20 Beautiful Female Classical Violinists

20. Esther Abrami: Paganini, Cantabile    • Niccolo Paganini - "Cantabile" by Est...   19. Alena Baeva: Bruch, Scottish Fantasy    • Bruch Scottish Fantasy - Alena Baeva,...   18. Lisa Batiashvili: Prokofiev, Violin Concerto No. 1, 1st Movement    • Lisa Batiashvili (1/3) Prokofieff Vio...   17. Nicola Benedetti: Korngold, Marietta's Song    • Nicola Benedetti - Marietta's song (G...   16. Sarah Chang: Paganini, Cantabile    • Sarah Chang - Prokofiev Violin Sonata...   15. Julia Fischer: Mendelssohn, Violin Concerto, 1st Movement    • Julia Fischer - Mendelssohn Violin Co...   14. Hilary Hahn: Beethoven, Violin Concerto, 1st Cadenza    • Hilary Hahn performs Beethoven Violin...   13. Janine Jansen: Massenet, "Méditation" from Thaïs    • Méditation de Thaïs by Janine Jansen   12. Clara-Jumi Kang: Brahms, Hungarian Dance No. 1    • Clara-Jumi Kang: Brahms, Hungarian Da...   11. YuEun Kim: Chopin, Nocturne in C# minor    • F. Chopin : Nocturne in c sharp minor...   10. Eva León: Albéniz, Asturias (Leyenda)    • Eva León - Asturias (Leyenda) - Isaac...   9. Anne-Sophie Mutter: Mozart Violin Concerto No. 5    • Video   8. Vanessa-Mae Vanakorn Nicholson: Bach, Partitia in E    • Vanessa-Mae plays Bach's Partitia in E   7. Rusanda Panfili: Sarasate, Zigeunerweisen    • Pablo de Sarasate  - Zigeunerweisen G...   6. Alina Pogostkina: Debussy, Violin Sonata    • Claude Debussy: Violin Sonata / Alina...   5. Mari Samuelsen: Piazzolla, Winter in Buenos Aires    • Mari Samuelsen: Invierno porteno, Ast...   4. Zia Hyunsu Shin: Kreisler, Liebesfreud    • [신지아 Zia Hyunsu Shin] 크라이슬러: 사랑의 기쁨 F...   3. Arabella Steinbacher: Williams, The Lark Ascending    • Video   2. Sumina Studer: Mendelssohn, Violin Concerto, 3rd Movement    • SPOHR Violin Competition: Sumina Stud...   1. Soyoung Yoon: Mozart, Violin Concerto No. 3, 1st Movement    • Video   **No copyright infringement intended.

Melissa Naschenweng - Medley (ARD, ORF, SRF, Silvester Show 21)

Ein Walzertraum - Oscar Straus (1870 - 1954)

Ouverture zur gleichnamigen Operette Bearbeitung für Blasorchester: Christian Dumphart Pflichtstück für Konzertwertungen des ÖBV 2024/2025 (Leistungsstufe D) Grade 4 Military Band of Lower Austria Conductor: Colonel Adi Obendrauf further informations: https://www.orchestralart.com/shop/kl... © Copyright by Ludwig Doblinger (Bernhard Herzmansky) GmbH & Co KG, Wien Bearbeitung: Christian Dumphart. Mit freundlicher Genehmigung des Verlages.

Yuja Wang: Shostakovich Piano Concerto No. 2 in F major, Op. 102.

Philadelphia Orchestra conducted by Yannick Nézet-Séguin October 6, 2021 Carnegie Hall, Stern Auditorium 00:35 I. Allegro 08:00 II. Andante 13:54 III. Allegro

Dmitri Shostakovich

 

Dmitri Shostakovich (1906-1975)

Following his death, the government of the USSR issued the following summary of Shostakovich’s work, drawing attention to a ‘remarkable example of fidelity to the traditions of musical classicism, and above all, to the Russian traditions, finding his inspiration in the reality of Soviet life, reasserting and developing in his creative innovations the art of socialist realism and, in so doing, contributing to universal progressive musical culture’. The Times wrote of him in its obituary that he was beyond doubt ‘the last great symphonist’.

5 Ways to Love Shostakovich

Presenting my 5 entry-points to discovering the amazing world of Shostakovich!

“Sunshine of Your Love” (Cream) Latin Cover by Robyn Adele Anderson

This was my first time having THREE horns on a video and it took everything to a whole other level! So happy to have my bestie Emily Pecoraro on saxophone to help turn this ‘60s groovy tune into a Latin dance number 💃🏼

Germaine Tailleferre

by Georg Predota, Interlude

“Perhaps women have always been in closer contact with reality than men”

Germaine Tailleferre (1892-1983) was the sole female member of the intriguing group of young French composers eventually known as “Les Six.” Her association with “Les nouveaux jeunes” aside, Tailleferre was a prominent and prolific composer writing in a wide range of musical genres. Her memorable music for opera and ballet is augmented by piano concertos, symphonic works, solo piano pieces, music for small ensembles and well over 40 movie soundtracks. She left behind an extensive body of works representing almost 70 years of compositional engagement and over time forged a distinctive musical voice that valued clarity, spontaneity and charm. Tailleferre strongly believed that a composition would lack artistry if a listener couldn’t identify a composer’s style after three bars. “I write music because it amuses me,” Tailleferre suggested. “It’s not great music, I know, but it’s gay, light-hearted music which is sometimes compared with that of the “petits maîtres” of the 18th century. And that makes me very proud.”

Currently, Tailleferre is considered the “most important French woman composer of all time.” This appreciation, however, has only been forged during the 21st- century, and its cultural reinterpretation and revival of her music. Born Marcelle Taillefesse at Saint-Maur-des-Fossés, Val-de-Marne, France, her early years were marked by persistent struggles against her father. He considered music an unworthy pursuit, and a “woman studying music” he once remarked, “was no better than her becoming a streetwalker.” She eventually changed her name to spite her father, but never forgave him for his inflexible attitude towards her artistic gifts. Embittered, “she is said to have regarded his demise in 1916 as something of a relief.” Despites her father’s strong opposition, she began her study of piano and solfege at the Paris Conservatory in 1912, and immediately won various prizes in counterpoint and harmony. Tailleferre quickly caught the eyes of her fellow students Darius Milhaud, Georges Auric and Arthur Honneger. Upon the publication of her first string quartet in 1918, she was welcomed as a major talent into the private musical club that eventually blossomed into “Les Six.”

Les Six © s-media-cache-ak0.pinimg.com

Tailleferre rubbed shoulders with the greatest creative minds of her time. She was a close friend of Maurice Ravel and Erik Satie, a favorite of Jean Cocteau and acquainted with Aaron Copland. Her circle of friends included Igor Stravinsky, Pablo Picasso, Georges Braque, Guillaume Apollinaire, George Balanchine and Sergei Diaghilev, among numerous others. She once remarked that Picasso gave her the “best lesson in composition” she ever received as he told her to “constantly renew yourself; avoid using the recipes that you have already found.” Many of her most important works emerged during the 1920’s, including the First Piano Concerto, the Harp Concertino, the ballets Le marchand d’oiseaux and La nouvelle Cythère, which was commissioned by Sergei Diaghilev for the Ballets Russes. These highly successful and critically acclaimed compositions were followed by the Concerto for Two Pianos, Chorus, Saxophones, and Orchestra, the Violin Concerto, the opera cycle Du style galant au style méchant, the operas Zoulaïna and Le marin de Bolivar, and La cantate de Narcisse, in collaboration with esteemed French poet Paul Valéry.

Wanting to breathe new life into her career, Tailleferre moved to New York in 1925. Leopold Stokowski, Willem Mengelberg, Serge Koussevitzky, and Alfred Cortot performed her compositions, and her short-lived marriage to the New Yorker magazine artist Ralph Barton further enhanced her celebrity status. Musically reinvigorated and her marriage in tatters she returned to France, but World War II brought her once again to the United States. The war years severely stifled her musical creativity and productivity, and affected a fundamental cultural and artistic dislocation. Upon her return to France in 1946 Tailleferre continued to compose orchestral works, ballet and chamber music. However, most of these works were published posthumously with a substantial number of her compositions still unknown today. She nevertheless continued to compose until a few weeks before her death in 1983, and her last work Concerto de la fidelité pour coloratura soprano et orchestra premiered at the Paris Opera in 1982. Her music never failed to give voice to an extended French artistic tradition, and the seductive grace and charm of her work are perhaps best summed up by Cocteau’s famous assessment of Tailleferre “as the musical equivalent to painter Marie Laurencin.”

Moderato

by Frances Wilson, Interlude

Moderato (It.)
‘Moderate’, ‘restrained’, e.g. allegro moderato (‘a little slower than allegro ’).
adv. & adj. Music (Abbr. mod.)
In moderate tempo……. Used chiefly as a direction.

‘Moderato’ is one of those rather ambiguous musical terms, like andante (“at a walking pace”). Literally translated, it means “moderately” – but what does it really mean? At the most basic level, it is a tempo marking, slower than allegretto, but faster than andante. The modern metronome gives a marking of 96 to 100, a very narrow range (and I would always guard against assigning a specific metronome mark to a piece marked moderato, or allegro moderato, or molto moderato.) Like so much else in music, moderato is not just a tempo marking; it also suggests mood and character. It is personal feeling and sense of music, and one person’s moderato might be rather different from another’s, both in terms of tempo and character.

The opening movement of Schubert’s last sonata is marked molto moderato, literally “very moderately”. And taken literally, that could result in a very slow tempo, virtually alla breve (two beats in a bar), which can make the music appear to drag. Schubert also used the German term mässig, implying the calm flow of a considered allegro or “not rushing nor dragging”. There are many, many different interpretations of Schubert’s marking, resulting in some wildly varying lengths of the first movement. Sviatoslav Richter’s is almost self-indulgent at nearly 25 minutes – listening to it, you get the feeling he is thinking about every single note and where to place it; while Maria João Pires brings it in at 20 minutes, which feels both fluid and eloquent.

Of course, all these specific timings are rather meaningless: one would not notice the time passing at a good performance unless one was pedantic enough to sit there with a stopwatch! Creating a sense of the music and conveying mood, colour and shading is more important. When I listen to the piece, I always feel the opening movement suggests a great river broadening into its final course before reaching the sea: unhurried but with continual forward motion. There are moments of “other-wordliness” in this movement as well, which demand sensitive rubato playing and some very finely-controlled pianissimos. There are storms too, but these are short-lived, and do not disturb the overall almost hymn-like serenity of the movement.

In Chopin’s Ballade in G minor, a piece of fluctuating tempos and mercurial moods and textures, the first theme is also marked moderato. Here, I would read this marking as a slower tempo than in the Schubert sonata. The mood is very different too: the key is darker, and the off-beat quaver figures and the rather uncertain harmonies, with the prominent use of diminished and dominant seventh chords to add moments of tension which are not always resolved immediately, create a sense of hesitancy in the music, as if it is not quite sure where it is going. After the fioritura, the opening theme returns, slightly elaborated with a sighing quaver figure, but rather than increase the sense of forward motion, I feel the music becomes more suspended; thus when one reaches the direction agitato, there is a far greater sense of climax. This continues right through to the arpeggiated figures and onwards, in a section marked sempre piu mosso. After the great, memorable second theme is heard, the first theme returns, this time in A minor, and the music returns to the moderato tempo and mood of the opening. Here once again, uncertain harmonies are used to contrive a feeling of suspense, while the insistent repeated low E’s in the bass tether the music even more firmly in one place. This is a useful device for introducing another climax, which seems to suddenly free itself from the restraints of the moderato marking; the restatement of the second theme on a far grander scale than its first appearance.

So, one could argue here that the use of moderato at the opening of the piece, and its reappearance later on, is a very deliberate device which serves to create moments of great tension, suspense and climax.

14 Beautiful Female Classical Pianists

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3,568,913 views Nov 11, 2017

Links to the videos I used: 14. Lola Astanova:    • Lola Astanova plays Rachmaninoff Mome...   13. Khatia Buniatishvili:    • F. Liszt - "Ständchen" Piano Transcri...   12. Dora Deliyska:    • Dora Deliyska plays Beethoven, "The r...   11. Hélène Grimaud:    • Helene Grimaud (Ravel Piano Concerto ...   10. Anastasia Huppmann:    • Chopin Etude Black Keys Op 10 No 5   9. Olga Jegunova:    • Olga Jegunova - W.A. Mozart: Piano So...   8. Eloïse Bella Kohn:    • Debussy - Ce qu'a vu le vent d'ouest ...   7. Irina Lankova:    • Irina Lankova plays Schubert Imprompt...   6. Valentina Lisitsa:    • Tchaikovsky "June" Barcarolle Чайковс...   5. Olga Scheps:    • Alexander Skrjabin Waltz A flat major...   4. Primavera Shima:    • Schumann Arabasque Op. 18 - Primavera...   3. Belle Suwanpotipra:    • Debussy: L'Isle joyeuse   2. Katharina Treutler:    • Debussy: La fille aux cheveux de lin,...   1. Yuja Wang:    • Video   *No copyright infringement intended* *This video is purely for entertainment purpose*