Anne-Sophie Mutter, Daniel Barenboim, Yo-Yo Ma – Beethoven: Triple Concert

5,083,781 views Apr 3, 2020 PHILHARMONIE BERLIN

Three classical music giants, Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim celebrate the 250th anniversary of Beethoven’s birth by recording the Triple Concerto. Pairing the Concerto with the Seventh Symphony, the album also marks the 20th birthday of the West-Eastern Divan Orchestra. The Triple Concerto has a special place in Beethoven’s oeuvre, revealing his revolutionary spirit and ingrained humour both in its sophisticated architecture and in its musical idiom. Ever inventive, creative and original, here Beethoven stages a lavish musical feast over-flowing with melody, a feast. Yo-Yo Ma puts it in these words: “For me, in the Triple Concerto, it’s the constant invention that always takes me by surprise. You know what I love about the piece? It’s so celebratory, so positive.” Performed by three of today’s most renowned classical artists and Beethoven interpreters – Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim and accompanied by the acclaimed West-Eastern Divan Orchestra. Watch them perform Beethoven's Triple Concerto in C Major, Op. 56, No.2 Largo – Attacca, Live at Philharmonie, Berlin (2019). Anne-Sophie Mutter, Daniel Barenboim, Yo-Yo Ma – Beethoven: Triple Concerto C Major, Op. 56, No. 2 Listen to the Triple Concerto: https://DG.lnk.to/TripleConcerto

Orpheum Madams - It Don't Mean A Thing

Orpheum Madams: Dézsi Darinka, Kindrusz Emese, Maródi Tímea - ének Sipos Gyula - szaxofon Horányi Tamás - zongora Karap Zoltán - gitár Simon László - nagybőgő Szántó Sándor - dobok "It don't mean a thing" (1931) Composer: Duke Ellington Lyricist: Irving Mills

Berlioz: Hungarian March from La damnation de Faust

Thunderous applause for the European Union Youth Orchestra, under the direction of Gianandrea Noseda. As an encore for their concert at the 2018 Young Euro Classic festival in Berlin’s Konzerthaus, the young musicians play a true favorite: The Marche hongroise (Hungarian March) from Hector Berlioz’s La damnation de Faust (The Damnation of Faust), Op. 24. Hector Berlioz (1803 – 1869) wrote La damnation de Faust based upon his reading of Johann Wolfgang von Goethe's Faust, Part One, composing it in 1845/46. The question of genre was problematic – Berlioz himself first described La damnation de Faust as a ‘concert opera’, then later a ‘légende dramatique’ (dramatic legend), and the work does bear both characteristics that are operatic, and those of a choral symphony. The first part of this dramatic legend, set on Hungary’s Pannonian Steppe, includes the Rákóczi March. This Hungarian march was composed in the early 19th century, based on a much older, popular Hungarian melody. The popular march received arrangement by several great composers, but to this day the version from Hector Berlioz's La Damnation de Faust is the most widely regarded. It is not only popular in Hungary at private wedding celebrations, but is also part of the standard repertoire for many state and military occasions – the reason why the Marche hongroise is also considered the unofficial anthem of Hungary. This interpretation of the well-known march by the European Union Youth Orchestra is characterized by a mixture of professionalism and a delight in playing. The instrumental sections of the orchestra toss the ball to each other, so to speak, thus emphasizes the rollicking, dance-like character of the piece. The European Union Youth Orchestra (EUYO) has been in existence for over 40 years. The EUYO brings together the best musicians ages 14 to 24 from all of the EU countries. The orchestra's concerts draw great crowds, not least because the young musicians perform with some of the world's most famous conductors – as they do here, with Gianandrea Noseda.

Galina Ustvolskaya - Composition No.3

Composer Galina Ustvolskaya: The Shostakovich-Trained Iconoclast

By Emily E. Hogstadt, Interlude

Composer Galina Ustvolskaya (1919-2006) has been called “the lady with the hammer” and is known for her connection to Dmitri Shostakovich.

Galina Ustvolskaya and her dog

But she was so much more than this. She was also fiercely independent, staggeringly talented, and completely unafraid. She not only refused to fit in a musical mold but threw out that mold entirely.

Today, we’re taking a look at the life and times of Soviet composer Galina Ustvolskaya.

Ustvolskaya’s Childhood

Galina Ustvolskaya was born on 17 June 1919 in Petrograd to an unmusical family. Her father was a lawyer, and her mother was a teacher from impoverished nobility.

Her childhood was lonely and full of financial pressures.

“I would wear an old coat of my father’s (which was too long for me) and his muffler, which I gave to a young friend. I loved to give gifts, although we did not have anything to spare. Since childhood, I could not tolerate these kinds of pressures.”

Her desire for financial security would later impact her career choices.

She loved music deeply from an early age. When she was young, her parents took her to a performance of Tchaikovsky’s opera Eugene Onegin, but the family had to leave when she started crying. “I want to be an orchestra,” she told them.

Time with Shostakovich

Ustvolskaya studied at a school for young people associated with the Leningrad Conservatory. In 1939, when she turned twenty, she joined Dmitri Shostakovich’s composition class. That year, she was the only woman in that class.

Shostakovich was intrigued by her and in awe of her talent. “I am convinced that the music of G. I. Ustvolskaya will achieve world fame and be valued by all who hold truth to be the essential element of music,” he wrote once. He also said, “It is not you who are under my influence, but I who am under yours.”

He valued her opinion so much that he asked for her feedback on his own compositions. He also used a theme from her clarinet trio in his fifth string quartet (from 1952) and his Suite on Verses of Michelangelo Buonarroti (from 1974, toward the very end of his life). 

Ustvolskaya studied in his class twice – once from 1939 to 1941 and again from 1947 to 1948. That six-year break coincided with the war, as well as the devastating two-and-a-half-year siege of Leningrad.

A month into the siege of Leningrad, Shostakovich was evacuated to Moscow and Ustvolskaya to Tashkent, the current-day capital of Uzbekistan, along with others linked to the Conservatory. In 1943, she worked in a hospital in the city of Tikhvin, two hundred kilometers from St. Petersburg.

Galina Ustvolskaya

She later made it very clear that she was not keen on an association with Shostakovich. She called his music “dry and lifeless” and wrote to her publisher, “One thing remains as clear as day: a seemingly eminent figure such as Shostakovich, to me, is not eminent at all, on the contrary, he burdened my life and killed my best feelings.”

Her distaste for him may have been rooted in extra-musical reasons. She later claimed that Shostakovich proposed marriage to her, but she turned him down.

Later, she went even further: “There is no link whatsoever between my music and that of any other composer, living or dead,” she once proclaimed. 

Ustvolskaya and Soviet Propaganda

From 1947 to 1977, she taught composition at the Leningrad Conservatory. She didn’t think of herself as a particularly talented professor – composition was her true calling – but teaching was a way to make a living.

In February 1948, a resolution went out from the Soviet government, accusing some composers of Formalism (i.e., failing to compose music that fully supported the state).

After this, she split her creative self into two parts. One composed propaganda pieces acceptable to Soviet leadership, while the other wrote secret avant-garde works that she knew might never be heard. 

Writing music to please the authorities was soul-destroying, but she was apparently very good at it. Her tone poem Stepan Razin’s Dream opened the Leningrad Philharmonic’s 1949 season, to acclaim. She was even nominated for the Stalin Prize.

However, in 1962, she hit her limit. From that time on, she vowed to only write what she truly wanted to write, and she worked to destroy all traces of everything she ever wrote for political reasons.

Fortunately, later in the century, the Soviet Union started being easier on modernist composers, and allowing them to share some of their more controversial music. Ustvolskaya slowly began sharing some of the music she’d been keeping hidden.

Ustvolskaya’s Later Years

Galina Ustvolskaya

By the 1970s the Leningrad Union of Composers began presenting evenings of her music, and critics were impressed.

Her music has several distinguishing features, including extreme dynamics, unusual instrumentation, and brutal and relentless repetition.

The website Ustvolskaya.org writes, “Ustvolskaya’s music is unique, unlike anything else; it is exceedingly expressive, brave, austere, and full of tragic pathos achieved through the most modest of expressive means.” 

Unfortunately, for years, hardly anybody outside the Soviet Union heard it. But in 1989 her work was performed at the Holland Festival, and it made a big impression on audiences.

She was living as a bit of a hermit by the 1990s, but she traveled to Amsterdam to watch performances of her work. Although she hated interviews, she agreed to one with journalist Thea Derk. But when the time for the interview came, she nearly backed out, and only agreed to partake after she was assured she could answer questions with monosyllables, without elaboration. (Luckily, Derk was able to get more than that out of her.)

She was asked how she liked the performance she’d heard. “Not very much,” she said bluntly. She elaborated: “The acoustics were not favourable, so that the piano didn’t come out properly, and the five double basses should have been placed more to the front. Moreover, the ensemble, recruited more or less ad hoc from members of the Concertgebouw orchestra, hadn’t as yet properly mastered the score, and the reciter wasn’t adequately amplified. But yesterday it was better and I hope it will again be better tonight.”

Ustvolskaya’s Death and Legacy

A perfectionist iconoclast to the end, Galina Ustvolskaya died in 2006 in St. Petersburg. She was eighty-seven years old.

In 1998 she gave a description of her life to an interviewer that serves as a kind of thesis statement about her music:

“The works written by me were often hidden for long periods. But then if they did not satisfy me, I destroyed them. I do not have drafts; I compose at the table, without an instrument. Everything is thought out with such care that it only needs to be written down. I’m always in my thoughts. I spend the nights thinking as well, and therefore do not have time to relax. Thoughts gnaw me. My world possesses me completely, and I understand everything in my own way. I hear, I see, and I act differently from others. I just live my lonely life.”

🎻 Johann Strauss II: Overture to the operetta “Carneval in Rome”

Live from the Golden Hall of the Musikverein Vienna. Masterfully interpreted by the Vienna Johann Strauss Orchestra! At the conductor's podium Alfred Eschwé. Alfred Eschwé, conductor | Conductor Wiener Johann Strauss Orchester | Vienna Johann Strauss Orchestra

Franz Lehar- "Gold und Silber",Walzer (Springtime In Vienna 98)

Vladimir Fedosejev conducting the Wiener Symphoniker Re-processed for better audio performance,personnel preference for best audio quality listening is by setting the video setting option to 480p.

Bert Kaempfert Medley 1967

3,353,142 views Dec 31, 2010

La Vida Breve (M. De Falla) - Carmesí Guitar Duo

El amor brujo - Manuel de Falla

1,754,717 views Jan 23, 2007

1,754,717 views • Jan 23, 2007

Choreography of the film - El amor brujo - Carlos Saura - Antonio Gades

GRIEG - IN THE HALL OF THE MOUNTAIN KING - ORGAN OF MÜPA BUDAPEST

Jonathan Scott performs his solo organ transcription of "In the Hall of the Mountain King" from Peer Gynt by Edvard Grieg at the organ of Béla Bartók National Concert Hall, Müpa Budapest (Palace of Arts), Hungary

Carl Michael Ziehrer - Nachtschwaermer (Night Owl Waltz)

Ziehrers Nachtschwärmer-Walzer gehört zweifelsohne zu seinen schwungvollsten Kompositionen. Die Einleitung wird eröffnet mit Getrommel und fröhlicher Marschmusik und geht danach über in einen langsamen ¾-Takt. Sogleich erlebt der Zuhörer eine weitere kompositorische Neuerung: Die langsame Walzermelodie in der Einleitung wird vom Orchester mitgesungen. Ein banaler, aber zum Titel des Walzers passender Text: Freunderl, was denkst du denn, wolln wir nach Hause gehn, oder wir bleibn noch hier, bist du dafür? Bis dass der Tag erwacht Und uns die Sonn anlacht, Freunderl, dann geh'n mar zHaus, schlafen uns aus. Nun pfeifen die Sänger die folgende Melodie, bis diese leise zuende geht und nach einer kurzen Verschnaufpause der Hauptwalzer in einem mächtigen Forte einsetzt. Es folgen beschwingte Sequenzen, bis das Stück im vierten Walzerthema einen beispiellosen Höhepunkt erlebt. Zum Schluss, nachdem der Hauptwalzer nochmals erklungen ist, verliert sich das Stück mit einer Reprise des gesungenen Textes in der Stille. ___________________________________ One of my personal favourites. The piece opens with a lovely march theme followed by a short song and whistling before the powerful main theme begins... It's marvellous !!! This is a perfect and exemplary viennese waltz. Including a picture show of nocturnal Vienna.

E. Humperdinck: "Abendsegen" aus der Oper Hänsel und Gretel

Aus der Frauenkirche zu Dresden (2008) Staatskapelle Dresden, Ltg. Christoph Eschenbach Solistinnen: Elina Garanca Anja Harteros Hänsel und Gretel ist eine spätromantische Oper in drei Akten, die in den frühen 1890er Jahren entstand. Die Musik stammt von Engelbert Humperdinck, das Libretto schrieb seine Schwester Adelheid Wette nach dem Märchen Hänsel und Gretel aus den Kinder- und Hausmärchen der Brüder Grimm. Die Werkbezeichnung der Autoren lautet Märchenspiel in drei Bildern, Humperdinck nannte sein Werk in ironischer Anspielung an Richard Wagners Oper Parsifal ein Kinderstubenweihfestspiel. Hänsel und Gretel wurde am 23. Dezember 1893 in Weimar am Hoftheater unter Richard Strauss als Dirigent das erste Mal aufgeführt. Die Oper, die eine Spieldauer von etwa zwei Stunden hat, gehört heute zum häufig gespielten Repertoire von Opernhäusern und wird besonders häufig in der Adventszeit aufgeführt.

Alannah Myles - Black Velvet (cover by Sershen&Zaritskaya)

13M views 3 years ago #Blues #ClassicRock #90s

Wolfgang Amadeus Mozart ...