S. and the voice of Rose Royce - Gwen Dickey. Subscribe to our channel right now and don’t miss another video: http://bit.ly/SubscribeLOS

 

Top 10 Romantic composers

Gramophone
Thursday, January 2, 2025

The Romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression. Here's our beginner's guide to the greatest composers of the Romantic period

Hector Berlioz (1803-69)

The arch-Romantic composer, Hector Berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic.

Key recording:

Les Troyens 

Sols incl DiDonato, Spyres, Lemieux; Strasbourg Philharmonic Orchestra / John Nelson (Gramophone's 2018 Recording of the Year) Read the review

Explore Berlioz:

Top 10 Berlioz albums – 10 great Berlioz recordings by Sir Colin Davis, John Nelson, Régine Crespin, Robin Ticciati and more

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● Top 10 Baroque composers

● Top 10 Classical era composers

● Top 10 Renaissance composers

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Fryderyck Chopin (1810-49)

Few composers command such universal love as Fryderyck Chopin; even fewer still have such a high proportion of all their music in the active repertoire. Yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. His chief claim to immortality relies not on large scale works but on miniature forms.

Key recording:

Piano Concertos No 1 & 2 

Martha Argerich pf Montreal Symphony Orchestra / Charles Dutoit (winner of the Gramophone Concerto Award in 1999) Read the review

Explore Chopin:

The 10 greatest Chopin pianists – Stephen Plaistow recalls the illustrious recorded history of Chopin's oeuvre and offers a personal view of great Chopin interpreters.

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Robert Schumann (1810-56)

Robert Schumann is a key figure in the Romantic movement; none investigated the Romantic’s obsession with feeling and passion quite so thoroughly as him. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius.

Key recording:

Symphonies Nos 1-4 

Chamber Orchestra of Europe / Yannick Nézet‑Séguin (Editor's Choice, May 2014) Read the review

Explore Schumann:

Robert Schumann: the story of his prolific ‘year of song’ – Richard Wigmore explores the music of and biography behind Robert Schumann’s miraculous year of song, 1840

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Franz Liszt (1811-86)

Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development.

Key recording:

'Transcendental: Daniil Trifonov plays Franz Liszt'

Daniil Trifonov pf (Recording of the Month, October 2016; shortlisted for Instrumental Award 2017) Read the review

Explore Liszt:

Podcast: exploring the music of Liszt – Editor Martin Cullingford is joined by Gramophone writer and expert on both Liszt and the piano, Jeremy Nicholas to discuss the composers's greatest works, and the greatest recordings of his music. 

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Richard Wagner (1813-83)

No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being.

Key recording:

Parsifal

Sols incl Jess Thomas, George London, Hans Hotter; Bayreuth Festival Chorus & Orchestra / Hans Knappertsbusch Read the review

Explore Wagner:

The Gramophone Collection: Wagner's Ring – Mike Ashman visits the musical immortals and the younger gods of today to deliver his verdict on the complete Ring on record.

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Giuseppe Verdi (1813-1901)

Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality.

Key recording:

Aida

Sols incl Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk; Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano (winner of the 2016 Gramophone Opera Award; Recording of the Month, Awards issue 2015) Read the review

Explore Verdi:

Verdi's Otello: a guide to the best recordings – Richard Lawrence finds at least three very special Otellos, and some electric conducting.

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Anton Bruckner (1824-96)

Anton Bruckner’s reputation rests almost entirely with his symphonies – the symphonies, someone said, that Wagner never wrote.

Key recording:

Symphony No 9

Lucerne Festival Orchestra / Claudio Abbado (Gramophone's 2015 Recording of the Year) Read the review

Explore Bruckner:

Top 10 Bruckner recordings – A beginner's guide to the music of one of the great symphonic composers.

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Giacomo Puccini (1858-1924)

Whatever the atmosphere he wanted to create, Giacomo Puccini’s sound world is unique and unmistakeable with its opulent yet clear-cut orchestration and a miraculous fund of melodies with their bittersweet, tender lyricism. His masterly writing for the voice guarantees the survival of his music for many years to come.

Key recording:

Tosca

Sols incl Maria Callas, Giuseppe di Stefano, Tito Gobbi; Orchestra and Chorus of La Scala Milan / Victor de Sabata Read the review

Explore Puccini:

Maria Callas: the Tosca sessions – Maria Callas’s famous 1953 Tosca, as Christopher Cook reveals for the first time, was riven by tension and driven by a relentless quest for perfection.

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Pyotr Il'yich Tchaikovsky (1840-93)

Tchaikovsky is the most popular of all Russian composers, his music combining some nationalist elements with a more cosmopolitan view, but it is music that could only have been written by a Russian. In every genre he shows himself to be one of the greatest melodic fountains who ever lived.

Key recording:

Symphony No 6, Pathétique

MusicAeterna / Teodor Currentzis (Recording of the Month, January 2018) Read the review

Explore Tchaikovsky:

Tchaikovsky's 1812 Overture: the complete guide – How audiences, performers and the composer himself have responded to this iconic and surprisingly controversial work, by Geoffrey Norris.

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Johannes Brahms (1833-97)

One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms.

Key recording:

Symphonies (Complete)

Gewandhaus Orchestra / Riccardo Chailly (Gramophone's 2014 Recording of the Year) Read the review

Explore Brahms:

Brahms's Symphony No 3: a guide to the best recordings – Richard Osborne surveys the finest recordings of the Third Symphony